Music Editing Quotes

A lot of people in Nashville think that the best song is the catchiest or the one that sells the most copies. They're editing songs in a way that make them seem more consumable, I guess. I'm trying to edit them in a way that makes them more honest.

So the Madonna thing, I wrote a song with Diplo, she liked it, tweaked it and then made it her own and it became 'Hold Tight.'

I'm a good music provider, and I'm fine with that. I'm a quality music manufacturer.

I played more of an advisory role with Public Enemy. I really trusted them to make the music that they wanted to make, and the way The Bomb Squad worked with the... they created their whole own world of music.

When I was nine, ten, I was super young, but I installed a program on my computer so I could start producing music. I just started messing around. Then, after a couple of years, I got better. I actually learned some tricks, so I knew what I was doing instead of just messing.

I'm a computer nerd. I'm behind my computer, like, 12 hours a day making new music.

Stunts have to be meticulously arranged. Choreographed. You could take a fight scene and set it to music.

I think every film is made better by having smart music supervision that's really in tune with the spirit of the visual content.

I not only composed music for my albums but also for the film 'Main, Meri Patni Aur Woh.'

I don't think I could make a good film, but I could definitely score a good film.

Especially early on, I had no idea what I was going to be asked to do when I walked into a studio. I was doing 26 sessions a week - all day, all night.

With '5 Boroughs,' we were each working on beats, sitting in front of our laptops and samplers.

Working on script development, casting, editing, and music is incredibly inspiring to me, and it's wonderful to see something you love come to life.

It's a deliberate choice. I am a fervent supporter of the idea that you don't have to have wall-to-wall music in good films.

When I was doing 'The Sopranos', I liked putting music together with the film; that was my favorite part of it.

I made my first mix tape when I was 14.

After 1999, I thought that I needed a break. As a senior composer, I didn't like the trend of three music directors working on a single film. But after a few quiet years, I was back for good.

You can't really imagine music without technology.

On 'PG-13,' the way I wrote that is that I would get my tracks ahead of time and then I would write for them, and I wrote fairly quickly.

I've always wanted to go into film scoring.

The whole first 100 Wu-Tang songs was made on an ASR-10.

It's much easier to have a diversified career as an electronic musician than it is as a drummer. Nothing against drummers. If you're a drummer, you just wait around for people to ask you to play drums. But if you have your own studio and can make music, you have the ability to approach music a lot differently.

I have never taken more than two weeks to record an album throughout my career.

I don't think people realize that I produce like 90 percent of all my music, except for the songs that I co-produce with people.

Back in the day, I used to be in the studio recording 20 hours a day. And that was all of the time. I still record a lot of hours, but I don't go as long as I used to.