Nick Mason Quotes

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

I decided to build a studio in my house. We built it in my basement kitchen. I had the drummer up by the fish tank. I was in the toilet singing. The bass player was out by the shelves in the living room, and the guitarist was on the couch by the telly.

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.

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

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

Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.

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.

Unlike motor sport, I didn't get into music for the live performances. I like writing and studio work and seeing how a song can come to life.

I started performing at two or three on a tape recorder, one of those little flat recorders where you just push play and record.

We just set it up and recorded it the way we played it. But that was the way we played it then.

With music, you're working with a producer, and you walk out of the studio six hours later with a track that's almost completely finished. There's an almost immediate payoff.

Nowadays, I really like playing in studios.

Bachata is expensive to produce because of all of the instruments.

Most of our stuff was trial and error. You live with a tape recorder, you turn it on, you play the song and you listen to it.

All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.

That's one of the reason T-Bone Burnett calls me... he thinks I'm used to doing what I do in the studio for him.

I definitely like making music in the studio, but I never had it out to make a CD specifically.

Everything I did on the 'Paid in Full' album and those first three albums, I wrote everything right in the studio.

I write on the acoustic guitar, I write some on the piano, but I've been messing around with these guitar pedals and drum machines, educating myself in that world.

We always try to make every song we do sound like a track. It's vocal, but we want it to be really full so no one really can even know if it's a cappella. It's not like it's missing anything, per se.

I have a Gibson Thinline that I designed the body shape of, which I used a lot on the 'Fanatic' album that I'm going to shake out.

All day long you write little ideas on the piano and the guitar, but sometimes all you have to do is come in, set up the mic, press record and start the process.

We're not building a nuclear reactor here. We're not drilling a mile beneath the surface of the ocean with no plan in case something goes wrong. This is making music, this is melodious air and people can hear what goes into it.

The thing people forget about Kevin Shirley a lot of the time is that he's not only a great producer, he's also a world-class engineer. He really knows how to get a sound.

I remember that the bass was turned up slightly more on the mix from last week, and I thought that was good - or whatever. Like, there were some little things in there that he said that he came to, like, really enjoy my opinion or at least, like, my little comments on the songs. So I was kind of destined to probably be a studio rat.