A Quote by David Means

From George Martin's classically inspired production of the Beatles to Peter Gabriel's early solo masterpieces, to Stereolab's beautiful loops and blips, U.K.-based bands have often found a way to squeeze warmth and compassion from the stone-cold - especially now that the tubes are gone - machinery of the recording studio.
Wine makes all things possible. GEORGE R. R. MARTIN, The Mystery Knight A cold wind was blowing from the north, and it made the trees rustle like living things. GEORGE R. R. MARTIN, A Game of Thrones Nothing burns like the cold. GEORGE R. R. MARTIN, A Game of Thrones Laughter is poison to fear.
I remember being given a demo of the 'World Wide Web' at Peter Gabriel's studio in the early 90s, and I had zero comprehension that I was staring into the future. I was just happy with my pager and teletext on the TV.
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.
The modern recording studio, with its well-trained engineers, 24-track machines and shiny new recording consoles, encourages the artist to get involved with sound. And there have always been artists who could make the equipment serve their needs in a highly personal way - I would single out the Beatles, Phil Spector, the Beach Boys and Thom Bell.
I'm very influenced by the work of George Martin and the string arrangements that he did for the Beatles.
George Martin recorded a lot of my stuff before the Beatles, so I observed their meteoric rise.
I know of some guitar-based rock bands that refuse to record anything that they can't play live. But some of the best stuff I come up with are studio-based performances - bringing out whatever accident I had in the studio and building a song around that.
I also have a recording studio that I use to produce bands.
Human warmth is perhaps the most lacking in a composer who lives his life in a recording studio.
As I descend the stairs, I can’t help brushing my fingers along the unblemished white marble walls. So cold and beautiful. Even in the Capitol, there’s nothing to match the magnificence of this old building. But there is no give to the surface - only my flesh yields, my warmth taken. Stone conquers people every time.
But here I am today recording this and I'm in the studio with all the others on a clean mic. It's extraordinary, the actor's found a way of doing it for himself.
I used to play in bands and my dad, he's a big Beatles fan, so I grew up on a lot of Beatles and you kind of find your own way in music.
There was a time when my taste in music was mainstream, for example - people like Jimi Hendrix - who I really based a lot of my inspiration on, was the most popular entertainer of his day. He was really number one. And bands like Led Zeppelin, The Beatles are really number one bands. But those days are very much done. I can't say that if I listen to the number one artist now that I get excited.
Imagine a music business where all the music press talked about, all day long, was cover bands of old rock and pop groups. Beatles cover bands, Rolling Stones cover bands, The Who cover bands, Led Zeppelin cover bands. Cover bands, cover bands, everywhere you go.
The best values today are often found in the stocks that were once hot and have since gone cold.
Didgeridoo was something I picked up while I was on tour in Australia with Peter Gabriel in '93. I found out later that it's only meant to be played by men.
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