Studio Quotes
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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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Almost every evening, either I went to [Georges] Braque's studio or Braque came to mine. Each of us had to see what the other had done during the day. We criticized each other's work. A canvas wasn't finished unless both of us felt it was.
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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 started out with the guitar and was a studio musician back in the 50s, and then got shot in my finger.
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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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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'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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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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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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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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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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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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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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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 don't have any desire to go back into the studio, and I certainly don't have any desire to go back on the road.
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A powerful studio boss doesn't want to be bested by a woman, even in chess. And a successful agent steps on a lot of toes. You lose actors jobs so you can get them for your own clients.
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We physically fight in the studio until one of us wins and that’s how we choose the right hi-hat or kick drum.
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We work together a lot. So we don't really sit around after five days in the studio. We've got families, so we all like to be home when we can. We're not into any rock-star lifestyle or partying or clubbing or anything. We've generally seen enough of each other by the end of the week.
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I have a few methods that I use. One of them that kind of works but is a bit a boring is that I lock myself in the studio and I have four hours to work and come up with stuff. If nothing's sticking in four hours, then I can stop.
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I go in and out of the studio in sporadic periods, I don't go in there for hours on end. I'm looking for that initial vibe, be it from a beat, a sound, a loop, whatever. Nothing is planned, nothig is deliberate.
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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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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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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.
