I had no allusions of radio success. I just loved being in studios. I was having fun and in that sense I now feel a lot like I did when I did that record.— Matthew Sweet
Restlessness Recording Studio quotations
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 always wanted to be a full-time musician.
Every television job I had was a means to buy a grand piano, or to put in a recording studio, or something like that.
I like being in a recording studio. I like watching a song go from the simplicity of the original music.
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 knew that I could be more creative onstage, to state my own case and deliver my own interpretation of the role much more aggressively than in the recording studio.
My old man was a musician - that's what he did for a living.
And like most fathers, occasionally he'd let me visit where he worked. So I started going to his recording studio, and I really dug it.
I got out of high school, bought a recording studio and started operating it as an engineer and a producer.
I started a recording studio. I started producing people and doing remixes.
I am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.
One of my earliest memories is being inside the recording studio and I see the shadow of a figure that looks an awful lot like Walt Disney. Then the door opened and Mr. Disney walked in and said, 'Hi Clint.' I won't ever forget that.
Brian Eno taught us how to use the Recording Studio as an instrument.
We recorded Star Climbing over a three-year period between our studios, working on songs and lyrics until we felt like we had found the albums direction. It is our most distinctive album to date, combining all our different tastes and styles into one.
The parties happen when we book the studio.
That's a safe place. Get alcohol, food, girls, homies, and have these small listening parties while I'm recording. And that energy always gets into the music.
The corporations have taken over. Even in the recording studio. Actually, the corporate companies have taken over American life most everywhere. Go coast to coast and you will see people wearing the same clothes, thinking the same thoughts, eating the same food. Everything is processed.
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've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.
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.
People think it is all about country music, and I know a lot of country music has come out of there, but like Blonde on Blonde by Bob Dillon was recorded there. A lot of great records; R&B records, jazz records. It's a lot of great players and great studios.
... with Voodoo Child somebody was filming when we started doing that. We did that about three times because they wanted to film us in the studio, to make us (imitates a pompous voice) 'make it look like you're recording boys' - one of them scenes, you know, so okey, let's play this and then we went into Voodoo Child
We were telling everybody we weren't getting back together when we were in the studio actually recording. We wanted to try it on, to see how it would fit.
Basically, I wake up at nine o'clock in the morning, go to different record stores, go to the studio, think up different ideas for songs. Just workin'.
The internet seems to be what a lot of independent bands are doing these days.
They're bypassing the studio - the big studios, EMI and all the record companies - and just doing it themselves, online, selling their stuff, getting known through that medium.
"Rock Candy" was my first record. I had never been in a studio, so I was in shock and I had no idea if it was great or if it stunk. I was just putting in my heart and soul, and closing my eyes and keeping my fingers crossed. I gave it everything.
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.
On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.
What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.
I thought I'd do everything on four-track, and then I'll record every instrument myself in a studio, and then I'll have a solo album released by spring.
We're gonna release a studio album probably a year from now and we've got these recordings that we did with Coco Taylor and Johnny Johnson, who was Chuck Berry's piano player.
I'm never tired of going to the studio.
I enjoy recording and documenting everything and trying new things.
For me, the highlight was meeting all the Motown acts, as I adore black soul music. I met Stevie Wonder who I love, and Diana Ross And The Supremes. I also met The Carpenters. I was actually there in the studio when they recorded We've Only Just Begun.
The Hadley Street Dream is a tribute to making a vision come to life.
My father built a compound on a dessert city block, he saw something in that space we couldn't see. It was years later the album was born right there on Hadley St. He built the studio I started recording the album at.
Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too.
There was mass hysteria in the Chess Recording Studio when I did the "Shapes of Things" solo ... they weren't expecting it, and it was just some weird mist coming from the East out of an amp.
And for me the only way to live life is to grab the bull by the horns and call up recording studios and set dates to go in recording studios. To try and accomplish something.