A Quote by Tim Hecker
People still talk about sampling as this new, progressive problem in music. There are technologies now where you can glean the polyphonic information out of a sample and then put that back in and then score it for five instruments. You don't need digital audio to sample; you can rewrite things.
Related Quotes
Usually I will hear a sample, think of a theme and then it will take me a couple of days to write down some lyrics. Then I will decide that I hate those lyrics and rewrite. Then I will change all the music around. Then I will rewrite all the lyrics again. I am a bit of a perfectionist although you would never know it because all my songs are like chopped up and @#$%& up, but you see that's on purpose.
I can sample Blink-182 but put an African vocal sample in there.
I found it easy to produce. I'm not the musical guy. I can't read and play music like that, but put some drums and a sample in front of me and I can whip it up nice, and I'll work out some keys and find some interesting instruments to put under it.
I think if I wanted to get to a point where I could actually grow in my music, I had to almost step away from sampling so much and start making the kind of music that people wanted to sample.
I know people who have sampled gospel music, and then they go to clear the sample, and it's like, 'You can't take the Lord's music and make this.'
You can count on the fingers of one hand the times a B sample has not confirmed the result of the A sample. It's almost always a delaying tactic.
There is some sampling on my records and a lot of what I call replays, where I'd have musicians come in the studio and replay the sample from the original record. But mainly, we'd come up with our own music.
Offsetting the sample position every time the sample hits will create more random movement in short samples.
We're all about exploring new sounds, so we don't have any limits whatsoever about how we go about finding them. We do tend to sample human vocals or sample sounds, which allows you to create your own sound. That's not our only way obviously, but that's a way you can use a sound no one's used before; it's not a sound in the synth. There's a lot of that going on in our songs in general.
I definitely think the girls look too skinny now. I'm friends with models Helena Christensen and Linda Evangelista, and I remember Linda telling me that when she was a model in the nineties, a sample size was a 6 or an 8. Now a sample dress size is a 0 or a 2. That's pretty alarming. There's a lot of pressure on the models. It's not healthy. I can't even imagine what that's like.
It's not a big part, ... I wheel in an ultrasound machine and say to Taylor's gynecologist, 'If you have a problem with it, just give it a light tap on the side.' Then they hand me a urine sample, and I put it up to the light and say 'Hmm, looks pretty healthy, but I'll check.'
The tendency of the casual mind is to pick out or stumble upon a sample which supports or defies its prejudices, and then to make it the representative of a whole class.
A digital sound sample in angry rap doesn't correspond to the graffiti but the wall.
Since I shoot, record audio and edit, I was able to begin the filming without hiring a crew and create a sample to show broadcasters and grant organizations.
I was sort of like a kid in a candy store, realizing it was fun making beats without the perceived burden that every track I did had to be a some progressive sample masterpiece. It was nice to blow off steam and work on those songs. For me, that’s what 'The Outsider' was about in general: forget everything, I’m just gonna follow my own music, and make the music I want to make.
I started writing rhymes first and then put it to the music. I figured out I could lock it to the beat better if I heard the music first. I like to get a lot of tracks, put the track up and let the music talk to me about what it's about.
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