Neal Schon Quotes

I wrote 'Actor' all on the computer. I didn't touch any instruments until I was in the studio. So while I had all these ornate arrangements, I didn't have any songs.

But I think the credit has to go to Geddy... he spent a lot of time in the studio with Paul, I think he needed that kind of focus to be in there to be a part of the whole thing, and for the most part he made all the major decisions.

I do some kind of work, whether writing or painting or recording, on a daily basis. And it's so essential that when I'm involved in the actual process, my so-called 'real life' becomes almost incidental, which becomes worrying.

I'll stay in the studio for 12 hours at a time, just producing music and making records. It doesn't feel like 'Oh man I've got a job to do.' It's more like 'Oh man I didn't even realize I've been there this long.'

When you record an album in six days, you don't have time to work out a lot of stuff.

I don't have a background in music... and I have a short attention span. If you put me in the studio every day, I'm gonna get lost.

I know how it feels to go into a studio to start a record, and eight weeks later it's finished. I know how an intense schedule feels.

Normally doing an album you go from track to track and go, 'Let's not work on this one today, let's go work on the other one,' and I think you tend to get more self-indulgent that way.

We rarely write in the studio. Everything's already completely arranged before we go in. That way, we can really focus on getting the recording right.

I think what's hard for me is not that I don't get downtime to chill, it's that I don't get time to make music.

When you're making music, you don't look at what's going on in the studio next to you.

I'm a successful professional athlete, and whatever I'm going through in my private life would never impact my performance on court.

Matter fact, my girl complains about how much I'm in the studio working. But she sees the results as they roll out.

It keeps me from getting too overwhelmed about the industry when I can just do my math homework.

I don't really have a schedule; I just get up in the morning. I work at home. I don't feel that my work is a separate thing from living - I get ideas about what I want to write about from the real things that I'm worrying about as I live.

I am sorry, but recording an album is just hard work; tedious, repetitive, and not very fun at all. Mixing is a bit better, but still pretty boring.

With me, I record so much that I just get in the zone.

Making records is hard work.

Being able to step away from your work is big. Not even the actual work of sitting down and looking at game tape, but actually putting your job aside and focusing on other things. That's a big part of being successful in this league.

We don't test out the songs live, and we don't play them for weeks on end in the studio. We have, like, one day to get two songs down. So what happens is, everybody's attention and energy gets ratcheted up. But it's good because it helps us focus.

I think that was one of my biggest worries. I didn't want to be so focused on soccer that it became my whole life.

For 'Twisted Fantasy,' I probably spent 180 days in the studio.

To me, finding sounds, or even recording, is a compositional process. The studio is kind of an instrument.

If I don't stay creative and if I don't stay in the studio and keep writing and recording, I get kind of depressed. I can't quite remember what I'm supposed to be doing with myself.

He that condemns himself to compose on a stated day will often bring to his task attention dissipated, a memory embarrassed, an imagination overwhelmed, a mind distracted with anxieties, a body languishing with disease: he will labour on a barren topic till it is too late to change it; or, in the ardour of invention, diffuse his thoughts into wild exuberance, which the pressing hour of publication cannot suffer judgment to examine or reduce.