Dimebag Darrell Quotes

Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.

It seemed like the more complex the music we were playing, the less able we were to guarantee its consistency.

It takes us long for a reason, but the end result is: we all completely believe in, not just every verse, every chorus, every bar is scrutinized, and that's the result of what you'll hear on this record.

The better the orchestra, often the harder it is to conduct, not the other way around.

My music is very, very precise. It's very rigorous. The forms are much more intricate than you would imagine.

Jimmy Page is an excellent producer. Led Zeppelin I and II are classics. As a player he's very good in the studio, but I've never seen him play well live. He's sloppy. He plays like he's got a broken hand and he's two years old. If you put out a good album and play like a two year old, what's the purpose?

When you listen to someone sing from inside their head, their same mix, and you listen to their voice as loud as they like it, or the track of the band as low as they like it, you can really hear all of the nuances and the mistakes if there are any.

It's great, because we've had some really great people playing with us who really have studied the record and been able to recreate a lot of what was done. But I would need a choir of eight, probably, to do all of the backup vocals.

I don't know if there was really ever a golden age of the music business. Most of what was released has always been garbage and some has been able to get through and last. I don't know that it was much better thirty years ago. The music industry just wasn't as efficient. The music industry was more oddball guys who did it for fun and now they are huge corporations that have become more structured.

To be an outstanding musician, you have to be very attentive to the smallest detail and willing to have infinite patience in the pursuit of your ideal. You require absolute control and professionalism.

I want to make the songs good. I think this is my main focus.

We all want to play great music all the time, but if that is not possible, you have to hit as many right notes as you can.

I've mainly been sampling jazz because the tone of the chords are expressive in itself, so it's quite nice to write over.

Jazz is one of the least learnable art forms.

A good album should be more than the sum of its parts.

Adding instruments to parts of a song and having them somehow find a pocket. That to me was a huge lesson. Like, there's more than 808s in the universe.

...A strange art – music – the most poetic and precise of all the arts, vague as a dream and precise as algebra.

Music that is born complex is not inherently better or worse than music that is born simple.

When digital recording came in about '84, everything started to follow into digital. Now, you've got the best recording media in the world, but it's not very pleasing to the ear.

If you mess up the tiniest little thing in the Beethoven concerto, or the phrasing isn't just exactly perfectly executed, Beethoven brings out the worst in the best violinist. You almost never hear a satisfying performance, because it doesn't play itself.

I still have a lot of faith that there's very few people who are savvy enough to actually produce a good sounding copy of the record.

I think the whole obsession with old gear is completely overblown. You don't need old-fashioned gear to make a great-sounding record. You don't even need [analog] tape.

You can't compete with Sweets' sound and time feel. It's impossible.

I'm not in competition with nobody. I want to make good music for my fans who want it, who enjoy it, who learn something from it. And that's what it is.

Every album is difficult. If it was easy, we'd make one a month.