Mark Ronson Quotes

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

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've always been interested in what happens in the studio.

When we recorded our first album sixteen track machines were the thing.

I realized I liked being in the studio and working on translating the ideas into recordings.

I prefer playing in the studio because you have much more control over things.

The actual making of a record is the most exciting part of this business.

You can see how different artists work, from writing to recording, just from being in the studio environment with them.

I did voice work for many years before I started having success as an actress. It was mostly radio and television voiceover work, but I know my way around the studio. I know how to use the cappuccino machines and the headphones.

I've been in the studio environment since I was young, so I know what to expect.

When we were first recording, I was wearing a bag on my head.

I swear, there is Capitol Studios and then there's every other studio on the planet Earth. It is the ultimate, paramount of sound in the United States of America. It is a magical place.

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.

You don't really know what you're going to get until you're actually in Abbey Road. That's where I did all the music, in The Beatles' place.

If we were making a record in Kentucky, there might be some more elements that recall a time, a place, or a relationship. Recording for the BBC you enter into this strange and wonderful, but kind of sterile, place with which you have no personal history, and that's the Maida Vale Studios at BBC in London.

[Sam Phillips] laughed at me. I just didn't like the way I Walk The Line sounded to me. I didn't know I sounded that way. And I didn't like it. I don't know. But he said let's give it a chance, and it was just a few days until - that's all it took to take off.

I sing all the time but I'd never gotten what it felt like to be in the recording studio, so it was definitely a learning process.

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

I don't use any real vintage hardware any longer. That's always been the object as far as gaining control of the studio environment, going back to when I built my first studio, Secret Sound, in New York City. The whole point was to not have to pay studio bills anymore and not be looking at the clock.

I've recorded 25 or 30 albums. I know that sometimes when you work with producers who are kinda dictators, it doesn't help you make a better record.

I talked to the record company about what I had in mind. They said they wanted something lush. I figured the best thing to do was let them hear what I had in mind.

When I was recording from '70 to '82, I always played piano and laid the tracks down. But I used to talk to the other musicians while the track was playing.

I've got the recording process down, and I can knock it out very quickly.

It's lovely being a producer. It's really a lot of fun and I can learn a lot.

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.