Top 1200 Studio Quotes & Sayings - Page 18
Explore popular Studio quotes.
Last updated on April 20, 2025.
One of the main things when you get notes from a studio is they don't want anyone to be confused ever, everything has got to be so obvious at all times unless it's a twist ending.
I need boundaries. In the modern studio there are a bunch of instruments around me, and I can simulate anything I can't play, so sometimes the palette feels too big.
You can't do seven successful albums and just hate each other. Our yin and yang, and night and day, is what made us great when we went into the studio.
The 'wandering studio' gathers and stores experiences, takes chances with the unfamiliar and requires a measure of self-trust. Mistakes are part of the change of scene.
I've always worked with different mediums whether it's melting gold to make teeth, working with wood and paint or bending sound in a music studio.
A great dream of mine would be to run a design studio full of scientists who think about science as creatively as if they were doing art.
You earn very little money on independent films and I'm the provider for my home, so I do have to think of taking one for the accountant time and again and that means studio pictures.
What does it serve any studio to not reflect the lives of people who are giving you money, who are crying out to you, 'Hey, please tell our stories.'
Personally, my favorite 'meat' song is 'We Got It Right.' As soon as it comes on, it transports me to a different place. And I'm really proud of our performance in the studio on that one.
The studio does a lot of testing before we settle on a system. Unfortunately, this means that price tends to come pretty far down the list.
It's nice to film in somewhere that you actually love being. Usually, you're in a studio for months on end, and you never see any daylight, so you really make the most of it.
My Miyoshi studio in Japan is located in the northern part of Saitama, which puts it in quite close proximity to Fukushima. As such, we can feel the effects of radiation.
When I'm in the studio I just try to zone out and not think of whatever is in the industry, if it sounds too much like someone else, I have a tendency to erase it.
I had this instinct and I just knew it. It was a very strange thing and as soon as I finished recording it, we were all in the studio saying we have something really special here.
The single most exciting thing that happened for me was getting to spend some time in the studio with both Marty Stuart and Vince Gill.
When I left the band I said Look, I am ready to move on. I was interested in playing with some of the other people that I had bee a studio musician with.
There are a lot of incredible producers out there. But that doesn't mean when you get in the studio that the vibe is right and that it's a fun experience, and you can trust people, and just have a good time.
You cannot enter a studio and just start crooning before the mike. It is essential to understand the mind of the composer, mood of the song, and meter of the tune.
Anybody can have a great album in themselves but it's not until you bring it out and put it into tangible form and creating it and working on it in the studio that all of that comes to life you know what I mean?
When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.
When I'm 40 and nobody wants to see me in a sparkly dress anymore, I'll be, like: 'Cool, I'll just go in the studio and write songs for kids.'
I get excited by being in the studio and could never get burnt out in there.
I feel like my best work is in front of me. I'm in the studio now, and I'm having an amazing time making this new album. It's something I can't help.
The studio is meant to be always a place where, first of all, they can be out of spotlight, and second, where they could work with a peer group on parts that they might not have played otherwise.
But I was in the Radiohead studio today and Phil was there drumming and Thom was there playing. We feel like we've only just stopped and already people are wanting us to carry on.
When I'm 40 and nobody wants to see me in a sparkly dress anymore, I'll be like: 'Cool, I'll just go in the studio and write songs for kids.'
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 was 23 years old. It was a wild time. I was covering everything that blew up - blackouts, Studio 54, son of Sam killer, and all of that stuff.
I honestly have really deep reservations about releasing everything you ever did. Every time somebody farted in the studio, now it's out there.
To me, my studio is my trap house. That's where I trap out of; that's where I hustle. That's where I make my money.
We happened to be in the studio next door and I think Noel Redding came around and said, 'Do you fancy having a sing on this?' We just went and did it and it was great.
I'm pretty selfish, I think. I'm probably a terrible dad. I don't do too much with my kids. Obviously I love them and everything, but I just stay here in the studio all day.
Sometimes I think of myself as a little bee. I go from one area of the studio to another and gather pollen and sort of stimulate everybody. I guess that’s the job I do.
My little boy (Sasha) is now one-year-old and that makes it easier for me to go back to the studio and work on creating new music.
If people go to IMDB, they will see that I'm very comfortable with independent cinema, and doing studio films too. For me this is not an either/or situation.
I like the idea of working my way up. I don't feel impatient to immediately jump into something that could literally bring down a studio if I don't do it well.
With 'Slave Ambient', I was writing things on top of loops. Now I really get the structure of the song down, but I leave room for improvisation in the studio.
'Lolita' was a great wound in the side for me. I stuck my neck out maybe further than I should have and castigated the studio for not getting behind it.
Actually doing a song, going to the studio, and just getting out on paper your anger makes you feel a little better sometimes.
In a studio context, the music becomes greater than the sum of its parts. When you have collaboration, you have other people's strengths that I don't share, so my song can get stronger.
I'm happy with studio infiltration, but I'm thrilled when I see 12- to 20-year olds walking down the street with Beats and not two-dollar earbuds.
To me, being in the studio is one of the most exciting parts about being an artist.
My favorite is still the one that I started off with, which is a Les Paul Standard. I've played that at every gig I've ever had. And that's my starting point in the studio.
I tend to write songs fast, so the process usually only lasts around 30 minutes. In the studio is where I really can artistically breathe, and let my ideas flow.
I know that when I've passed the Jim Nabors set at our studio, I call out 'Hi Gomer,' and I can't honestly think of his real name.
If a Hollywood studio needed a fighter to play the hero in an old-time boxing movie, the search could begin and end with John Duddy.
I think one of the studio's characteristics is to embrace wholeheartedly what we feel is interesting; what we perceive to be worthwhile, cool, or beautiful; and to place these ideals at the foundation of the games we make.
A movie studio has to answer to a marketing department, and to shareholders, to ensure the broadest audience possible for its product; it tends to err on the side of caution as a result.
I've found from years of trial that the only way I can work is to make sketches in pencil from Nature, purely as reference material for future use in the studio.
I repeat it until it works. It is important to record, otherwise you lose ideas. That's why I never stay away from the studio, I always [have] something to ask.
I have a Yamaha YC-45D organ in my studio. It's actually Terry Riley's favorite keyboard, so if you find old clips of him on YouTube, he's usually playing one of these.
When making any record, a producer has a list of things you hope an artist brings to the studio. Songs that are strong even without the bells and whistles.
The recollection of how, when and where it all happened became vague as the lingering strains hung in the rafters of the studio. I wanted to shout back at it, Maybe I didn't write you, but I found you.
My father ran a famous L.A. nightclub complete with roller-rink - Flippers - in the early Eighties which was the West Coast's answer to Studio 54.
Sammy Davis Jr. was a real movie buff who loved nothing better than being around a film studio - whether he was working or not.
Unlike motor sport, I didn't get into music for the live performances. I like writing and studio work and seeing how a song can come to life.
I never thought I would be recording on any professional level, so to be doing a rockabilly, Motown, pop soundtrack in a L.A. studio was completely bizarre and amazing.
I just play intuitively and work the same way in the studio. I don't have any magical effects or anything that helps me to get my particular sound.
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.
Yeah, anybody can go in with two turntables and a microphone or a home studio sampler and a little cassette deck or whatever and make records in their bedrooms.
