A Quote by Beck

In the studio, I'm always throwing people on different instruments. — © Beck
In the studio, I'm always throwing people on different instruments.
Initially, when I was making the bagpipes and reed instruments, it was different from the other instruments. In terms of sound itself, it may not be different, but in performing with it, it was a necessity to build it if I was going to perform and make scores with it. By making the instruments, it helped me compose the way I want.
In the studio you have pretty much carte blanche with whatever you're doing. You can turn natural instruments into electronic instruments.
My instrument is the studio. When I play my instrument, I'm creating music using the studio. All the other instruments serve it.
All punk music is is rebellion, going against the grain. It takes different forms. Sometimes it's a band throwing their instruments around or making really violent and noisy sounds, but it doesn't have to take that sonic form. It can take more of an energy.
I definitely enjoy working within different contexts, with different collaborators, and in different locations. I need to keep feeding myself as an artist by working with different people. I see continuing with that. I've also enjoyed getting to explore different kinds of music and instruments in the last couple of years.
You know, it's a different deal - throwing a football as opposed to throwing a baseball.
I just love being in the studio, and that's kind of what I do when I'm not on the road. I'm just in the studio messing with stuff, and I love playing all the instruments.
The thing is, there are so many different ways to make music these days with virtual instruments, software applications, physical instruments, and computer programs.
Sometimes it's nice to try different instruments because they have a different sound to offer and therefore your approach changes a little bit. But, I always come back to the piano.
It never gets boring for me because there's so many different things to explore in the studio. The studio's become the sanctuary that people have come in and found new things out about themselves, as weird as that sounds. But it's true, I'm no different. I've made some crazy hard records, and I've made a jazz album.
I do think it's possible for me to go back to the studio, and for a lot of women filmmakers to be going back into studio filmmaking with a different sense of their own agency, and a different sense of the respect that they can command. When you asked the question about whether women want to be making big studio movies, the answer is almost always yes. It's just, how do they want to be treated? What is that experience going to be? And if you know the experience is gonna be shitty going into it, I personally am at a place where I'm not willing to punish myself any longer.
In order to make my solo shows as interesting as possible, I moved songs onto very different instruments so that I was moving instruments quite a lot during the set.
We had a bunch of instruments around the house. Like, I played different instruments, trumpet, bass, drums, piano, all that, but whatever I could get my hands on.
At that time, 73 and 74, I became aware that there were a number of us making instruments. Max Eastley was a good friend and he was making instruments, Paul Burwell and I were making instruments, Evan Parker was making instruments, and we knew Hugh Davies, who was a real pioneer of these amplified instruments.
I have always loved telling stories about families. I love the idea of people who may not choose to be together, but are nonetheless bonded for life and forced to interact and develop these relationships. I love the tension throwing different types of people under one roof creates.
Identity is made up of lots of different things now. Different colors and patterns stand out at different times. Different instruments in the symphony of being are more distinct than others at different times.
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