Hopsin Quotes

Our job as producers is to make the music sound as good as possible.

A lot of times, when you record something, the album becomes less about the music and more technical.

My very first records, I was very interested in how you get the particular quality you want out of it, and I began to learn about the engineering and aspects of production and things very early on. I got hands-on with the process and taught myself how to engineer, as opposed to just being a producer who asked the engineer to make it sound nice.

But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.

Ideally, the music composed these days should sound much better because of the technology, right? But that's not the fact. The sounds that you hear out of technological recording are programmed sounds coming out of a computer.

We grew up understanding how the analog sound is a driving force for music.

I think the sound that I have had on all the records that I've been a part of have been important and special.

The sound itself, the production, is of such great importance that it has become an integrated part of the composition.

It's always been difficult to make a good record. To be perfectly honest with you, it's really about the person that's pushing the buttons. No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.

Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story.

I love sending stuff to Usher because it always sounds better than me.

Darrell is really good in the studio. I mean, he has a real working knowledge of how the process works, and what sounds good coming back over tape, and how the stuff works together.

I like to make records sound good. I'm more like a reducer than a producer. If an artist cannot produce themselves, what's the point?

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

T Bone is genius. The way they've recorded my voice and the instrumentation to these songs is really quite extraordinary.

I usually make records very quickly. I usually go in and record them and mix them, and I'm done within a couple of weeks.

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

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

I'm not somebody who can tell if the song is good enough to be pushed until I hear what it sounds like after all the bells and whistles are put on it.

You get the beats. You write to them. You go in the studio and lay it down. Hopefully, a song comes out sounding good. If it comes out sounding good, you put it to the side with the rest of the other good ones, and you try to decide which ones you're gonna use on the album.

I think, with production, I pay very close attention. 'Cause that's my favorite thing in music. That's the whole drive. That's the reason.

TTS was the unit that I was directly involved with the productions, and I'm still really, really proud of what we had put together, not just visually but musically at that time and age.

I don't think there's anybody that has such a keen sense of vocal production and attention to detail as Dre.

Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats.

The thing people forget about Kevin Shirley a lot of the time is that he's not only a great producer, he's also a world-class engineer. He really knows how to get a sound.