A Quote by Joe Murray

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.
When I joined, I was one of the first artists to sign on to the Motown West label when they opened their first studio in California. At the studio, you'd run into Stevie Wonder, you'd run into Marvin Gaye…it was very special.
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.
I don't use any real vintage hardware any longer. That's always been the object as far as gaining control of the studio environment, going back to when I built my first studio, Secret Sound, in New York City. The whole point was to not have to pay studio bills anymore and not be looking at the clock.
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 amazed at how the life of a freelancer differed from running a remote studio for another company. I thought I knew what I was doing in 2004 when I left Eidos because I had run Ion Storm Austin, which was my own independent studio. I had run a business unit inside Origin, but being part of a startup is crazy.
To be fair, I did come out of nowhere. 'Ghost' was the first song I ever did in a studio, my first time ever cutting a professional vocal.
When I was in my late twenties, a friend suggested that, since I was an avid SF reader and had been since I was barely a teenager, that since it didn't look like the poetry was going where I wanted, I might try writing a science fiction story. I did, and the first story I ever wrote was 'The Great American Economy.'
'One Flew Over the Cuckoo's Nest,' which my father had tried to get made for six, seven years, and I for four, was turned down by every studio. Every studio in the world had passed on it.
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.
The only parental authority I had was the studio. When I was a star, there was always somebody with me, to guard me. I was not allowed to be photographed with a cigarette, a drink, a cup of coffee or even a glass of water because someone might think it was liquor. When I left the studio I was already married and had two children, but I felt as sad as a child leaving home for the first time.
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.
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.
When I tried to get 'Stargate' made, I took it to every studio in Hollywood and every studio said, 'Sci-fi is dead. It's a dead genre. No one wants to see science fiction anymore.' And I had to go and raise the money independently to make that movie.
I've been in the studio environment since I was young, so I know what to expect.
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.
This site uses cookies to ensure you get the best experience. More info...
Got it!