I'd do a demo recording by myself, layering instruments on top of one another, and while that's fun, it doesn't have the same impact as getting some great players together in a great studio with a great engineer and producer, then waiting for the mag...
We were never happy with the way cello was recorded, and we wanted to experiment in the studio to make the cello rock as much as possible. On the second album, we had great help from Bob Ezrin, who helped us develop our sound even more.
I didn't want to be a solo Westlife - covers and ballads - and the reason I signed with Capitol Records was because they wanted me to write songs myself. It was pretty scary, but they put me in a studio in Nashville with some new songwriters, and the...
On record dates like that I never felt too nervous because everything was really overdubbed. When we did that album, we were in the studio for probably a week, so you had a lot of opportunity to fix things.
I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.
Most bands have a sound that they're already identified with, so for the producer it becomes a process of helping them find their muse in the studio to make a record that will not only satisfy them artistically, but will also do something in the mark...
Once I got a record contract, and I took my songs which weren't quite finished, or maybe they were a good idea, maybe they weren't. I took them into the studio and developed them. They came to life and they evolved... and they're great.
[in the record studio, Billy breaks off singing "Christmas Is All Around"] Billy Mack: This is shit, isn't it? Joe: [gleefully] Yep, solid gold shit, maestro.
The main thing in measuring integrity is someone's motive and intent, not how many records they sell. Our intent in Ministry was never to be big. We just wanted to make enough money to live and to buy a studio, which we have done in Austin.
I used almost every penny I ever made to build recording studios in every city I lived in. I don't have much to show for all the TV money except a lot of musical gear and a lot of songs.
And I remember going to the record studio and there was a park across the street and I'd see all the children playing and I would cry because it would make me sad that I would have to work instead.
By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.
The dream world of sleep and the dream world of music are not far apart. I often catch glimpses of one as I pass through a door to the other, like encountering a neighbor in the hallway going into the apartment next to one’s own. In the recording s...
Don't forget, I've been fired by studios; I'm not the studio's guy. I'm a guy who can work with studios, but if you ask any studio, I stand up to these people.
That's what so great about making movies. It's that you get to do stuff you never would be able to do in real life. You get to go to a recording studio, you get to go to Navy ships and fly all over the world for press. And it's just a great job.
Back 20 years ago, I was recording with Bruce Springsteen, and his producer called me and said I had to be in the studio the next day to finish the sessions, and I couldn't. I had to be in court, in California. All this took like 10 years out of my l...
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 stu...
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.
It's all false pressure; you put the heat on yourself, you get it from the networks and record companies and movie studios. You put more pressure on yourself to make everything that much harder.
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.
At the end of the day, if you don't have a record contract, a studio or a guitar, you can still write songs. You're still an artist. That's something no one can take away.
