Washed Out Quotes

A lot of people hear things on the radio and try to make their own version of that.

I tried to embrace the concept of the sampler as an instrument, looking at how to take it artistically to another place where it can be appreciated, more than just taking someone's song and doing a 4-bar loop.

Yes, sampling has changed not just my way of playing and composing.

I'm not that big a fan of sampling. But I feel like if I'm going to do it, I'm going to do it to where it's more of a reimagining of a track. The songs that I do utilize samples on, most of it you wouldn't even be able to tell what it was unless I told you.

I think it's being innovative and very creative to stay away from flat-out sampling somebody else's record. To me, that doesn't show too much of your creative side unless you take a little piece and add it, almost like spice on a chicken.

If I sample a song, I usually make samples out of the whole album. Then I move on after that. Doesn't mean I'm going to release that whole album, but I do that.

I used to re-create the beats that I heard.

I got a lot of experience for my age. Some artists might take a line or two from a bunch of songs and snip it together and make something, but everything I say I do.

I've been gearing up for this future of writing a lot of new music by digging into my favorite old stuff, and twisting it around and highlighting the things I really love.

The genius of vinyl is that it allows - commands! - us to put our fingerprints all over that history: to blend and chop and reconfigure it, mock and muse upon it, backspin and skip through it.

I've wanted to do it for years, but every attempt at it has turned into another tune. We have actually taken a different approach, we're doing a lot of sampling - we're even sampling bits of Flash!

I combine aspects of many styles of music and create my own musical forms by way of electronic instruments.

With Dollars And Cents on the album, we had it as a band jam and I sometimes spend evenings playing with records over the top of things we were working on to see what works.

You can get so many sounds out of one record. Every record can be used in some way.

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.

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

I've always had a fascination about mixing music.

I'm taking a lot of freestyle music and flipping it.

I listen a lot to rap, and I'm inspired to take it, to use it in another way, to get the message across.

For the chorus of 'Secrets,' we used The Romantics' 'Talking in Your Sleep' and 'Pale Shelter' by Tears for Fears. It's like hip-hop: just grab it.

I produce electronic kind of music, like EDM kind of stuff.

There is some sampling on my records and a lot of what I call replays, where I'd have musicians come in the studio and replay the sample from the original record. But mainly, we'd come up with our own music.

All the sounds on 'Trapped in the Closet' - the knockin' on the door, when I grab the keys, when I walk down the stairs, the car horns - we sampled all of those things around my house.

I have a method of working on music: I'll get up in the morning and throw down some drums on my drum machine, and then I'll come back later and try to pop off rhythms to it.

I love Erykah Badu. Every time I listen to her music, I'm, like, laying out all the instruments in the song, like, how I would loop it.