Studio Quotes
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I was in George Martin's studio in Amsterdam and he was telling me, 'They come in here and it takes them three days to do a bass line.' Well I'm not from that era.
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Don't go to the same studio twice, or work with the same engineer twice.
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I'm glowing in the dark with my studio tan. I've been in a cave of music for months and months and months.
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When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.
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If you had a sign above every studio door saying ‘This Studio is a Musical Instrument’ it would make such a different approach to recording.
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We have a small UK tour booked and some studio time and a lot of drinking and partying and talking like pirates! Hahaha!
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I've been to the studio several times, and it's not that I'm not happy with what I've got, but each time I come away, I feel that I've learned something that I want to work on.
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Being a guy who was a geek with tape machines in the early days and really interested in how records get made, I was inspired in particular by how the Beatles were innovating when they were making those records late in their career while using the studio in a maximal way.
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I tend to play better in the studio, no pressures, just sheer volume and alcohol.
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I started using this outlet of creativity - you know, going to the studio, writing, meeting these writers and producers - as the best form of representing myself to my fullest potential.
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I listen to nothing or classical music just because after being in the studio for twelve hours, the last thing you want to do is listen to anything.
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Performing was always something that I actually used to do before I settled in the studio as a composer.
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I do see a lot of young artists who write records or sacrifice records, because there are a lot of older artists who are preoccupied; they don't have as much time as they used to to be in the studio.
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It's a little intimidating to walk into a studio and know that you're going to sing a duet with Barbra Streisand.
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That's when we decided to stop in '66. Everyone thought we toured for years, you know, but we didn't. I joined in '62, and we'd finished touring in '66 to go into the studio where we could hear each other... and create any fantasy that came out of anybody's brain.
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I don't care more about '13' because it's in the Olivier than I did about 'Cock' in a 100-seat studio. They both matter because it's still a person sat there watching your play. And the play has to be good enough - because there are a hundred other writers out there who deserve to have their play on instead.
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I think that we're gonna start seeing more and more people who started as a YouTube personality and now have their own studio, and they're gonna start creating things: story-driven stuff, longer-form stuff that people have an opportunity to enjoy.
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I'm never not in the studio creating; it's like my second home.
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Chaos is everywhere - and artists, to fashion art and live truthfully, have no choice but to invite this unwanted guest right into the studio.
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A lot of people say don't let bad vibes into the studio, but I love to. If you're having a bad day, write a song that feels like that.
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I like to fool with the stuff and I go up in my little studio and once you get into it, you may stay there hours doing it.
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It's hard to know exactly what it sounds like to me. I'm in the studio and I write it. and that's it.
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I'm trying to laugh uncontrollably with whoever I'm making a song with because whatever we just listened to that we just came up with is so dope. I'm chasing that feeling in the studio, not like a trend or what's hot on the radio at the moment. It just seems like the more I do that, the better I get at what I do. I'm going to keep doing that.
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I think it's my job to fight. The studio makes you question your idea, and you have to prove it.
