A Quote by Moby

Somehow, magically, I've become an electronic musician, and I have a recording studio that looks like the bridge of the Enterprise. — © Moby
Somehow, magically, I've become an electronic musician, and I have a recording studio that looks like the bridge of the Enterprise.
The late '60s and the '70s, a lot of this really beautiful equipment was being made and installed into studios around the world and the Neve boards were considered like the Cadillacs of recording consoles. They're these really big, behemoth-looking recording desks; they kind of look like they're from the Enterprise in Star Trek or something like that. They're like a grayish color, sort of like an old Army tank with lots of knobs, and to any studio geek or gear enthusiast it's like the coolest toy in the world.
My job of being a musician in a recording studio has nothing to do with being a musician being on tour performing.
I always wanted to be a full-time musician. Every television job I had was a means to buy a grand piano, or to put in a recording studio, or something like that.
My old man was a musician - that's what he did for a living. And like most fathers, occasionally he'd let me visit where he worked. So I started going to his recording studio, and I really dug it.
What the president announced yesterday, is that somehow magically, if we just continue to prime the pump of taxpayer dollars, we're going to see magically an economic recovery.
Everything has changed since I started recording in 1972. But the very things that have opened this industry, like the digital platforms to reach more people, have also killed things that were happening before in the recording studio. Now, most of the time, there are no real musicians in the studio; it's people with sequencers and things.
Due to my work as a musician, songwriter, recording artist and author, hundreds of people stream in and out of my basement studio to help me with my creative projects.
We with Michael Jackson were in the studio recording some work on "Man in the Mirror" or the duet. I can't remember which it was. We did the duet in three languages: English, French and Spanish. So, I spent like a week with him in the studio doing the three songs in different languages. It was just an awesome experience recording with him.
One of my earliest memories is being inside the recording studio and I see the shadow of a figure that looks an awful lot like Walt Disney. Then the door opened and Mr. Disney walked in and said, 'Hi Clint.' I won't ever forget that.
People call me a bedroom electronic musician, which I suppose I am. But I hate most electronic music; I find it really boring.
The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.
I have a musician friend who, after reading Mountains, told me, "When I read the book, I wanted to quit music altogether and become a doctor." I told him, "Do you really think you can be a better doctor than you are a musician? Nobody needs you as a lousy doctor. Just be the one-of-a-kind, brilliant musician you are, and divert your success somehow to benefit the poor." You can achieve so much more this way.
I think for a classical musician the goal is the same as an electronic musician. A very good professional classical musician must not think about technique.
It doesn't take a lot to get me motivated. I'm a studio rat. When I was in high school and I would walk into a recording studio, it felt like this magical place, this temple, this womb that I could escape into.
I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.
The magic can happen in a studio. Special things can happen in a recording studio, even though it may seem like a clinical environment from the outside looking in.
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