Jeff Lynne Quotes

Weirdly enough, if I'm having trouble with a guitar part - not the playing of it but the writing - I'll mess around with echo and other effects, just turn everything up and make it as crazy as can be, and it winds up taking me somewhere. I've found so many guitar parts from echo. It's limitless.

To keep creating something with this type of music, you have to take it out of the box.

You have got to make new music, that is the way that I look at it anyway.

I don't think we'll ever use the same sound techniques.

What really excites me is the production. I get in there and change a lot of stuff.

I think I compose as a listener: improvising and listening back excites me because I get to ideas that never would have occurred. Then I bring in the computers and samplers... and I begin to loop and process and change them.

I'm always going to be experimenting musically, trying new things.

If I crave a frequency in the mid, I'll just drag in a sound and try to mold it into what feels right. It happens very quickly. And if I've been making a piece of music for five hours and it sucks, I'll just throw it away.

I try to find a way that the other guy hasn't thought of using a sound or a sample.

Especially with Fantomas, i'm just trying to stretch out what the band can do. Figuring out, really, on the job or on recordings, what I can or can't get away with.

The Kingsway Music Library was sort of a byproduct of all the creation I was doing. As creators, we kind of just create blindly sometimes and I couldn't physically see every idea through, so I created this ecosystem where I made the ideas available to people to download, to sample and to put their own twist on it.

When I do a remix, I try to think about what I don't have in my bag and create something to fill that gap.

When I'm in the studio with a writer, I don't mind for them to take the lead and show me something new.

With our producer, Greg Fidelman, it was really a joy to work with him and to try different things and experiment.

When you're sitting in the basement trying to get on, you have no choice - you've gotta figure out how to make a song: 'I've gotta bang on these buttons until it sounds good.'

In the past, I used to rely on the randomness of working with samples, which was a good way because it threw you in a completely different direction. You just thought, 'What if I take this samba drum and combined it with an '80s synth line or something from this record?'

It should take you 15 minutes to make a song, and then get out of there.

The entire making of 'Within and Without' was a series of experiments and trial by error. When I started writing, I didn't have a strong idea of what the record was going to end up like.

You know, we never really know what we're going to write next. Which is part of the excitement when we go in and do a new album. No battle plan, we just go in and do it and what comes out, comes out.

To all the musicians who are making reggaeton, let's put some more effort into it and bring something new to the people!

The Internet has given us an unlimited platform of knowledge and inspiration. Sometimes the most efficient way to create a new sound is to cross between genres and experiment with noises/tempos that wouldn't normally go together.

I worked on 'Cadillactica' with the mind to not sample as much and focus on creativity.

Making sounds that literally no one has ever heard before because the software and the technology's never been there, and pairing that with great songwriting, then that's what's exciting for me. That's what I wanna do.

When you're doing an album, you need to come up with something new, be creative.

I'm always making tracks. I find that when you make tons of tracks, you stumble upon genius. You can't always turn the drum machine on and right away there's a hot track. Sometimes you luck out. But it can take a lot of time between thinking about the artist, listening to music for inspiration or going to clubs.