My place in London is very small, so a piano would take up a third of the room. I leave home in the morning when I'm there and go to my studio. I close the door, and it's soundproof. There's no phone or TV or computer, and I can work uninterruptedly. That has been a huge advantage over the years.
I think recording at home feels more organic, and injects some more personality into the music.
Since his childhood, Bappa has observed me singing and practicing and is well aware of all sorts of recording and singing arrangements. I have a studio at my home, so whenever he needs my help I make sure I stand by him. I often sing for the tunes that he composes.
As a producer, as a songwriter, I've spent a lot of time either in my bedroom or in studios, alone.
I'm trying everything. But voice work is the best thing you ever imagined. It's not about how you look, and you can go to work in your PJs.
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.
When I am not recording, I do live shows or am at home catching up on shows which I regularly watch. But there will always be some music around me.
I do a few shows every year, but I'm mostly at home, making music. Day and night.
Every time we get days off, we try to go home and record five or six songs.
I have my own studio that I sing in.
I just want to be in the studio. When you've got all the gear you want in your own house, it's difficult to go out and do something else, you know?
Just about the entirety of the first album, 'Brown Sugar,' I wrote it, the majority of that record in my bedroom in Richmond. And all of the demos for it were done on a four-track in my bedroom. I think EMI was a little leery of me being in the studio producing it on my own, which is what I was fighting for.
I love being in the studio. If I'm at home, I will go to the studio pretty much every day anyway. It's just something that I like to do.
Voiceover is probably the toughest of all the markets to get into. Everybody wants to do it because it's again three to five hours work. You can roll in there with your bedroom slippers and robe on if you wanted to. And it's fun.
Edinburgh is where I started. A lot of the remixes I made were done in my room there, and it was a good place for me to make music.
My son was five months old, and I built a makeshift studio in my living room so that I could do the attachment parenting approach and write the record at the same time. That was fortuitous, that we could build that in the house.
When I was in seventh grade, I asked my parents for a mobile recording system for Christmas, and I got it. I didn't come out of my room for years after that. I'd get invited to the movies and I'd say, 'I'm gonna finish a couple of demos.'
If I wake up in the middle of the night and have an idea, I want to go to my computer and be able to do it. So I hired someone at Guitar Center to come over to my house and teach me Logic music program, and I learned it over a couple months.
I have my own studio. I'm in it all the time.
My dad and my uncles used to always be in the studio at my house.
I lived in a pretty big house, and we had a guesthouse, so when I was 14, I built a studio in my bedroom, which was pretty big. It was two rooms connected, so I turned the second into a studio and ran the mic in my closet.
I started writing and recording, at a very basic level, just in my own bedroom.
I would be content if I had nothing but a tape-recorder. I could still write songs and record them.
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.
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.
