Looping Quotes

To tell you the truth, I see any revolution as basically a penmanship exercise. It all loops around and winds up where you started.

On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.

I learned a lot from working with and watching Knxwledge, seeing how he produces non-stop. He doesn't dwell too long on stuff. He's very simple, using only about two or three elements. I like that in production. Sometimes it doesn't take more than three drums, a melody, the vocal, looping a sample or whatever, just as minimal as possible.

I was using tape loops for dancers and dance production. I had very funky primitive equipment, in fact technology wasn't very good no matter how much money you had.

I think I compose as a listener: improvising and listening back excites me because I get to ideas that never would have occurred. Then I bring in the computers and samplers... and I begin to loop and process and change them.

I love the immediacy of those old analog machines; it's really inspiring. You just set them up to play, and they go, playing the same thing until you switch the pattern.

I had a boom box with a dual cassette deck and a mic, so I used to make pause tapes. I think a lot of people started like that because it was all I had. I would just take rap records that I liked and just loop the beat by pressing pause and record and make, like, five minutes of these beats.

A lot of times I use live musicians, but I don't want it to have that live funky sound so I'll just take the best loop of a drum part and repeat it over and over and over again so that there's consistency and it feels a little bit more programmed. But I have a love/hate relationship with comping as well.

My tools are musicians, effects, things like that.

Every time I want to impress someone about samples and hip-hop, I play 'Portrait of Tracy.' It's one of the greatest bass players ever doing a whole composition with only the two harmonics of electric bass; then a three-second loop in it became every great R&B song in five-year intervals.

Shakin' like a bowl of soup and make your body loop-de-loop.

I've never been one to think it was cheating to sample this or to loop the drum part there - I've always done that. Even using four-track cassette recorders, I was always doing whatever I could to make it as good as I could.

I was making all my own beats, and I really liked sampling stuff, like old '50s and '60s pop and soul and doo-wop records. I was chopping those up and putting loops and drums on them and just rapping over them.

My songs used to be significantly more bizarre. I used to play a big electric piano and a loop pedal. I was really into Regina Spektor, and I liked her narrative lyrics that were quite off the wall. I used to layer things up and try and replicate what I'd been doing with my bedroom recordings.

Music is multi-dimensional: it's all in the feeling. Sometimes I feel like looping; sometimes I don't. Sometimes I want to strip it back, play instruments I've never played before.

There's individual turntable setups devoted to piano, bass, drums and a set for soloing as well. We like to try and explore the gamut of what a turntable can do.

With 'Slave Ambient', I was writing things on top of loops. Now I really get the structure of the song down, but I leave room for improvisation in the studio.

I remixed a remix, it was back to normal.

I started getting RSI in my wrists and my elbow from playing really hard, so I started looping.

I love Erykah Badu. Every time I listen to her music, I'm, like, laying out all the instruments in the song, like, how I would loop it.

The durational aspect of video art is very different from photography or sculpture. The idea of looping things interferes with that a little bit. It eliminates that finite viewing period which I think is not so expressive sometimes.

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 had eJay, and then I had Acid Pro. I had a crack of both of them, and I would just make little loops, and then I'd hum along to them. I used to spend a lot of time on a computer looking for music and making beats and stuff.

Reggie Watts is a most unusual talent: a huge vocal range, a natural musicality, and a sidesplitting wit. Is he a comedian? A singer? A performance artist? I've seen him a few times since then and I still can't decide. Whatever, he ain't like nobody else.

We tune differently, and we use some tricks. There's just the two of us for much of a concert, so we want a big sound. We do use some guitar effects, distortion and delay. Playing cello with distortion sounds so good.