A Quote by Gopi Sundar

I don't sit inside the studio all the time. I travel around researching music. — © Gopi Sundar
I don't sit inside the studio all the time. I travel around researching music.
In my early years, I would be in the studio till 11 P.M. Come home, have bath and dinner, and write music till 2 A.M. I would wake up by 4, sit down to do my music, and be at the studio at sharp 7 A.M.
There's always music sitting around, but when you're cultivating music, the idea of getting into a studio and compressing it to get something out on time can be really good.
I sit around listening to classical music. I don't play video games. I love to go to dinner, go on picnics, travel.
I think I live inside the plane! I never have time to unpack; I'm always leaving in two days again. I travel a lot, and at the beginning it was really fun. The first time I went inside a plane, I was 15 years old and I had so much fun. I like to travel all over the world and learn [about] new cultures. Not that many people have the opportunity to do that.
I'm the type of person that doesn't like to wait for people to do things for me, and I never want to feel stuck. Why sit around and be like, 'I wish my label would book me some studio time,' if I can just buy my own studio equipment and figure out how to run Pro Tools and record it myself?
I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.
The way I make music is just a reflection of how I think music should be made. Where you sit in a studio, and you make music, and you use technology to your advantage, not to hide all the blaring mistakes.
I spend a lot of time working and with my family, so I don't have much time around the edges to do much else. I don't really listen to a great deal of music. I love music, but since I spend a lot of time in the studio, we probably watch a movie rather than listen to albums. I get to hear stuff, but not on the grand scale.
In the studio, I like to have the music first: I'll sit with the music for like an hour, on loop, and just let it tell me what it feels I should do.
It's a big plethora of music floating around in my head all the time, and I'll sit there and write a song.
People are beginning to recognize reggae music, and know it's a very powerful music, and researchers have been researching and coming up with reports that it's a great music, a healing music
You're actually inside the surfboard... you're inside the landscape around you and the ocean is surging, you get totally inside the moment and it's so intense that time disappears, you disappear.
Prague is not, strictly speaking, travel writing but it is, among other things, an excellent example of what travel writing is becoming, if indeed it hasn't already done so. . . . People are no longer so easily satisfied by the mere travel impressions of some outsider much like themselves. Instead they gravitate towards writers who actually have lived not simply in, but inside, a location for an extended period, as one lives inside one's clothes.
Unlike some of the time-travel movies I love, like 'Primer' or '12 Monkeys,' 'Looper' is not about time travel. It's about this situation that time travel creates and the people dealing with that situation. So narratively, the big challenge was to have time travel get out of the way.
By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.
I guess we all had that work ethic. None of us were rock stars, so if you had time in a studio, it was a big, big deal: you're not going to sit around taking drugs and drinking and waste it, you'll do something.
This site uses cookies to ensure you get the best experience. More info...
Got it!