Anoushka Shankar Quotes

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.

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

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

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

I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.

I'm a huge fan of home recording. I think it levels the playing field. You don't need $100,000 to record a studio CD.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.

Yes, we record practically everything on Pro Tools.

I've been in a recording studio enough times to know that it is not the best place to multitask. Doing a couple of takes of a song and running out to check your email to talk to someone about video production really is not good.

I've got a studio at home, and I'm always recording.

I swear, there is Capitol Studios and then there's every other studio on the planet Earth. It is the ultimate, paramount of sound in the United States of America. It is a magical place.

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

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

I bought a Dutch barge and turned it into a recording studio. My plan was to go to Paris and record rolling down the Seine.

I knew absolutely nothing about recording. I had this four-track recorder, and I'd plug my electric guitar right into it, which sounded real bad. I moved any fader that made a drastic change in sound. I thought that was cool - that it was communicating something. I didn't have the skills to do anything subtle. It was just like screaming.

The only technical things I know are treble, volume and reverb, that's all.

I'm very lazy when it comes to making the original sound. I don't go through amplifiers and different compressors and signal parts. I just grab something, whether its an old guitar or a children's toy that happens to be lying around, and record it straight into the computer.

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

Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room.

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'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.

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 prefer recording drums in the analog format, but that does not mean I would only do it that way.

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.