Big Sean Quotes

I like to record records in Los Angeles. It's less distracting than New York, where I was based.

I visit studios. Just to get the feel, the smell, and see what other people are doing. Not only listening to the radio, but going to studios, greeting musicians and artists, just getting a vibe.

I work out of my home studio that I built in this warehouse in Philadelphia. I've kind of curated it for my needs and my sound.

I love being able to record in a room that's surrounded by trees.

I have a studio in a barn at home - we rehearse there, we film there and we record there. It's fun to hang out with my guys and see what comes out next.

A good producer brings out the best in the artist he's working with. You shouldn't be able to listen to something and say, 'So-and-so produced this album.'

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.

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.

I'll probably have to open a recording studio at some point because I won't be able to pay the bills.

I'm a little more comfortable in that role. I love being in the studio.

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

The magic can happen in a studio. Special things can happen in a recording studio, even though it may seem like a clinical environment from the outside looking in.

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

I lived in an area where there were a lot of rock musicians, and we got together regularly in our studios.

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 moved to New York to pursue music.

You go into any recording studio in the world, and you see candles, lights, and that Apple light from a Mac.

Recording at Compass Point was really fantastic. When you're in the studio, you could be anywhere: It could be snowing outside or whatever. But it's great fun when you come out of the studio and are greeted by nice weather and good bars.

There's a lot going on music-wise in L.A. It's a wicked place to wake up, there's sunshine, you go to the studio, see all these really talented producers.

We just weren't a hip band. I mean we recorded our second album in Bath at a time when everyone else was recording in New York or Los Angeles.

I had to learn how to work in a studio at first because it's a totally different creative environment to the 'bedroom recordings' I'd done before, where I could translate my own ideas without having to explain them to anyone.

I went to school for audio engineering, and I was around a lot of sound engineers over the summers in New York, so I'm pretty comfortable in engineering my own stuff.

A place like Sound City, which was just a big, beautiful room where you would hit record and capture the sound of the performer - a place like that isn't necessarily in demand anymore.

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.

It doesn't take a lot to get me motivated. I'm a studio rat. When I was in high school and I would walk into a recording studio, it felt like this magical place, this temple, this womb that I could escape into.