Halsey Quotes

A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.

Clipping is a very specific, concept-y thing. We have all these rules: we don't sample drums. We create all our own sounds. I don't speak in the first person. We come from a background of experimental music like John Cage... Philip Glass.

I don't do that much sampling. I create all my own sounds.

The atmosphere defines the environment of sound.

With a lot of action scores, you're competing with a lot of noise. Say there's a big explosion: the music would conventionally have a lot of Hollywood-style percussion or brass, because that's the only thing that will cut through.

If you're going to start with melody you'll need some tympani, I think.

'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are traditional instruments I sampled, then manipulated, so you don't even recognize the source anymore.

Well, I think, I certainly used backward music in Sea of Monsters. I can't remember in the Sea of Time. I would tend to do that all the time, you know? I tended to do all sorts of weird things. Just to get effects.

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.

Writing in the electronic world, you imagine a sound, and then you have to go and find it. It's not like imagining a flute and then making that sound materialize. That's easy!

Motion Picture Soundtrack on Kid A was another Coltrane inspiration.

There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.

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.

Some artists want a producer to be a kind of svengali - someone who actually creates a sound for them.

When I went into the studio I created a sound that I wanted to hear.

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.

The album that really got me interested in how to create weird sounds, and pretty much changed my life, was 'OK Computer.' Funnily enough, my parents bought it for me because it was recommended to them, and the first 2 times I heard it, I absolutely hated it.

When we was making a song called 'Bring Da Ruckus,' we took the snare, and we put it in an elevator shaft and recorded it.

The TV show 'How It's Made' brings the intricate details of assembly lines to numerous North American living rooms. But if the series were to ever branch into exposing the secrets of music production, Colin Stetson's 'New History Warfare Vol. 2: Judges' would make for a mind-bending episode.

I like making sounds and putting it together, I'm not just a singer or a producer.

There's very little synthesized sound in the 'Arrival' score. There are a couple of synthesized beats in there, but 99 percent of the sounds in there are acoustic in origin and either played or sung by a musician or a singer and recorded in a room.

The idea of 'Badlands' was creating a space with sound, which is a really difficult thing to do.

What Joanna and Solange and Kanye all had in common was a mental image of what the sound is supposed to be. As a collaborator, my goal has to be to help them get toward that mental image. That was cool.

I played a lot of keyboards, but I really wanted to produce the sound that was in my head that I was trying to emulate on the keys. I wanted to do it for real. And it makes me look at the keys in a different way. So it's like I'm looking at the guitar and bass more like meat and potatoes and keys like coloring over top of it, you know.

You know, as I'm progressing with my sound, I just realize when you got a simple sound with crazy percussion in the beats, it makes it. It kinda shapes my sound when it comes to what makes a Tay Keith beat.