Top 1200 Recording Studio Quotes & Sayings

There were two recording studios in Bellingham. One was really expensive, a "nice studio." We were at the point where we were young and irreverent. We would scoff at the idea of a nice studio. "Why would you want to go to a nice studio? Oh wow, they have really expensive gear. Ooh, that's really fancy. Well we've got an eight-track. We've got it going on here." Now that we have the resources, we're like, "Oh wow, a nice studio is pretty nice! They do have nice outboards here. It's actually a pretty good place." It's funny how much changes so quickly.

I was in the recording studio when Pink was recording for a part of the gay rights anthem. It was just amazing to watch her perform. She's just such an incredible singer. She so funny, and so smart, yet she's doing it for this silly, silly song.

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.

The modern recording studio, with its well-trained engineers, 24-track machines and shiny new recording consoles, encourages the artist to get involved with sound. And there have always been artists who could make the equipment serve their needs in a highly personal way - I would single out the Beatles, Phil Spector, the Beach Boys and Thom Bell.

In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.

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.

I'm portable. I carry a laptop and a little recording studio on my back.

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.

What producers did was mostly recording in the studio, so it never changed our sound just that much.

I didn't really think about the sound of my songs before I started recording things in the studio.

By the time I'm in the studio recording my parody, 10,000 parodies of that song are on YouTube.

I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.

I'll probably have to open a recording studio at some point because I won't be able to pay the bills.

I grew up seeing my sister in the studio. I would go to recording sessions and take notes.

You go into any recording studio in the world, and you see candles, lights, and that Apple light from a Mac.

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.

It is a lot cheaper to spend eight hours in a rehearsal hall than in a recording studio.

Wherever I am on location, I can usually, even in the weirdest little places, find a recording 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.

Recording at Compass Point was really fantastic. When you're in the studio, you could be anywhere: It could be snowing outside or whatever. But it's great fun when you come out of the studio and are greeted by nice weather and good bars.

I'm a recording studio guy, an engineer, a songwriter and a guitar player, in that order.

But here I am today recording this and I'm in the studio with all the others on a clean mic. It's extraordinary, the actor's found a way of doing it for himself.

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.

Jordan Ruddes does [have a home studio], but it's all self-contained. I'll be the only guy with a fully built recording studio. So they'll have to come to me.

Recording studios are interesting; a lot of people say - and I agree - that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.

I had a recording contract with Capitol Records. I loved recording and being in that studio. I made four albums.

The first rap I recorded was on Jeezy's 'White Girl' beat. One of my partners invited me to his studio, so I go. I wasn't planning on recording, we were just messing around. And I started recording a song, just a freestyle. Back then, Jeezy was going so hard, that's what everyone was on. That's what me and my partners in the trap would listen to.

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.

There was a recording studio in my school, and I knew this kid who had a key, so I'd write lyrics in school while I was in class, and then, in a 10-minute break, I recorded the song 'Hurt' in one go at the school studio.

There is a whole aspect of freedom to recording at home that you don't get in a studio. The possibilities are infinite, and there is no reason not to explore them.

If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn't quite have if it comes out on a live album or is just a part of your show, you know.

I've always loved the recording studio.

I don't feel [the] excitement you have when you first walk into a recording studio. It now feels like a tool.

I've got a studio at home, and I'm always recording.

I consider the recording studio where I was born.

You can see how different artists work, from writing to recording, just from being in the studio environment with them.

I felt that the studio recording process makes you stand still too long.

I don't have a formal home recording studio, but I can record tracks on my computer upstairs in my office.

I'm never tired of going to the studio. I enjoy recording and documenting everything and trying new things.

Brian Eno taught us how to use the Recording Studio as an instrument.

Human warmth is perhaps the most lacking in a composer who lives his life in a recording studio.

When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.

One day, we were going to the studio for John's recording session, and as we were leaving to get to the studio, in the elevator, all of a sudden, John leaned over and gave me a kiss. He said, 'I've been waiting to do this all day.' I said, 'What are you talking about?' What happened was, he'd liked me.

We honestly felt a bit more at home in the TV studio than we did in the recording studio.

I think it's great that people now have access to Pro Tools and other recording software at home. I've never understood how anyone could be comfortable in a recording studio

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 also have a recording studio that I use to produce bands.

To me, finding sounds, or even recording, is a compositional process. The studio is kind of an instrument.

Recording 'Tusk' was quite absurd. The studio contract rider for refreshments was like a telephone directory.

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 sing all the time but I'd never gotten what it felt like to be in the recording studio, so it was definitely a learning process.

I am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.

Even on our days off, we're basically at the studio recording.

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.

Somehow, magically, I've become an electronic musician, and I have a recording studio that looks like the bridge of the Enterprise.

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.

If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.

I don't know, whenever someone was like, 'Yeah, I'm going to the studio,' I just went with them. And I started recording.

I now have a home recording studio, which I can operate entirely on my own, as well as a portable version of the same which allows me to record anywhere I like and simply swap out the hard drives for use in the home studio.

I got out of high school, bought a recording studio and started operating it as an engineer and a producer.