Taylor Goldsmith Quotes

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

You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

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.

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.

My best capacity is to edit. If anything, I am a specialist at editing: my usual approach is to record a song very long. In the beginning just jam, jam on and on. Then break the song and play with it.

For me, it's always just about playing the song and recording it and giving it what it needs as a song.

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

I've got my own studio, so I sit in my studio writing and if I get a great take, that's the take.

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.

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.

I sit and write songs alone and then get together with people to help me flesh it out into a recording.

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?

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.

You can do a lot to shape the feeling of a song by the way you record it.

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

We'll set up a demo session and try to knock out eight or ten songs and make them sound as close as we can to a record with the money and time we have.

We can even sing off key, but if it's produced properly it can be a hit.

A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.

I write the songs, go in and record them, then I listen to everything and decide how it all fits together.

My approach to recording and all that is pretty organic. It just has to do with all the songs I wrote; go in and record them.

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.

The records I make, I'm there from the writing of the first note through the click tracks to the miking of the drums to the editing of everything to the production to the vocals to the artwork.

Putting together a hit record is like putting together a puzzle.

The producer should decide what kind of music is being made, what it's going to sound like - all of it: the why, when, and how.