Amanda Palmer Quotes

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.

I started a recording studio. I started producing people and doing remixes.

The actual work of recording a record or making a film just requires that you consciously block the time out to do that and nothing else. That's what I do.

Needless to say, I like to create a unique sound for each project I do.

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.

I am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.

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

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

About two months into the Whisky, I borrowed some money and rented a remote recording truck.

Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.

I've had the luxury of owning my own studio, 24 analogue, 48 digital, endless effects, endless hardcore gear, that I don't have to rent, I don't get stuck with the bills, it's all mine.

Composing for movies is not an easy job - its a different art altogether, and moreover, I don't want to get involved in too many things at one time and want to concentrate on my shows and albums.

I also have a recording studio that I use to produce bands.

Acting and recording an album at the same time, that's not my sport. I could write a movie when my attention was paid to that. But I'm good at one thing at a time.

When I first started recording music, I was actually singing about microphones, equipment, recording.

With our producer, Greg Fidelman, it was really a joy to work with him and to try different things and experiment.

I think the sound that I have had on all the records that I've been a part of have been important and special.

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

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.

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

I love putting the music together. It's like art.

If I know somebody is coming 'round, it is incredibly difficult for me to work because I'm waiting for this interruption - even the children's comings and goings are interruptions. Cake-making is a good way of coming out of that space.

It's always been difficult to make a good record. To be perfectly honest with you, it's really about the person that's pushing the buttons. No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.

I tend to write in coffee shops and restaurants with friends of mine because if I'm at home, I get distracted by the television or the cats or my husband, or... you know - all of those things that make it easy to procrastinate.