Sid Sriram Quotes

I write and do all my arrangements on my Mac. And um, I use Logic Pro, which is a great software program.

I was a sound engineer. That was my day job when I started writing.

For me, what people generally call sound design is just one component of orchestrating a score.

The advent of electronically synthesized sound after World War II has unquestionably had enormous influence on music in general.

Well, I've been recording myself on a computer since I was about 13 or 14. So it's completely entwined with my creative process. Essentially, it allows you to make music that's better and smarter than you are, by using your ears to lead the way.

Today, computers help us making the music. It's really a tool.

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.

If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.

Most game music is based on loops effectively.

Most of our stuff was trial and error. You live with a tape recorder, you turn it on, you play the song and you listen to it.

When you're recording to analog tape, it captures performance and you can't necessarily manipulate that in different ways. It is what it is.

Nowadays you can record on your laptop with Pro Tools, which I do quite often.

Once a song is done, for me, personally, it's usually two or three days to get the mixdown.

I've been more and more into production lately, and I really, really love that. I love recording.

When we was making a song called 'Bring Da Ruckus,' we took the snare, and we put it in an elevator shaft and recorded it.

At the beginning of each project, I like to create a palette of sound for that particular project.

I was given this music programme called Cubase, one of the first multi-layering programmes, when I was seven, and I graduated to Logica at 11, and that became my primary instrument.

There's a lot of electronic surround-sound music, and I've done a lot of work where I write music for other people to move around a space.

I think it goes back to me being a recording mixer and engineer. Because of all the technology now you can make music yourself and a lot of people are doing that now. I started out doing that a long time ago and I found when I did that I came up with a unique sound.

A lot of my writing is done on the road so I can take the music on my iPod, work out a melody then record it into Cubase.

I started recording in my sophomore year in high school. I recorded things on my cell phone in my basement.

TTS was the unit that I was directly involved with the productions, and I'm still really, really proud of what we had put together, not just visually but musically at that time and age.

It is easy to get an interesting loop to happen, but it becomes a collage when the song and loop are constantly changing.

The sound itself, the production, is of such great importance that it has become an integrated part of the composition.

Twenty percent of my records, you'll find a loop, like two or three loops per album out of 13 or 15 songs. I'd rather keep it like that.