Klaus Schulze Quotes

The atmosphere defines the environment of sound.

One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.

You don't have to be a good musician if you've got certain computer skills.

It's lovely being a producer. It's really a lot of fun and I can learn a lot.

A lot of the stuff I've accumulated over the last few years of touring I thought was really interesting. Like sounds, sound bites, and beats even, but they weren't good dance beats they weren't ones anyone would want to rap over or anything.

When I really young yet feeling very old, I offered up a lot of myself to the press; I knew it was good copy.

I spend a lot of time working in the studio as a producer, not just a singer.

I always want to make an album that lets people immerse in it, kind of like you get caught up in a good movie.

Our job as producers is to make the music sound as good as possible.

It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument.

I get to hear the really good or the really bad things in the press, but I don't read it. I can afford to say that because public opinion does not drive U2's audience.

It's good to overexpose yourself with work. But don't expose yourself too much with the press.

I never thought of myself as capable of stirring up - generating - the actual drumroll for a record, you know, all the press.

I've never been one to think it was cheating to sample this or to loop the drum part there - I've always done that. Even using four-track cassette recorders, I was always doing whatever I could to make it as good as I could.

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 mean the idea of this is that it's a good thing for the public to hear interviews like this and that there will be an inevitable amount of fewer interviews if people that the press talks to wind up thinking, well, it's not really a CBS correspondent.

Darrell is really good in the studio. I mean, he has a real working knowledge of how the process works, and what sounds good coming back over tape, and how the stuff works together.

I was using tape loops for dancers and dance production. I had very funky primitive equipment, in fact technology wasn't very good no matter how much money you had.

I like working with other people but I'm not a songwriter, I'm a producer.

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.'

There are lots of good producers out there.

I don't really care about audio quality. If people saw some of the ways that I record stuff, they'd see I don't care in that respect. I obviously care about things sounding good, but I think quality exists through other things like emotionally connecting with a lyric or a feeling, or whatever.

I believe in legacy. And I believe in making the radio sound better. If I gotta listen to it, I want it to sound good.

Most of the press is sent to my publicist so I do see most of what is written about me.

My applications submitted to the Tribunal regarding my interview during the hunger strike were misinterpreted, and it was published in the press that I was going to offer defence, though in reality I was never willing to offer any defence.