A Quote by Solange Knowles

I grew up seeing my sister in the studio. I would go to recording sessions and take notes. — © Solange Knowles
I grew up seeing my sister in the studio. I would go to recording sessions and take notes.
I know great songwriters. Fred Neil would come up when he was in L.A., we all used to hang out. He would sit there and sing, and we would just melt. I mean, we would go to his recording sessions.
T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.
You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.
I never planned on being a live performer. My whole forte was about being in the studio, producing, playing the piano on recording sessions. I was all about the studio.
My mother was an extraordinary theater actor in Canada, and when I would finish school, I would go to the theater. I would do my homework, we would have dinner there, she would do her play, and then me and my sister would go home. So I grew up in it that way.
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.
After school, my mom would pick me up and I would just go to visit my dad in the recording studio, and I would see him working with Mark Hamill or hear him doing the 'Transformers' or a 'G.I. Joe' or the 'Rugrats.'
I think from age 13, 14, 15, I thought, yes, this rich studio produced music is the future, but it can't be the future to go run away into the recording studio. How can we take that kind of complexity and richness and make it possible for people to touch it and play it live. That's what hyperinstruments are.
No studio picks up the phone after seeing 'Dogtooth' and goes, like, 'We have the next superhero movie.' Though if one did, that would be an interesting studio to work with.
If you go to Japan, they're still buying vinyl, and they want the education. They know who's playing on what tracks from the '60s and the '70s - who the guitar player is, who the drummer is, who the producer was, what studio it was recorded in. That's how I grew up listening to music. We bought albums. We read the liner notes. It was important to know the whole history behind it.
Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.
Seeing my son getting roughed up by the police is not fun. It brings back memories of when I got roughed up by them. He grew up totally different than how I grew up, and to me, he shouldn't have to go through that.
If you had a sign above every studio door saying ‘This Studio is a Musical Instrument’ it would make such a different approach to recording.
I was working two landscaping jobs; I was recording songs in the spare bedroom. I would get up at 4 A.M., go to work, get back at 6 P.M., have nap, then start recording, just go until I fell asleep.
I started studying music at the age of five and a half. My older sister was taking piano lessons. When her teacher left our apartment, I would get up on the piano bench and start picking out the notes that were part of my sister's lessons
I started studying music at the age of five and a half. My older sister was taking piano lessons. When her teacher left our apartment, I would get up on the piano bench and start picking out the notes that were part of my sister's lessons.
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