Sound Development Quotes

Anyone that's trying to do something to improve sound... that's all good.

Without Ace of Base, I kind of feel Backstreet Boys would have never found their sound.

From the end of 2015 to the start of 2016, I was always at the studio with Mustard, just figuring out a sound.

I feel like our whole discography up through 'Hail to the King' was young, fun, and exciting. It was aggressively driven. 'The Stage' was the first step in the band becoming a more mature musical entity.

I wrote 'Torches' before experiencing touring as a band. I really had no idea what they would sound like live, and that was something we had to figure out along the way.

I feel like I've mastered Dave East. For a long time I was trying to figure out who I was and what sound I wanted to come with.

The good thing is that there is a constant need for innovation, which is important in the evolution of music and sound.

It's taken a while for me to figure out my sound. It's tough, coming from DJing, because you know how things are supposed to sound, but you also don't want to be formulaic about it.

It just so happened that the sound I've developed has the Memphis origins to it that made Drake wanted to work with it.

I think it took me until - my twenties were really a time of exploration and experimentation with different groups and different types of music. Then I kind of developed the sound, which first appeared, I guess, on my first solo album 'Englaborn,' which came out in 2001.

I think that what happens is that all of my modern influences blend together with the older soul influences and you get Mayer Hawthorne.

Moving to San Francisco affected me in a pretty profound way, in a lot of respects. I think it helped me evolve my sound and think outside of the space I'd been in in Sacramento. The scene there is so insular and kind of feeds on itself: you just end up playing the same shows with the same people for the same people.

Once you start out, you are kind of finding out who you are, and then by the time you get to the second album or you've been touring a lot, doing live shows or whatever, the sound starts to shift slightly to something that is more the true essence of what the band really is.

I think that every band tries to mature their sound through their existence, you know?

I made that a point when I was creating my sound from the beginning, I didn't want to sound like anybody. Once I kind of found my own sound, I mastered it.

With Metavoid, I wanted to move forward with the Lustmord sound, rather than recreating past works such as Heresy or Black Stars, I wanted to create a sound that was new, but which was also unmistakably Lustmord. It's for others to decide if I failed or succeeded.

No I.D. executive-produced 'Under Pressure' and helped me find the Logic sound that's evolving every day.

Not to speak disparagingly of Justin Bieber or Rihanna, but they're not so hands-on with their image or their sound. They don't write the music. They have people doing things for them.

In my honest opinion, in 'Volumes I' and 'II,' we were still trying to figure out our sound.

For example, after developing a sound similar to an elephant trumpeting, I wrote the song Elephant Talk which gave my elephant sound an appropriate place to live.

If the guitar synthesizer is really going to stand as a synthesizer on its own, it needs to develop a more characteristic sound; I don' think it's gotten there yet.

The original Byrds were very much Beatles-influenced, and then we gradually got our own sound. We started mixing things together more.

I just love how everyone with that Motown sound seemed to come from a two-block radius from the actual original location. The original location was a house, and then when they outgrew it, they bought the house next door and the house next door and the house next door until they had seven houses on the same lot.

We were never happy with the way cello was recorded, and we wanted to experiment in the studio to make the cello rock as much as possible. On the second album, we had great help from Bob Ezrin, who helped us develop our sound even more.

We needed to make a sound that's not gonna fit in with everything else - we wanted to make something that was completely unique and individual to us. We spent a lot of time trying to make a sound that was a One Direction sound. At first it was quite hard to do that, but I'm really happy with the sound.