Studio Sound Quotes

#1. We wanted it more live and raw. We didn't want a studio sound.

Alice Cooper

#2. My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you've lost it. It's pretty much a case of 'lock the door and set up a police line.'

James Hetfield

#3. It was rehearsing in the studio, at which point they were setting up the sound, and once we'd got the thing together they'd actually record it, without us knowing sometimes!

Noel Redding

#4. When I go into the studio - it [words] has to sound the way I heard it in my head. So that's probably one of the biggest things that separates me when I'm working in the studio - just how I hear certain things.

Kendrick Lamar

#5. 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.

Luka Sulic

#6. When I record in a studio I don't use an amp. I go directly into the board, so I can get that very fat, full sound - which is my favorite sound.

Bill Wyman

#7. I wanted to do something as an extension of my passion for music. My aim for the STREET by 50 On-Ear Wired Headphone range is to present music as it's meant to be heard, in studio-mastered sound.

Curtis Jackson

#8. I have mugs of hot water every morning because the studio is cold, and also because it makes my throat sound clearer.

Mika Brzezinski

#9. In 'Finding Nemo,' all of the voices were recorded separate - so I would be in a sound booth in a studio by myself reading the lines with just the director. Basically, you can just come in, and it doesn't matter what you are wearing or what you look like; it is all about how your voice sounds.

Alexander Gould

#10. The studio part, to me, can be pretty laborious. You're inside for hours on end and can be pretty frustrating to get the sound you hear in your head to come out of those speakers.

Mike Love

#11. When I went into the studio I created a sound that I wanted to hear.

Phil Spector

#12. If it takes you three years to set up a studio, and you've made one track with that setup, then the logical thing to do is not change anything and just do another one using the same set of sounds.

Aphex Twin

#13. The Beatles had some juice when it came to distortion, but Clapton was finally able to break through those early studio engineers' fear of overloading. He defined the sound that guitarists spend the rest of their lives trying to get.

Joe Perry

#14. 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.

David Gilmour

#15. 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 marketplace.

Jerry Harrison

#16. I'm on this eternal quest to get the best guitar sound in the world, but my vision of what is 'the best' changes every time I go into the studio. Sometimes my goal is to make my guitar jump out, and sometimes I want it to lay back.

James Hetfield

#17. What producers did was mostly recording in the studio, so it never changed our sound just that much.

Stephen Malkmus

#18. I usually enter the studio with a mix of songs that I've been listening to that are relevant to the sound I want to achieve.

Sondre Lerche

#19. A lot of artists go in the studio and say, 'OK, whaddaya want me to do? Is it gonna be a hit? I'll do it. Is it gonna get played on the radio? I'll do it.' So they start makin' these songs, and they fall in the same tempo, same category, same this, same that, and it'll just all sound the same.

B.o.B

#20. Every time I went into the studio some engineer tried to impress me with how they're going to capture my sound with all kinds of tricks. But they limited the sound and never allowed me to play how I felt.

Dick Dale

#21. Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes.

Bette Davis

#22. I wanted to use the studio like a microscope for sound, which is what good engineers do.

Brian Eno

#23. I don't listen to a huge amount of music generally. Partly because you've sat in a studio for 10 hours and then when you come home you just want to read a book, and listen to the sound of your central heating system.

Herbert

#24. Onstage I like to play with a an 18-inch speaker, which very few bass players do. I need that fat, underneath sound, which I've always had. It suits me admirably to do it like that, and I can imitate that sound by plugging directly into the board in the studio.

Bill Wyman

#25. The music suddenly became important enough for me to build my own sound studio and start to prepare songs to possibly put out into the world.

Planningtorock

#26. I've always tried different stuff in the studio. I use rakes, spoons, cans ... I'm a surround-sound type of guy.

Timbaland

#27. Writing more and more to the sound of music, writing more and more like music. Sitting in my studio tonight, playing record after record, writing, music a stimulant of the highest order, far more potent than wine.

Anais Nin

#28. You could make some great sounds with technology. That's what recording is all about. What happens in the studio is very magical, and should be, in my opinion.

Tony Visconti

#29. When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.

Tom DeLonge

#30. An album is a whole universe, and the recording studio is a three-dimensional kind of art space that I can fill with sound. Just as the album art and videos are ways of adding more dimensions to the words and music. I like to be involved in all of it because it's all of a piece.

Bat For Lashes

#31. Ampeg made incredible guitar heads in the early Nineties and then stopped. And I don't know why. The one we used had a nice clean, warm sound, and it blended well with the other amps that were in the studio.

Kirk Hammett

#32. I ran into Snoop one night. I was in the studio later, and I got this beat and thought he would sound great on it. I called him and he came right through that night.

Angie Martinez

#33. I wanna go in the studio and just go back to the same amps and stuff I'm so comfortable with the sound of. Which I think is important to stay original.

John Petrucci

#34. Everything that I do is for sound goals. It comes from my gut. When I'm sitting in the studio, a mix isn't done till I feel it in my gut.

Dr. Dre

#35. I didn't really think about the sound of my songs before I started recording things in the studio.

Aurora Aksnes

#36. 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.

Brian Eno

#37. The big studio era is from the coming of sound until 1950, until I came in ... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.

Charlton Heston

#38. I thought I wanted to go to drama school or university, and that would have been a completely different life. But what got me was the sound, and hearing it. Hearing everything so loud, I loved that back in the studio. I loved that from the very beginning.

Marianne Faithfull

#39. I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.

Danny Elfman

#40. I think those walks to the studio were the most enjoyable times for me, because I could get lost in my head and think about what I wanted the album to sound like as I was writing. For the most part, it was great to have all that time alone writing the songs.

Sarah Blasko

#41. It is really amazing to be able to do cinematic, big feature style film music on a weekly basis and do it in LA, on a big scoring stage, on a studio lot, and do it with the right players and make it sound great.

Christopher Lennertz

#42. To get my sound in the studio, I double guitar tracks, and when it gets to the lead parts, the rhythm drops out, just like it's live. I'm very conscious of that.

Dimebag Darrell

#43. To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.

Bobby Vinton