A Quote by Timbaland
I've always tried different stuff in the studio. I use rakes, spoons, cans... I'm a surround-sound type of guy.
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I don't use any real vintage hardware any longer. That's always been the object as far as gaining control of the studio environment, going back to when I built my first studio, Secret Sound, in New York City. The whole point was to not have to pay studio bills anymore and not be looking at the clock.
I've played a different type of character in a different type of thing, for the most part. It's not like you can't mine tons of fascinating stuff from any character that you play, and I've always been fascinated with women and relationships, but this has been a completely different experience, for sure.
I never really planned a career. I've tried to avoid it. I've tried to do this stuff I felt for, the stuff I like. So, I've just been meeting these fantastic directors who've offered me a variation of different parts and different films.
There's a lot of guys who use their likeness - to do movies, and do other business stuff, but not too many guys are actually making product. I'm making product, it's a different thing. A lot of guys are holding up Coke cans and get paid a lot of money to do that, but no one's making a Coke can. I'm the guy that's trying to make the Coke can.
I'm the type of guy, I make a lot of different beats, but sometimes I might stick to a sound for a little while.
In the studio, I always put on National Geographic for inspiration. Looking at lions eating gazelles, all that type of stuff.
I got really excited about it. But then we went into the studio and tried to record some with different musicians, and it didn't sound good. It didn't work. So we put together the album [Unchained] with just a guitar and myself.
I'm always willing to work stuff out, because I'm that type of guy.
Every time we go into the studio and use a different engineer or producer I try to look, listen and learn their approach. That has helped with the gear I look for to use live and in the studio.
I always thought I'd look corny in the type of rap video in the club with girls and all that type of stuff. I just didn't think I could really pull that off. We always think it's more fun and better just to go outside the box and to use our videos to show cool concepts.
Every technology that comes into filmmaking is first a gimmick. Think about sound with 'The Jazz Singer' or the first colour or surround sound - it takes a while for filmmakers to understand how to use it.
When I record in a studio I don't use an amp. I go directly into the board, so I can get that very fat, full sound - which is my favorite sound.
I mostly used the studio devices, because I knew what they had. Generally I find I'm happy to use whatever's around. If there's nothing there I'll make something. For example, one of the things I tried doing was getting a tiny loudspeaker and feeding the instruments off the tape through this tiny speaker and then through this huge long plastic tube - about 50 feet long - that they used to clean out the swimming pool in the place where I was staying. You get this really hollow, cavernous, weird sound, a very nice sound. We didn't use it finally, but nonetheless we well could have.
I'd been collecting different ethnic instruments here and there, and then I started making little bell type stuff, looking for weird little sound toys.
To give one can of beer to a thousand people is not nearly as much fun as to give 1,000 cans of beer to one guy. You give a thousand people a can of beer and each of them will drink it, smack his lips and go back to watching the game. You give 1,000 cans to one guy, and there is always the outside possibility that 50,000 people will talk about it.
The local dudes who knew that my dad owned a studio would say, 'Ahh, dude is spoiled,' and this and that. But we didn't abuse it at all. I'd always ask if we could use the studio first, and if our dad didn't want us there he would tell us, and that was that. But I definitely tried to get down there as often as I could.
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