Anderson Paak Quotes

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.

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.

Like, when I write a song, the song comes first before production. Everything is written on an acoustic guitar so you can strip away everything from it and have it be equally as entertaining and good without the bells and whistles.

Yes, sampling has changed not just my way of playing and composing.

In '96, I was in a very specific place with my own music - I was only listening to beats. You would come to my house, and I would just play beats all day.

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.

The original 'Don't Let It Get to You' started with a beat. The drums came first. All the musical and lyrical elements were written over those drums.

I am hoping to improve my writing and rapping, as well as get a better grasp on how to make beats and music that complements what I do vocally. It's a learning process that hopefully won't end.

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 pick simple beats because I need space for me to work.

Bad Name' is just that head-nod, traditional loop over a breakbeat, chopped up, and it sounds like the way I do my thing.

I used to re-create the beats that I heard.

I started by producing, and the rapping came second to that, because I wanted to fill out the beat.

Certain key words, like, 'break it down,' 'this is how we do it' - they'll always end up on my tracks.

I was truly honored to work with legendary DJ and producer DJ Premier. I still can't believe I have a track with Premier; it really is one of the best songs I've written in a long time.

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.

I tried to embrace the concept of the sampler as an instrument, looking at how to take it artistically to another place where it can be appreciated, more than just taking someone's song and doing a 4-bar loop.

I've been sequencing all of my albums, from any Gang Starr stuff to Jeru to Group Home, all of it. I pay a lot of attention to that and really always have. I've even helped sequence friend's projects.

Sampling is very important for me. It's the backbone of hip-hop.

I love to work with producers who are very good with their chord progressions.

Part of my growth as a producer was not just about making beats but also helping in the process of inspiring the song and making the song the center.

Really, I just sit down, mess around, and play with sounds.

I don't shop beats. That was never my method coming up. I think it's very strange to have a CD of 30 or 40 beats and then just pick one.

Madlib isn't a beatmaker, he's a producer.

You will hear ambient in our music. You will hear trip-hop.