Wayne Coyne Quotes

Well, I don't really use MIDI that much. But I do record audio around me a lot, and just layer it up and see what effect it has, without any aforethought.

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

Plus, we spend most of our time writing music. Most of the time is spent in the studio in my house.

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

I have to be involved. Whether it's me writing by myself or with other people, I definitely want to have my hand in the creative process. That's part of why I got into music in the first place.

Well, I've been recording myself on a computer since I was about 13 or 14. So it's completely entwined with my creative process. Essentially, it allows you to make music that's better and smarter than you are, by using your ears to lead the way.

The record Clef and I did was just sitting there. So I said, Clef, I got a record, hit a verse on it. He just went in, messed around and ended up doing the hook too.

I kind of make music where and when I can, and I guess that's why I collaborate so much.

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.

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.

I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation.

My training as an engineer has enabled me to design the stuff, but the reason I do it is not to make music but for the opportunity to work with musicians.

I have yet to have a successful outcome of sitting in a room with someone and trying to write a song. The way that I generally co-write is that someone else writes the music or part of the music.

I started trying to do my own music at home, and I was like, 'You know what, I can play the guitar, sort of. And I can do these things, sort of. And I can make these crazy noises on my computer, sort of. But I need a ridiculously good drummer. I need someone to help me with string arrangements.'

For me making music is part social, part interaction, part collaboration.

In the studio, I'm always throwing people on different instruments.

I write the music because I can't really write lyrics. But I can write chords like Robin's never heard of. So I provide the music for them to add the lyrics to.

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.

Sometimes when I do an overdub solo, they'll keep four or five of my attempts and then mix the bits that they like to make a solo up out of them. It's not against the rules, really - I can learn my own solos, then. But that's the whole beauty of multi-track recording, isn't it?

With 'Light,' I collaborated with a lot of different producers and musicians I respected, and we all wrote and worked on material which I then took to an old-school producer, David Kahne, and we put it all together. The lyrics came first - they were written before the music.

I had my own musical ideas that Mick helped me with as well.

When we were making Speaking in Tongues and Remain in Light, we were jamming. From that we were taking the best bits and then recording and improvising on top of those.

I think, for me, a way to really come up with new ideas and come up with new ways of writing music is to create a unique sound palette or soundscape for all the films I'm working on.