Studio Quotes
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What's working for me is like when I go into the studio, I'm trying to get goosebumps.
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Let me earnestly recommend...one studio which you may freely enter and receive in liberal measure the most sure and safe instruction...the Studio of Nature.
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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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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 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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I've never went into the studio looking for a certain direction for my next production. I make music that I enjoy and whatever flows in my head when I'm in the studio is how the track is going to turn out.
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It's a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that's a good thing. If everything was as you imagined it to be, it just wouldn't be as much fun.
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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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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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While I was with Procol Harum, the only time I'd see my guitar was either when I walked onstage or in the studio.
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I tend to play better in the studio, no pressures, just sheer volume and alcohol.
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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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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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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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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 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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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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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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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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Performing was always something that I actually used to do before I settled in the studio as a composer.
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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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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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I think it's because we're not purists, we're open to all kinds of music. We're not afraid to take chances and we work really hard, and we gig relentlessly, we've been very active in the studio, we're active with the record labels that we have. So I think it's like a full-on assault. We've stalled in many different directions and it kept us in the limelight for so many years.
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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.
