Himesh Reshammiya Quotes

I always created things, layered things on top of each other. That hasn't changed at all. With this first album, it was basically a celebration of that process of inventing and building sounds.

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

When a piece is done, I mix it before going on to any other piece.

You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.

I'm interested in creating a little sound world for songs, really crafting it, building it, and making it like a little doll's house with little things inside it, staircases and rooms and everything kind of relates to everything else. I've never seen it as drums, bass, guitar and vocals in very separate spaces.

I like to explore a lot of textural, arrangement aspects in the studio.

Usually, I write the music and am involved in the production.

When you're producing, you're really just making a series of decisions.

I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.

I am a sound freak. I could play around with sound forever.

Sometimes I just hit the keyboard in a way I'd like the rhythm of the tracks to sound.

My producer, HH, makes sounds, so I'm writing to his beats.

The best musicians or sound-artists are people who never considered themselves to be artists or musicians.

The studio is not the place to write. You need to be 75% ready when you go into the studio, and then the music can develop to the next stage.

A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.

I write the songs, go in and record them, then I listen to everything and decide how it all fits together.

When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.

There's always a group of songs that I'm working at. Some of them are 10 years old, and some of them are just a few weeks old. I'm always trying to adjust these songs to some position where I can bring them to completion.

My best capacity is to edit. If anything, I am a specialist at editing: my usual approach is to record a song very long. In the beginning just jam, jam on and on. Then break the song and play with it.

Putting together a hit record is like putting together a puzzle.

We spend a lot of time with MIDI keyboards and various processors, and we just figure it out. And all those things you hear in our songs work as submelodies and countermelodies, and everything has to fit.

I was completely fascinated by the studio process and layering sounds and creating soundscapes out of layering massive squalls of sound.

There's the drums, the music, the melodies, the lyrics, the production, the artwork: there are so many elements to making an album, and the drumming is just a very small fraction of what I focus on.

When we record a song, like 'Bedside Manner,' it's important that the next time I write a somber, mid-tempo song that we don't treat it the same way.

I never really work on just one CD - I'm recording, recording.