A Quote by Julia Kent

I'm really not working in a environment that's sonically pristine. It's not a conventional studio, obviously; it's a bit ramshackle. — © Julia Kent
I'm really not working in a environment that's sonically pristine. It's not a conventional studio, obviously; it's a bit ramshackle.
The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.
I don't look great. I'm a bit ramshackle.
I function better in the jungle in Amazonia or Antarctica or Alaska or the Sahara desert. An artificial environment like a studio has never attracted me. I could work in a studio, but I would never really feel at home.
I benefit from contemplation, but it's a great antidote to that, having someone interesting come into the studio environment to be painted, so that I can experience a little bit of their world.
What I saw over all that time were so many deals disappearing and producers disappearing, fewer movies getting made, and it just being a bit more difficult. Working with Joel, we were in a bit of a bubble because he was always making things that were working for the studio and that kind of thing. We were always in production on something.
Even getting one amazing shot in a pristine environment is what I live for.
So whenever I had some in-between producing time down in my studio I popped a tape in and started working on it. Working a little bit at a time, it actually took almost four years.
The working environment in L.A. is really refreshing, really good. Because in Malaysia, it's a small country - you end up working with the same people that you like and that you know.
It is always weird to be in the studio working on Christmas music in June and July, so we decorated the entire studio, we really did. We brought out lights, fake trees and decorated the place to get in the Christmas spirit. You'd leave the studio, and it'd be 100 degrees out in Nashville, but nonetheless, a great experience.
A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it. And then, there are notes and you change it, in the conventional studio system.
Obviously, I don't make an entire edition all at once, so the studio often goes back to produce editions, but that's a bit different. I guess I'm always thinking about the next work.
Commercial thermoelectrics are a reality. The automobile industry is now working with conventional thermoelectric materials. They are interested a little bit in nanostructuring because under some conditions, the nanostructures work.
The physical environment of L.A. is really beautiful. It's actually kinda fun, too, if you're working. It's just not really fun if you're not working and you don't know anybody.
You can listen to a birdsong, and from the content of the birdsong, you will be able to determine whether or not the bird grew up in a noise-polluted environment or whether it grew up in a pristine, clean environment. Isn't that incredible?
Sonically, musicians always go above and beyond in our efforts to disrupt radio. It's always about being different. Our radio is never conventional anyway.
Since this was the first and only series I had ever produced, I was unaware of what the 'Normal' environment was for a studio. I tried to run it as I did in my SF studio.
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