I've done a lot of collabs, but most of the time, it's me on someone else's track.
I'm new to a lot of people, and I don't think anyone wants to listen to 16 tracks of a new artist.
There's a couple of tracks on the new record which is sort of using similar sort of rhythms as the drum and bass tracks but playing it all live. It's a new approach to it.
I'm as guilty as anyone else of listening to music track by track.
iTunes is my favorite record store.
I love soundtracks. I used to have three iPod classics: one with regular music, one with soundtracks, and one with demos on it.
When you go to a band's MySpace page you will have the full discography of everything they've ever recorded that you can listen to online.
I think it was 'Tales of Topographic Oceans' on 8-track that was the funniest thing because it would fade out in the middle of a song and fade back in again, and when the tracks change, it was quite amusing.
I didn't mean for it to cause such a furor, but I was the first guy to ever do the national anthem with a guitar. Everyone else had the big brass band. Nowadays it's tracks that they sing to, but in my day, we had no tracks. And I was the only orchestra that I knew that was the best orchestra and that was me and my guitar.
With the TV stuff, we usually hand in final, finished tracks. The turnaround time is so tight that there's no time to demo anything; you just do it.
There's a lot of melancholy in my tracks.
You can find just about everything on my iPod from Eminem to Zac Brown to Justin Timberlake to One Direction. Everything is on there.
Besides the two Christmas things, we've got a about a dozen new tracks we're working on.
All these tracks you have memories at, all of them, Daytona included.
I used to do all my programming on a BBC computer. It was limited to 16 tracks, and you used the keyboard, not a mouse, to input, but I was using it so long, I got quite fast at it.
I like to use effects, but a lot of the time I just can't deal with these tracks with all these artificial sounds.
