Quotes of All Topics . Occasions . Authors
The mini-Moog was conceived originally as a session musician's axe, something a guy could carry to the studio, do a gig and walk out.
Being in the studio is like painting, you know, you can really take your time, and try different things, and kind of go deep into it.
I see my studio like a laboratory, where I work like an investigator - it's almost forensic. I love the discovery process in painting.
My studio is designed for atmosphere. I have a really cozy, comfortable room that has a great, huge glass door that views my backyard.
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.
I do feel most at home playing live, but the feeling of getting into the studio to see the new songs take shape was really incredible.
The way I work on music is that I go into my studio, and I start playing music, and I see what happens, and... I never think about it.
Studio 54 was the place you could never get into. Of course, the place you can't get into is the place everyone is trying to get into.
Playing live is my natural element. It's too hard to relax in the studio because there are too many options. It's just not as exciting.
I love the new technology. New things give you a reason to want to go to the studio. New challenges mean you have to keep up, you know?
In the past, when you were just starting out, you had a day and a half of studio time - maybe two, if your buddy's uncle lets you stay.
Having the opportunity to join the FOX family as a soccer analyst in their Moscow studio for what will be my third World Cup is amazing.
There was a time when my mum would sew costumes for the dance studio so we could keep doing our classes because we couldn't afford them.
I love ballet. Ballet is its own being. It has its own vocabulary. I feel as if I am in a different world when I am in the ballet studio.
A great dream of mine would be to run a design studio full of scientists who think about science as creatively as if they were doing art.
Everything that I do is for sound goals. It comes from my gut. When I'm sitting in the studio, a mix isn't done till I feel it in my gut.
If you do a film with a studio, agents step in, they start saying, 'My actor has to get this amount of money', and it becomes about deals.
I was lucky enough to be in the studio with Drake and Kanye before I put 'Freaky Friday' out. I showed them the video before I put it out.
To be fair, I did come out of nowhere. 'Ghost' was the first song I ever did in a studio, my first time ever cutting a professional vocal.
In a park, you are not working with studio materials or a flat piece of paper. You have grass and the people and the city and the daylight.
I can make everything I do come from my laptop. Even when I go to a big studio, all I do is to plug in my laptops. That's they way I do it.
My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing.
I'd like to work with Bjork if I could get in the studio with her. We could probably travel to a different planet, you know what I'm saying?
It's nice because success has allowed me to have a blast on stage, to be in the studio with amazing people, but I find it all a bit bizarre.
I have a fantastic studio in my home, and it's my biggest toy. I have about a half a million dollars worth of musical equipment in my house.
It's odd to say we had our first African American president before our first African-American-owned movie studio, but we're making progress.
You know, Tupac would go into the studio and make like six or seven songs in one day. That's how he operated. He was real quick with his pen.
The studio is not the place to write. You need to be 75% ready when you go into the studio, and then the music can develop to the next stage.
What I learned from the Beastie Boys was to be independent. They set up their own world separate from the label. They built their own studio.
I have ambitions to do a Broadway record one of these days and get in the studio with like, a real orchestra. I'm a big musical theatre geek.
Studio people are idiots. Until they see someone else doing it and make a success of it, they don't open their minds. Most of them are idiots.
I found my sound through exploring. I was in the studio yelling, going low, trying things, and that's how I found that I have a lot of sounds.
I'm not one for walking the beaches humming a melody. I love the discipline of sitting in the studio, writing and listening. That is my domain.
Recording an album and doing it live are like two different animals. There are some people that are great singers live, horrible in the studio.
People tend to think that because I need all this time on my own in the studio, that I need time on my own, period. And that's not really true.
I was 23 years old. It was a wild time. I was covering everything that blew up - blackouts, Studio 54, son of Sam killer, and all of that stuff.
When I was starting out, the first women studio heads and writers were just getting into their perches - development execs learning their chops.
You shouldn't really have to use EQ in the studio if the instruments sound good. It should all be done with microphones and microphone placement.
The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.
When I'm in the studio, I just let it rip. That's my process. I get in the booth, and whatever is on my mind at the time, I just go off and say it.
I was the first studio executive to meet with Sean Penn after 'Taps' in 1981. I was anxious to develop things with him when nobody knew who he was.
I met will.i.am in the studio and played him a couple of songs and he liked them. We're similar but there's nobody in my lane doing what I'm doing.
I was never that into the movies. Never. Even as a youngster. I became interested in movie music only because of the studio orchestras in Hollywood.
I'm not the only one in the studio a lot of times, so I have my boys in there and they'll tell me and give me their suggestions and what they think.
I believe a great performer is someone who sounds just as great live as they do in the studio and vice versa. They should know how to work the stage.
What does it serve any studio to not reflect the lives of people who are giving you money, who are crying out to you, 'Hey, please tell our stories.'
Not knowing where I was going to eat or not knowing where I was going to sleep didn't matter as much as knowing I had a studio to record in every day.
I love the opportunity to do lots of different kinds of projects - independent films and big studio epics as well. I'd love to be able to do a mixture.
Some very famous directors have started in the mail room, which is just getting inside the studio, getting to know people, getting to know the routine.
When I get out of the studio, I want to disconnect from music. I would rather spend time with my family or watch a movie. I cannot take any more music.