Producer Collaboration Quotes

I'd like to produce something with Kanye. Like, my production plus his, I think he'd make something really cool.

Everytime you put an album out with any producer you do the same thing.

I worked with different producers from all genres, trying to bridge different styles of music, from urban to electronica to ballads.

I'm thinking about a few weeks in Montreal to work with a producer I met there.

For me, every film is like the first picture. I am very choosy with the director and producer.

I really didn't even pick producers. I just picked beats, except for Dre - he's the only producer I knew I wanted to work with.

We make sure we have total artistic control with our albums. We were working with Interscope Records, and they had a hard time with us having all the control. So when we signed with Warner Bros., we told them we would be working hands-on with our producer, and they were cool with it.

I started posting a few covers on SoundCloud in 2017, and that got me into contact with my producer who I still work with, Josh Fountain.

There are a lot of classic Goapele tracks that are obviously me. And I'm also just trying to keep evolving and grow as an artist. I've always had a wish list of producers I wanted to work with. I just wait until the feeling is mutual and go into the studio to see what we can come up with.

If you look before the '90s, you might not find many - if any - albums with multiple producers. It just didn't exist in the history of music. That would have been like Michael Jackson telling Quincy Jones, 'Look man, I know we did well on 'Off The Wall,' but I'm hot now, and I need to see some other producers for 'Thriller.''

A hot producer might not make a hot beat for me. I just love music.

I can't wait to work for Rick Kaplan. He's a great producer. I would host an infomercial if he would produce it.

I work with any producer that brings me a hot beat, but you don't always know if it's a sample.

Pierre Franey's producer wanted to do a show with me. This was around 1998, and I think we shot our first PBS show that same year.

Kylie Minogue is just a demonic little idiot as far as I'm concerned. She gets cool dance producers to work with her for some bizarre reason, I don't know why. She doesn't even have a good name. It's a stupid name, Kylie, I just don't get it.

I'm developing some screenplays at the moment with my Australian producer.

My producer, HH, makes sounds, so I'm writing to his beats.

But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I've had some terrible, terrible experiences with some line producers, particularly in cable.

I write 1,000 words a day first thing in the morning but I cannot write 240 characters to describe a piece that I spent six weeks working on with a producer.

People in the record business would say, Well, Pras, you know, you haven't been out in a while, maybe you should get today's hottest producer or rapper to do something.

I'm still on my demos. I'm still making my mind up and deciding what kind of artistic production to come in. I do things at home with my musicians but I would like an artistic producer to come in and work on them.

I had already been making music for my whole high school life, and '10 Day,' which took me a whole year to finish, was about working with a lot of different producers and learning all of the aspects about being a rapper, from shows to recording to studio etiquette to marketing.

I really only make my own beats when I feel like I can't wait on somebody, or it's taking too long to get a nice beat to rap on.