Borns Quotes

I think it's his perception of knowing how to make a record build, keeping the integrity of the song in the music and really adding a lot of musical elements to compliment my voice and to compliment the song.

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

So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.

I want to make an album with just great beats and big vocals and just amazing lyrics.

When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.

On our first record, man, I didn't know what I was doing. I was just playing. I was over playing. You're as green as you can be with no experience in recording or knowing how sometimes a song can work: when it's too much, when it's not enough, when it's not right.

When it comes to production and the overall sound, I don't really have a lot of intentions with it. I start off with melody and a lyrical idea, and then build off of that story.

When we record a song, like 'Bedside Manner,' it's important that the next time I write a somber, mid-tempo song that we don't treat it the same way.

Creating a record on my own and deciding who plays and how the songs were structured, it was fun to do.

I just want to get to that point where I'm able to fully create music that's good lyrically and quality-wise as far as the way it's knocking and everything.

Normally when I work with bands I'm trying to refine and improve what's already there.

When I produce a record, I roll up my sleeves; I'm not one of those passive guys. I really get in there and make sure every note is measured. I tell the bass player, 'You have to play it like this,' or I tell the drummer, 'It's got to be like this.'

I've got a song on every album, two songs as a matter of fact on every album without Auto-Tune, and that's the song that nobody talks about. It's weird.

When I walked into the studio, the chorus of 'Nobody Love' was already set. For me, the challenge was to make it have depth.

When creating an album, one of the first things you have to think about is what you want your production style to be.

I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.

I'm interested in creating a little sound world for songs, really crafting it, building it, and making it like a little doll's house with little things inside it, staircases and rooms and everything kind of relates to everything else. I've never seen it as drums, bass, guitar and vocals in very separate spaces.

I'll have the music, and then I'll just turn the microphone on, press Play and Record and sing. And whatever comes out ends up being the melody.

There was no such thing as production at Starday. We'd go in with the band, we'd go over the song, I'd look over and tell the steel player to take a break or kick it off, and I'd get the fiddle to play a turnaround in the middle.

Rap is something you can just throw on the skillet and fry up real quick. That's how it comes to me, my train of thought. It's like getting dressed - I don't have to sit down and stare at clothes, I just pick what I like and put it on. But rock, you gotta put it in the oven and let it bake.

The first rule of rock and roll is it's all about live. Then you have to learn a second craft, which is making records. It should go in that order.

When you're making a record, you try to achieve stylistically what fits on you. Like a good old coat, you know what I mean?

I pay such close attention of the record making process that most people would assume are very little and wouldn't be that big of a deal; the packaging, the title, and the harmonies, I think, are arguably as important as the lead vocals.

Since I was doing all of it myself, I had to decide where I wanted to go with the songs, how to proceed with the chords, if the sound was alright, and all that detail on my own.

Usually one or two things happen: Either you have an idea straightaway - the sort of sound that you want or the instrumentation or one particular sound that you want to feature - or you don't.