Recording Studios Quotes

I really love something about being around the recording studios - you know, like, those days in the '80s they'd be, like, in the studio 'til 4, 5, 6 in the morning working on these songs.

I live in Atlanta because Ludacris lives in Atlanta. And because T.I. lives in Atlanta and because Lil Wayne comes to Atlanta to hang out all the time and because Rick Ross' engineers are in Atlanta.

The late '60s and the '70s, a lot of this really beautiful equipment was being made and installed into studios around the world and the Neve boards were considered like the Cadillacs of recording consoles. They're these really big, behemoth-looking recording desks; they kind of look like they're from the Enterprise in Star Trek or something like that. They're like a grayish color, sort of like an old Army tank with lots of knobs, and to any studio geek or gear enthusiast it's like the coolest toy in the world.

I don't do anything digital. Everything is analog, and that's a limitation for me. However, in my world, it's not a limitation at all because I don't create the type of music that would generally be created by musicians that work with digital recording studios, and/or digital equipment, as far as production is concerned.

I always feel like there's something magic in recording studios. There's a reason good music continues to be made in them. It's just some mojo element.

Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.

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.

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.

Studios always seem to be in basements without natural light and with black everything.

When I started in '54, it was only one track on a quarter-inch machine. We didn't have recording studios much around the country; we went into the radio stations and recorded our records.

If I needed to record, I'd head to the coast or Nashville, one or the other.

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.

In my opinion, there's this new phenomenon where guys used to talk about cars a lot in the past. But, more and more it's becoming them talking about recording studios.

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.

My recording career has luckily run the gamut of recording environments.

Recording studios are filled with technology. They are set in their ways. And to update them means you'd have to change them back. That would be my idea of upgrading. And this will never happen. As far as I know, recording studios are booked all the time. So obviously people like all the improvements. The more technically advanced they are, the more in demand they become.

Atlanta is a huge part of the music scene and a large part of Hollywood now.

I hate studios; I'll be honest with you. People get weird in the studio. I've had some great and terrible times with people. People's personalities come out in the worst way.

Throughout the '50s, tons of unknown locals came through Sun to record their demos. Elvis Presley, Johnny Cash, and Jerry Lee Lewis all made their first recordings at the former Memphis Recording Service.

I'm trying to get hold of them... the trouble is a lot of the companies that recorded and produced the albums went bust, so I don't know where to get the masters.

In the late 1960s, English artists like the Rolling Stones and Joe Cocker began recording in the States, and at that point, they realised, 'We can get real African-American voices on our records; we don't have to pretend any more.'

Over the last 10 years, there have been so many incredible albums created in bedrooms by people who never would've gotten an album deal. People keep thinking of professional music studios like they've always been this way for hundreds of years, but they're very much a child of the 70s. Even the interior is very 70s. Everything's brown and it's wood - somebody told me the wood panels are all by the same company. We're always mourning things that have died. It's a bit much sometimes. These studios have no fresh air, and there's this unwritten rule that they don't have windows, either.

When we came along there was only Decca, Philips and EMI who could really produce a record for you. You had to go through the whole bureaucracy to get into the recording studio. You were in such a humble position, you didn't have more than 12 hours to make a whole album, which is what we did in the early days.

A lot of people think that I grew up in recording studios and knew the whole process, but that was never the case.

I remember showing Prince around Warners' recording studios. He was the nicest kid.