When playing big festivals, I tend to play big, over the top techno tracks, like hands in the air songs that make sense being played in front of 30,000 people. I steer away from subtlety in the interests of big bombastic dance music.
When I got my first Marshall amp, it was so empowering. No one ever forgets their first Marshall amp if you're a guitar player pursuing a big powerful sound. I mean, no one ever forgets their first Marshall amp.
It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.
I want my music to be really big. I have no interest in DIY Brooklyn; I don't want to be a small indie band.
A big part of the Alice Cooper sound is the big classic rock licks, the big, classic thematic kind of... It's not about going crazy, it's not about playing super fast.
From early on, when synthesizers were first introduced into music, I liked the idea that you could get a big sound with them, electronic, but like an orchestra. And I could play it all myself. That was exciting.
We're doing unusual records that sound big, have a pop feel, and we're getting better at it.
I want to make big-sounding pop records.
In my mind, my music feels so big, a true production.
I want a bigger band with higher highs, a bigger ladder. And I want more bottom - I want an incredible amount of bottom. I want more noise. When I do a rock tune I want it to be so HUGE.
I like stuff that sounds big and full and makes your head trip and your body react.
With Crazy Horse, it's all one big, growing, smoldering sound, and I'm part of it. It's like gliding, or some sort of natural surfing.
I don't think drums had ever sounded so big until Led Zeppelin's first album.
I think from the very beginning with 'We Are Young,' there was never any question about where we wanted the song to go and what we wanted it to sound like. And we knew that we wanted it to be big, we wanted it to be booming over the speakers at an arena or something.
