Michael Schenker Quotes

The room is the most important thing about recording.

Recording studios are interesting; a lot of people say - and I agree - that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.

I've not really spent much time in proper studios. The room itself where you're recording, and how you live while you're there is what appeals to me.

I don't have a formal home recording studio, but I can record tracks on my computer upstairs in my office.

You shouldn't really have to use EQ in the studio if the instruments sound good. It should all be done with microphones and microphone placement.

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.

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.

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.

We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.

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.'

I don't like recording studios - except my own, which is just a little room above the garage.

I felt that the studio recording process makes you stand still too long.

Well, they put me in a booth and then did some nice things to the speaker to make it come out sounding ok.

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

It doesn't matter if you record with a microphone on a laptop or at a friend's house. Now it's more of a danger of things sounding too high-fi than sounding too low-fi.

I recorded 'Play God' in a shed. I don't know how we got it to sound as good as it did.

For us, we make a song, and if we like it, it goes on a record.

When I first started recording music, we would record in the closet with socks on the mic.

That's why you go to a nice studio. You can get a magic take. You don't really have to do anything to it.

And sometimes, I'd be allowed to be hanging out in the studio, which I just loved kind of, like, being in the room with these big recording desks, with all these, like, buttons and knobs and watching the guys use them.

I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.

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.

So when bands work with me and it's 10 o'clock, usually you'd have to be getting out of the studio, we could go on until 2 in the morning cause it's my place!

I now have a home recording studio, which I can operate entirely on my own, as well as a portable version of the same which allows me to record anywhere I like and simply swap out the hard drives for use in the home studio.

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.