Studio Quotes
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I always loved writing songs - writing for myself and demo-ing songs, really with no intention of ever letting anyone else hear them. Finally the Foo Fighters stuff happened when I just went to the studio down the street from my house and recorded some stuff in about five or six days, and all these people wanted to release it as an album. I wanted to release it on my own, with no photos and no names on it.
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We happened to be in the studio next door and I think Noel Redding came around and said, 'Do you fancy having a sing on this?' We just went and did it and it was great.
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For years, more women were steered toward the studio or toward being a reporter. If that's what you want to do and that's what you love - by all means, go do it. That's OK to be ambitious and do things that are out of the norm if that's the route you want to take. We're already seeing women breaking down those barriers in what was once male-dominated. There are opportunities for women to fill those roles.
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I was lucky enough to be down at the studio the day John Paul Jones came down.
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I have a thousand melodies in my head, but I don't write them all down. I write down the jewels. So when I have a jewel I go into the studio. Jewels are hard to find--you have to dig.
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I have a studio at home where I record all of my solo material from the beginning 'til the very end, thus also the ideas which later on will find their way onto yet another Mike & The Mechanics album.
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I haven't felt compelled to go back in the studio and do anything serious. I have a little sort of home studio thing which I potter about in occasionally.
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In the studio the director controls the actor's every move, every inflection, every expression.
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There is a difference between a great producer and somebody who is a big advocate of your music. Just because you're a big advocate for a band doesn't mean you need to be in the studio with them, and at the same time - we don't need to get into this conversation - you can write a hit, but it might not hit.
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Eventually, when I sell enough units, as they say in the record business, I will stop touring. I'll concentrate on what I like to do... stay in the studio.
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Musicians today have gotten used to Protools, which I hate. You can go into the studio and not even be a musician, just start beating on stuff and they can take parts out of it, move it around and then you can sound like Slash. If you want some kind of weird feedback effect in the middle of a guitar solo, now they can just fly it in. You don't have to sit there and work at it like you did back in the day.
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In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.
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You don't always do the same things you've done the night before. That's what makes playing live so interesting as opposed to being in the studio.
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The dream world of sleep and the dream world of music are not far apart. I often catch glimpses of one as I pass through a door to the other, like encountering a neighbor in the hallway going into the apartment next to one’s own. In the recording studio, I would often lie down to nap and wake up with harmony parts fully formed in my mind, ready to be recorded. I think of music as dreaming in sound.
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I think it was Fox, actually; Fox, the studio, which had sold the rights to the television show, as I understand it, but had retained the film rights.
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Day and night I try, in my studio with its six two-thousand watt suns, balancing between the extremes of the impossible, to shake loose the real from the unreal, to give visions body, to penetrate into unknown transparencies.
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I don't practice. It's a gift. It's talent. Obviously, I do it all the time so it's like I'm practicing, but that's just what I do. Sometimes I'll be in the studio flipping through beats and I'll do something quick and people will be like, "What the?!" It's natural! I don't need to be nice like that, I just do it.
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"I've always thought there was this underlying thing in Paul's "Get Back." When we were in the studio recording it, every time he sang the line "Get back to where you once belonged," he'd look at Yoko."
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When it comes to the music making, that's when we completely are open and just let anything go down in the studio. It's nice to go with whatever's happening. It's really important to just let the music come out of you.
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It's good to wander into the studio and walk out with something that's better than you'd imagined it to be. If everything was as you imagined it to be, it just wouldn't be as much fun.
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We can be in the studio with the hottest producer, but we might not be able to create any magic! It's not about the hottest. It's about who we feel we have that connection with, and that's who we're going to be working with.
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I've delved into a lot of non-musical projects. Learning new things and accomplishing things with my hands that I put aside as an adult to devote all my time to music. As I've gotten older, I've been concentrating on quality and no filler, and spending more time constructing all of the parts of music, rather than going into the studio with one or two parts and then letting the rest work itself out.
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The studio is my main compositional tool. And I used to be horrible in the studio. I didn't know any kind of technical stuff. But when you have something in your head, you've gotta figure out a way of executing it.
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The teams that worked on the innovative distribution of 'The Interview' are just a few of the many that put in long hours over our studio holiday to ensure business continuity, rebuild our systems, and protect our company.
