Michael Masser Quotes

When I went into the studio I created a sound that I wanted to hear.

And then when I found my sound, it took me two and a half weeks to find my sound and when I did I pulled out all the stops, all the stops I could find.

I wanted to take the power of thought and the word, along with the power of speaking and heart, and see if we could wire what was coming out of us as humans with electric instruments.

'Superunknown,' maybe more than most albums, didn't reveal itself to be what it was until the very end - literally until we were three quarters of the way through mixing it.

You don't have to have angst to be an artist, but it's grist to the mill. If you want to explore the whole emotional spectrum in your work, it helps to have experienced intense emotions.

Writing songs has always been a process where I divulge a lot, just because music is a tool for me to sift through and process intense emotions. But having music be my primary occupation has changed how I interact with art.

I view making records as a journey.

When I'm in the studio, I'm experimenting, trying things on.

I write all of my songs from scratch, so the one thing I love about EDM is the way a song transforms into a piece of art, and how the different sounds can change the feel of the record.

Music feels so environmental to me, especially the process of working with synths or mixing. I started thinking about music as a psychological landscape as well. It's a landscape of the mind.

I've worked with Childish Gambino for so long, so I've learned that from those producing skills - how to really produce music - where, of course, it's about writing, but it's also about combining sounds and styles and genres.

I like to create a sound and then leave it behind.

I, for myself, have wanted to get more into producing because I want to be a part of the conversation and be one of the voices in the story we're trying to tell.

The easiest way for me to tell someone what I do is to say that I'm a non-musician who practises and produces music. I don't have a theoretical language for music. I have this abstract dream language.

I started writing and recording, at a very basic level, just in my own bedroom.

I love trying new things and experimenting with instruments and sounds.

I love to be able to put my hands on a keyboard, to have a guitar and a bass within reach, as well as all the effects.

There's this weird game called 'Blueberry Garden.' For that game an artist recorded some piano music, but evidently he only had a really terrible microphone on top of the piano, and I really liked it and wanted to experiment with that. So, I made piano recording and really mangled it, and kept experimenting with the technique.

To me, finding sounds, or even recording, is a compositional process. The studio is kind of an instrument.

The reason I play so many sounds, maybe it sounds angry, is because I'm trying so many things at one time, you see? I haven't sorted them out. I have a whole bag of things that I'm trying to work through and get the one essential.

any writer is inevitably going to work with his own anxieties and desires. If the book is any good it has got to have in it the fire of a personal unconscious mind.

Music is an expression of what's inside of you. And that's how I make music.

The rush of creating sounds and mixing sounds is always an interesting challenge, especially for someone like me, who doesn't know about sound.

My feelings can perhaps be imagined, but they can hardly be described.

Everything I do is a matter of heart, body and soul. For me, designing is an expression of who I am as a woman, with all the complications, feelings and emotions.