Production Style Quotes

When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.

I'm hoping that "Nothin' On You", "Billionaire" and "Just The Way You Are" - songs that I produced... I hope that it's a warning for people. I hope it lets them know that I'm a little unorthodox when it comes to genres and styles.

I can't do a one-camera show. I don't know how to do that kind of show where you count in your head and then you do the next line.

My goal has always been to make classic records, classic albums. Sometimes the recording process and the era it was recorded in means the production leans in a particular way, but to me they are all part of the same process.

And if somebody's going to produce me, they should be producing my sound for me. And that's something I have to come up with myself.

Seattle isn't known for a particular production sound, so that leaves a lot of great producers in Seattle doing kind of their own thing. And I think, for me, I was probably enough removed from hip-hop that my style was even a little bit weirder than that.

My first year making music was very experimental. I was trying to find my sound. My second year, I was more in my element. I knew what type of production I wanted to go over and the topics I wanted to address.

I'm a very creative person, and you know when I hooked up with Benny Boom, I said I want it to be a different kind of video. I want it to be crisp, and I want it to relate, [and] not to be so far over people's heads. And that's when we came up with the p-t-d-d-d-d-d (camera flashes.) You know with the picture changing, and that's it.

My identity has everything to do with me and my instrument. It doesn't have to do with what production style I use, or how many people played on it, whether it's sparse or grandiose or whatever. And I'm social, frankly.

I'm not a superstar, per se... but I'm a musical creator - a producer in the same vein as what Quincy Jones was, or Pharrell and Timbaland were.

I never liked the glossiness of highly produced standup specials in general - I like it where it has more of a feel of the type of places I usually perform. It seems kind of weird when you do a special to go perform in a place unlike the place where you perform 95% of the time.

I love songs, so when you're song-based, it doesn't matter which way the production leans.

A sitcom, you rehearse for four days of the week and then you shoot it all in one night in front of a studio audience. It's like a play every week, you just shoot it over a seven or eight-day period with a single camera. I enjoy this format of show much more. I'm a feature guy. I like making movies. So the four camera thing I didn't love it that much. I found myself slightly out of my element.

In a basic music way, my sense of melody and my style of songwriting and production carry the same thought process into the new music. I'm thinking about machines and electronics, and how they interact with motion, which I've touched upon in the past. Those key themes are my main interests, and they are really the foundation for my approach to music.

Some of the music I made for 'Fantastic Damage' I thought I was making for the Company Flow album, but the majority of it was post-Company Flow.

My first album was very eclectic and very soft as a vocal expression.

I think people tuned in a lot to see Barbara when she first came here and they just didn't like the show they saw. I think it was dull. It was sterile.

The identity of each band is what's important for me production-wise.

The thing I love about Marshmello is that he caters to individual songs as a producer. He has his vibe, but he also really puts something on the song that the song needs instead of having his thing and everything sounding like him.

When creating an album, one of the first things you have to think about is what you want your production style to be.

What So Not used to be a lot more dance-y, and now it's becoming a lot more melodic. Flume has always had that melodic thing, but it's starting to become a bit heavier, so it's just difficult to navigate between the two.

The rest of the songs on the album [Mortal City ] have spare arrangements on them. Steve [Miller], really loved that. He'd just come off of a project with someone who basically had to mask the fact that there were no songs there with production. He said, "Oh, my God, you have real songs here!"

We don't work in the traditional TV format where we're like writing concurrently to shooting. Like, we really view it as a large feature film.

What started it all was the Kanye album, 'My Beautiful Dark Twisted Fantasy.' We started listening to that and just fell in love with it, fell in love with his production style.

The difference between a Black Thought album and a Roots album is the texture, the instrumentation.