A Quote by Tod Machover

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.
I was extremely fortunate to live around the corner from a recording studio and to be chosen to have a paper route to make enough money to pay for the music lessons. I was one of the chosen few to have a job and to walk through the curtain at Stax Records was just an amazing thing for me to do at age 14.
I think it's maybe because Sergeant Pepper's came out when I was about 13 or 14 and that was a pretty impressionable age, and it was such a kind of radical period. But that period of the Beatles really had a big influence on me and I think are directly related to hyperinstruments.
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 think that when you're in your twenties you think about your future, when you're in your thirties you're raising kids and you think about their future, but when you get to a time when you are diagnosed with any kind of life altering illness, what did you take away from it? And what I took away from it was how to live in the "now".
Around the age of 14, 15, I was in the studio, serious about it.
I love being in the studio, and I am a huge fan of live music. Without writing good stuff in the studio, you have nothing to play live.
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band." Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
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.
I run into viewers all the time who have no idea I've moved to N.Y.C. I think, for many of them, a studio is a studio is a studio.
At the age of 15, I bought a USB microphone on a trip to the United States with my family, and that was my first recording studio.
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.
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.
I was 13 years old. I feel like I didn't have a sense of artistry, and I didn't have a sense of the music that I wanted to make, and every time I'd go into the studio, and I'd make my EP, a month later I'd scrap it and be like, 'I hate every song. I don't wanna do it.' Because that's how 13-year-olds are.
I look forward to the future - and going into the studio to make new music.
I thought 'Borat' was a breakthrough comedy, because it was really funny. It wasn't some studio-produced script with 14 writers.
I studied all kinds of dance, all types of music. I got good grades. I started hitting the recording studio around 13.
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