A Quote by Samuel Ervin Beam
Whenever you're ready to go and have studio time, that's when we start to record.
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Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
In a T-shirt and basketball shorts - that's just my go-to: I'm ready for a workout. I'm ready to go play basketball. I'm ready to go dance. I'm ready to go into the studio. It's my getup for anything. I can get it dirty, which is fine. I can sweat in it; it's fine. It's nostalgic because it's what I wore every day as a kid.
With a franchise movie, it's got to turn the wheels of the industry, and the studio has to have them. So you start with a release date. They say we're going to make a new 'Bourne' film, and it comes out summer of X. Then they start on a script, and invariably, the script is not ready in time.
Well, especially now I come to realize - and then - I would do my schooling which was three hours with a tutor and right after that I would go to the recording studio and record, and I'd record for hours and hours until it's time to go to sleep.
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.
You've got to stay ready, especially around here. That's what we preach, you'll get your opportunity whether it comes at the beginning or in the middle or in the end whenever it may be. When your time comes, you need to be ready to go because you're going to earn your minutes
At some point, I went to the studio and nothing happened. It can be really depressing to sit there and wait for the inspiration that doesn't come. I had to start recording rough song ideas before going to the studio. I did that at home whenever I had a good idea.
Some groups get started too fast, and they're in the studio before they're ready to record.
At the time, there was a great disagreement over 'The Wild and the Innocent,' and I was asked to record the entire album over again with studio musicians. And I said I wouldn't do it, and they basically said, 'Well hey, look, it's going to go in the trash can.' That's the record business, you know.
I think people can just make things now. It's kind of what happened with the music industry. Before, a band couldn't afford to go into a nice studio, or if they were going to go into a nice studio, they had to record twenty-five songs in two days. That's not a healthy workflow for anyone.
I spend a lot of time working as a painter and in my studio I go from upstairs where I paint to downstairs where I play and record, so I get this thing crossing over.
I think there's an attitude these days that you can go straight from a studio to the stage, and it isn't really like that. But playing live was the most important thing for me at the start because whenever I recorded something, it didn't sound right; I didn't like how my voice sounded. It was just raw.
Each day I record I'm always doing something different that I've never done. So I feel like I'm a new artist every time I go to the studio.
There are those people who try to change what you're doing. We don't like that. When we went into the studio for 'City of Evil,' we had 99 percent of the songs finished and ready to record.
I know how it feels to go into a studio to start a record, and eight weeks later it's finished. I know how an intense schedule feels.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
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