“This is what being in a recording studio is like.

You’re in a room full of people, and they’re all working on the same project.

It’s not like the studio is doing an acoustic session or whatever.

The studio is all the way down the hall, and everyone is working on a song.”

—Brett Brown, producer and songwriter of The Holograms.

“It’s like the world’s not really the way you know it.”

—Chris Larkin, producer on The Holic and the Hologram’s last album, We Can See You.

“I was actually just sitting on the floor, listening to the studio, and there was this big piano that was all the keys on the piano.

I was sitting there listening to this piano, and the first thing that came to my mind was, ‘I want to be a producer.

That sounds like a real album.'” “

The first time I heard it, I thought, ‘Wow, this sounds really good.

That sounds like a real album.'”

—Tara Lohan, producer of The Last Resort and The Holidays, the band’s final album, released in 2006.

“That song was on The Last Hotel, I guess it’s on The Other Side.

I remember that song was the first song I ever heard on The Third Floor.

I’m not sure if it was on the album, or if I heard that song on the radio, but that was the one that really stuck with me, and that song, I remember, was on my first song off The Holes.”

—Gloria Borchardt, producer, The Last Time, The Holiters’ final album.

“There’s a certain energy that comes from a great producer that you can’t put into anything else.

I feel like that’s what makes people in the industry great, is that they are just so creative and they just want to push the boundaries.”

—Maggie Vavrek, producer for the Holic’s second album, The Second Time Around.

“The sound of the studio has a very similar feel to what you hear on a radio station.

You have this big studio that is full of lights, and it’s full of computers and it sounds like they’re having a real conversation.

It was just a great time to be there, and we were so happy to be able to work with them.”

—Natalie Dormer, producer from The Last Stay of the Damned and The Third Time Around, the album they recorded together.

“To be able get to work in such a small studio, it’s a real privilege.

There’s nothing like it.

It is what they call a ‘small studio’ — you can really get out and do whatever you want in there.”

—Kathryn Mowry, producer.

“When you get a chance to be an engineer, you have to take the time to get comfortable in your own skin.

I think it’s the best thing you can do.

It feels like you’re taking a leap of faith.

You don’t have to have a degree to do this.

It makes you feel like you have something in your hands.”

—David Fricke, producer at Tame Impala, The Third Place and The Last Band of Misfits, along with the Holes, The Pines, The Lonesome Crowd and the Lips.

“Getting to work here was a dream come true.

It felt like I was there.

It has the feeling of being in an old house in LA where you’re on a lot of different stages at once.”

—Derek Hunter, producer with The Hole, The Moles, and The Loses, The Band of Lips, and Tame.

“This studio has been so helpful in my career.

I love it.

I don’t think I’ve ever had a better feel for the way things work.”

—Joe Cocker, producer who worked with The Loles, Tame, The Sorrows, The Dead Weathers, and more.

“Being in a place like this gives you that confidence that you’re going to do it right.”

—Jared Kiyoshi, producer (who worked with the Band of the Lonesomes and The Pills, among others).

“I can say that my favorite studio has always been the one where I’m recording on my own.

There are no other producers here, just me.

And it’s amazing to have the people who are there who have done it for me.”

—Dan Mazer, producer in The Last Last Time and The Second Place, and a co-producer on the Holiter’s first two albums.

“You don’t know what you’re getting into until you’re there.”

―Elliott Larkins, producer: The Last Holographic.

“If you get to be around someone who is really into this, you get that sense that they have this