Audio Sampling Quotes

I love the idea of a record containing an entire universe; where the sounds span decades of recording from all over the world and all sorts of different sources.

Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.

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

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

I usually create sounds and have different generators running over it. You know you can open a word-file as a picture or the other way round. I do the same with sounds.

Anyone who knows anything should know you cannot take a master track of a recording and write another song over the top of it. You just can't do that. You can call it a tribute or whatever you want to call it, but it's against the law. That's a problem with some of the younger generation, they don't understand the concept of intellectual property and copyright.

With my projects, I really like the extreme high-tech stuff, but I also like the other end, the acoustic things. So it seems like those meet on an iPad, where you make shapes but the sounds coming out of it are really acoustic.

'6 Weeks' is broken up into two sections; both sections use the same set of samples, just in different ways.

They sent me some tapes of the original Mole and I thought it was pretty intriguing. I'm sort of an experimenter; I thought it'd be interesting to play around and see what's there. It was fun. Turned out to be good.

Most game music is based on loops effectively.

You can't just plug your guitar in your computer and make it sound like an old record.

Technically speaking, there is no music whatsoever on a CD. Lots of information, but no music.

Well, I don't really use MIDI that much. But I do record audio around me a lot, and just layer it up and see what effect it has, without any aforethought.

I would like to play with electronic keyboards again.

I can sample Blink-182 but put an African vocal sample in there.

This is something special. You can attempt to have a kind of non-living music.

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

All the sounds on 'Trapped in the Closet' - the knockin' on the door, when I grab the keys, when I walk down the stairs, the car horns - we sampled all of those things around my house.

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

One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have their own logic.

Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character.

It's all about sound. It's that simple. Wireless is wireless, and it's digital. Hopefully somewhere along the line somebody will add more ones to the zeros. When digital first started, I swear I could hear the gap between the ones and the zeros.

One of the things that's really the cornerstone of '90s hip-hop is sampling.

It's been very hard for the guitar as a serious synthesizer to compete with keyboards.

I took to the synthesizer. My cousin had some synthesizers, and I'd always make stuff on those things.