All my writing takes place during the recording of the master tapes. I never do have songs when I start up an album. I actually write them while I record.
When I'm in the studio with a writer, I don't mind for them to take the lead and show me something new.
It's the actual recording of the vocal that is the most boring thing you'll ever do in your life.
By the time I got to the Fox studio for my first major film, I knew how to hit a mark. I knew how to memorize lines. I knew how to pay attention.
Sometimes if you're in the studio for a very long time, you want to get out and play live shows and vice versa.
Being in the studio is okay but sitting in a room by yourself composing is a discipline that takes a certain type of mind set and Tommy has a great gift for that as did the previous guy.
We go into the studio with the mindset of simply wanting to make something great.
I basically was in charge of the Jackson 5 - all their creative, when it came down to the studio, and all their musical endeavors.
It's so funny because when you're working with an acquaintance or someone else, you're being more polite. I find that I'm a little bit more of a brat when I'm in the studio with my dad, so I feel bad.
As a producer, as a songwriter, I've spent a lot of time either in my bedroom or in studios, alone.
I've worked in the studio with a lot of young girls, and they'll go, 'Oh, the label is telling me to take off my clothes, and I don't feel comfortable.' Well if you don't feel comfortable, don't do it.
I have a lot of songs, and I'd love to do some more recording with the band.
Sometimes, I make 50 songs and pick out the best 10. I've been in the studio all day, all night, making the beat, writing the raps. You never know what's gonna be a hit.
When you record an album in six days, you don't have time to work out a lot of stuff.
I like to think of 'the studio' as a laboratory where I can go in, learn tricks, apply, revise, and release. I'd figure I had about the same emotional attachment to my craft as a guy over at NASA does over... NASA stuff.
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.
Madlib isn't a beatmaker, he's a producer.
There are times pop music is the end result when I'm in the studio, but I don't really go in and say, 'Today I am going to make a pop song,' but it can happen.
Tame Impala has two lives. One is the album, which is like a producer, and the other life is like a band: more of a live incarnation where we're basically a covers band for the albums that I produce.
For one, the whole concept of 'Live From Here' - writing a song every week - was like composition bootcamp.
The studio is not the place to write. You need to be 75% ready when you go into the studio, and then the music can develop to the next stage.
With songwriting I spend a lot of time living life, accruing all these experiences, journaling, and then by the time I get to the studio I'm teeming with the drive to write.
Especially early on, I had no idea what I was going to be asked to do when I walked into a studio. I was doing 26 sessions a week - all day, all night.
In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.
When I get in the studio the idea is just to work and bang out as many as I can.
