Deadmau5 Quotes

We spend a lot of time with MIDI keyboards and various processors, and we just figure it out. And all those things you hear in our songs work as submelodies and countermelodies, and everything has to fit.

I normally start at the computer with something really simple like a four-bar loop of a drum sample or a bass line. And then I just start adding layers of synthesizers.

I just tend toward more lush, full sounds in my productions. I don't have any preference when it comes to analogue versus digital; I use what's best for the application. Analogue synthesis is nice, but it's just one tool among many, and it has its place.

I just love crafting and shaping sounds. Actually, many of the sounds that I work with start off as organic instruments - guitar, piano, clarinet, etc. But I do love the rigidity of electronic drums.

I'm interested in creating a little sound world for songs, really crafting it, building it, and making it like a little doll's house with little things inside it, staircases and rooms and everything kind of relates to everything else. I've never seen it as drums, bass, guitar and vocals in very separate spaces.

My very first records, I was very interested in how you get the particular quality you want out of it, and I began to learn about the engineering and aspects of production and things very early on. I got hands-on with the process and taught myself how to engineer, as opposed to just being a producer who asked the engineer to make it sound nice.

I always created things, layered things on top of each other. That hasn't changed at all. With this first album, it was basically a celebration of that process of inventing and building sounds.

A lot of the early Washed Out material was done on a couple of synthesizers that did most of the work, but that's the great thing about synths - you can recreate sounds or make an entire record with just one piece of gear.

We grew up understanding how the analog sound is a driving force for music.

I was born in the overdub years. I wish there wasn't such a thing as a multitrack tape player, because what you heard would be the record.

I like to create a sound and then leave it behind.

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. On paper, though, it's all stripped back. The musical idea is the one that wins.

I like tinkering with the tribe beat boxes and love using Reason as a beefed up beat box.

The studio part, to me, can be pretty laborious. You're inside for hours on end and can be pretty frustrating to get the sound you hear in your head to come out of those speakers.

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

Our job as producers is to make the music sound as good as possible.

Somebody gave me this drum machine and somebody else asked me to program something for a project. I really liked programming and I was really interested in using the drum machine.

I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.

At some stage in the process, most mainstream pop records are being manipulated and possibly completely rebuilt on a computer, with a visual program.

The studio that we mix in is still in Chicago.

But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.

I am a sound freak. I could play around with sound forever.

When a piece is done, I mix it before going on to any other piece.

We listened to a lot of Rolling Stones and Beatles records when we were recording. They were really good at not playing loud, but generating really big sounds out of everything.

My producer, HH, makes sounds, so I'm writing to his beats.