Big K.R.I.T. Quotes

A lot of electronic music out there feels cold. I want to incorporate a human element.

I'm an electronic guy, I'm a freak for electronic music but real instruments, the dynamic range of it, and the emotions, there's no comparison.

When I listen to the radio, I just hear so much music that doesn't even sound like people. The vocals are all tuned, and the drums are all fake.

Aretha Franklin's 'Let Me in Your Life' is one of the few recent R&B albums that places the emphasis entirely and deservedly on a voice. Many R&B producers have been making records on which the singer is outshined by the song, the arrangement and the sound.

There's a couple of tracks on the new record which is sort of using similar sort of rhythms as the drum and bass tracks but playing it all live. It's a new approach to it.

The more guitars we have onstage the better, as I'm concerned.

Technology has made it much easier to make and manipulate music. Studio-driven, machine-driven music does not always transcend into being a good live act. Many current acts are great live, but many cannot cut it live. The music is not organic.

For me it always comes down to what is a good song and I'm very old fashioned in the way that I like to make songs that have something classic about them whether you can play them with an orchestra or an electro synthesizer or an acoustic guitar.

When you hear a great two-track of a performance in Carnegie Hall, let's say, it sounds like you're right there at that moment. It's true to reality. And the closer it gets, once it gets too technical, it becomes very tinny to hear notes. It doesn't sound right. It has to be natural.

Typically in Korea when I perform I have a full band, a ten-piece band, and that's a completely different monster in itself to prepare and rehearse.

I like the sounds of real, living, breathing musicians. When a real person plays something, there's a soul. They're giving you their emotions.

In my childhood, I used to go to theatres to watch independent singers' outing on screen. I used to be excited about how different they sound in a video and at a theatre.

We've always had a very strong focus on the instrumentation, and our approach to our individual instruments.

I definitely enjoy performing on stage with The Roots.

Recording and performing 'Replay' was a learning process throughout, as we focused on the details.

Studio work is very methodical, while live concerts must be very spontaneous.

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

Everyone knows robots write the best books and make the best music. Just look at Daft Punk.

If there's ever a live record that deserved to be mixed in surround sound, it's 'Frampton Comes Alive.'

It's about how you're using the space. That's what makes live music.

I tend to think about so many different things on a recording. I'll be trying to tune into what the drummer's doing, trying to keep everyone playing the groove and other things like making sure the piano's in a nice pocket.

One does not play the piano with one's fingers: one plays the piano with one's mind.

Something on mainstream radio is very in your face with the vocals. I tried that, and it just doesn't feel like Washed Out. It's got to have that haziness to it.

I'm not a DJ. I play live and think we put on a show. That's it.

My production got better, songs, lyrics, everything; the sound, the quality, everything.