Kandi Burruss Quotes

I love to get to that place where I don't know what kind of music I'm doing; I don't know if it's any good. I don't know if it's anything. It's a big question mark. The idea is to have interesting results. That's my bottom line.

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

I'm very, very open to experimenting with different people and trying to find different methods of writing and making music.

I'm always looking to develop my sound and I'm in the studio whenever I have the time to do this. Always looking ahead!

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

Making records is fun. It's not some big statement. You're allowed to make mistakes.

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

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

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.

I always try to evolve my sound - innovate, improve, be different but still Martin Garrix. It all starts with an idea in my head, which I work on until it starts to shape itself into a track.

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.

Really, I just sit down, mess around, and play with sounds.

In the end, our way of writing music is a long process of experimentation. We enjoy the luxury of taking this very seriously and giving it the time that it needs.

I treat the act of making a record very much like working in a laboratory, experimenting with sounds and ideas. Whoever chooses to latch onto it, great; whoever doesn't, that's fine, too. The reaction always pales in comparison to the weight of the act of production.

Some song ideas absolutely require a kind of rigid discipline, and others require absolute chaotic abandon. The form is only valid if you know how to un-form it. I don't mean to sound like an intellectual here!

Photography is still a very new medium and everything must be tried and dare.

I love putting the music together. It's like art.

Before you worry about what genre it is, about whether it's a loop or a drum, it's about what suits the song. It's using what's within your reach, but also reaching for everything you can. I don't know if I always get it right, because I don't know every sound yet.

In terms of music, I can try anything I want, even something that doesn't work at all, because I'm not putting my career in jeopardy.

I think it's always important to constantly keep the band on their toes and try new things that you hope will work. That's how 'Apologize' was born, and maybe down the line another little song will be born by that mentality. I've always really liked that song.

Once I'd chosen the songs, it seemed like it would just be a question then of recording them. But it's a case of trying to re-invent the songs; taking them in different directions.

Being in the studio is like painting, you know, you can really take your time, and try different things, and kind of go deep into it.

Actually, with 'Truth of Touch' I wasn't even intending on making an album. I was just having fun. I had about a six-month period of down time, and I'm not very good at sitting around. So I kind of started going into the studio and having fun with new core mendin sounds.

I consider all my films experiments.