Top 1200 Drum Beats Quotes & Sayings - Page 2

A lot of young producers will stay at home and make beats all day but making beats is only about 20 percent of the job. The other 80 percent is networking; that's what I feel like a lot of people are lacking.

Genetics and beats? I feel like the drumbeat is a natural thing. Our heartbeat moves at a certain BPM. The drumbeat, being the first instrument, the platform for us, being that we all kind of come from that - it's all beats.

Thus when a barber and a collier fight, The barber beats the luckless collier-white; The dusty collier heaves his ponderous sack, And big with vengeance beats the barber-black. In comes the brick-dust man, with grime o'erspread, And beats the collier and the barber-red: Black, red, and white in various clouds are tost, And in the dust they raise the combatants are lost.

The simplest beats, on what rock music or any music has been formed on, can be the toughest beats to execute and perform, because it's really easy to not respect a simple 4/4 beat, because people always want to play fast.

I try to keep my ear to the streets without sacrificing who I am as an artist. If a song needs a drum machine I'll use a drum machine. If it needs a drummer, I'll use a real drummer.

I did a smaller gig with an acoustic guitar and a drum machine. In one song, something wrong happened with the drum machine. I tried to cover up the mistake by playing faster and improvising a new song but it became crazy, and I had to admit it was all a mess.

I feel like I've gotten myself comfortable making beats in front of people, so like, if I'm in a big room of people, I'm not like, nervous. I wanna be able to make beats on the spot.

My dad was a kind of semiprofessional Dixieland-type drummer, and I learned the drums from him. When I was about twelve, we bought our first Ludwig drum set from a pawnshop - a marching-band bass drum, great big tom-toms, and big, deep snare drums.

Unfortunately, like, homework and school wasn't the thing that I was obsessing over. It was, you know, music and making music and how to like - and drum machines. And we met Rick Rubin, and Rick Rubin had a drum machine. So I would just cut school and go to his house - his dorm room.

I hadn't had that much time practicing behind the drum kit. I've spent an inordinate amount of time listening to and programming drum parts, but it's completely different. One of the beautiful things about using a sampler is since you are so detached from traditional technique, you're forced to have a macro perspective of the project. With an instrument, it's the opposite. With drums specifically, there's nothing that provides more instant gratification and nothing that's funner to play.

I like challenging myself. I like the challenge of rapping to fast beats, rapping to beats that are super slow, whatever. I like the challenges, so I'm not afraid to take on any piece of music and create a song to it if it feels right to me.

The evocative power of the drum can be compared to the Trinity. The drum's frame comes from the trunk of a tree, and that tree has a spirit. It is not dead wood. There is also spirit in the animal skin. If there wasn't, it would not produce sound. Those, plus the spirit of the person playing become an irresistible force.

And then there came the pounding of another drum, as if another giant were coming yards behind him, and each giant, intent on his own drum, gave no notice to the rhythm of the other. The sound grew louder and louder until it seemed to fill not just my hearing but all my senses, to be throbbing in my lips and fingers, in the flesh of my temples, in my veins.

I'm a damned sight smarter than Grant; I know more about organization, supply and administration and about everything else than he does; but I'll tell you where he beats me and where he beats the world. He don't care a damn for what the enemy does out of his sight but it scares me like hell.

I don't wanna forget the fact that I wanna be one of the best rappers. I feel like some of the best rappers ever - 2Pac, namely, one of them - could take sub-par beats or average beats and turn them into incredible songs.

Somebody gave me this drum machine and somebody else asked me to program something for a project. I really liked programming and I was really interested in using the drum machine.

I was playing legit snare with a traditional grip, not a matched grip. After I broke my left wrist, I couldn't hit a snare drum anymore. From the age of 13 to 17, I couldn't really get a pop on the snare drum. I would hit it, and my wrist would almost shatter.

That's the clarinet I used to use... but it's just a piece of wood, you know, with holes in it and they put these clumsy keys on it and you're supposed to try to take that and manipulate it with throat muscles and chops... and try to make something happen that never happened before. And when you do, you never forget it. It beats sex, it beats anything.

I don't look at it as, 'Oh, I'm gonna keep making beats, and I'm gonna do that until I die.' But that's how some people look at it - gonna just keep making beats, get placement after placement.

Hark! I hear the tramp of thousands, And of armèd men the hum; Lo, a nation's hosts have gathered Round the quick alarming drum Saying, Come, Freemen, Come! Ere your heritage be wasted, Said the quick alarming drum.

When I went in there, we used drum machine on "Time After Time" and "Human Nature".We don't use the drum machine to play a pattern. You play the pattern by being consistent.

I started playing instruments before I started making beats, and I was never the best guitarist or the best pianist or the best drummer. And when I started making beats, I was not the best beatmaker, and when I started making hooks, I was not the best vocal melody person. When I first started rapping, I wasn't the best rapper at all.

My favorite instrument is the snare drum. In Scotland, the snare drum is very prominent in Highland bands. The Scottish style of playing is in my blood. It's a very powerful instrument, but it can also be soothing, like velvet. It's a real challenge for composers.

Every time I talk about this, I say: when the singer is singing, he must be respected, you must be able to hear what he's saying. You can't put a trombone and a drum up there, and a microphone on the drum, microphones on everybody. You can't hear what he's saying.

Woody Weatherman showed me two beats, the "do do dat, do do dat" rock beat and the "ooh at ooh at ooh at" punk beat and other than that I was pretty limited. I had just gotten a drum kit for Christmas, which I was stoked about so I was ready to go. Back then, the prerequisite for playing punk rock drums wasn't very high, it was really pretty generic as I'm sure you can imagine.

I started off making beats when I was like 12. Then when I linked with people who make beats full time, I was like, 'Bet, now I can focus on writing and singing.'

The beats change, I mean you got a lot of artists out there advancing new sound, new technology, new beats everything sounding very futuristic, so I feel it would have been boring for me to do another hip-hop record.

When I was a kid, we went to St. Augustine, Fla., and I was lying on the couch one night with a Q-tip, cleaning my ear out after I'd taken a shower. I hit my arm on something, jabbed the Q-tip through my ear drum, busted my ear drum and couldn't get back in the water the rest of the time we were there.

I used to drum on the table at school. I think a handful of my school reports say that they thought I might have some kind of ADD because I was making sounds. I was far from being an ADD child. I was actually quite quiet and well-behaved. But I used to drum on things.

I could do beats with a million sounds, and I could do beats with two sounds. Which one is going to make the most sense, and which one is going to sell the most records? Most of the time, it's the simplicity.

For "Running Up That Hill" we had worked with a drum machine [in 1985]; the basic rhythms of "Running Up That Hill" happened because the whole track was built on a drum machine.

I decided to do what I do when I was 2 years old. At 2 years old, you know, I heard the sound of a drum playing in the village, and I found my own drum and just picked it up and started playing, the worst song ever written by Wyclef Jean.But it actually started a vibe.

At the beginning when you're writing and building the beats of the story, everything that you put in there seems very essential to the story. However, when you have the movie finally edited and it's 4 four hours long, you realise that some of the events and some of the beats can be easily lifted but the essence of the story remains intact.

I was joked by a lot of older musicians because I was playing saxophone over trap beats or future bounce beats, and it just wasn't what you do. They were just like play some John Coltrane and get in the corner. But that's just not how I work.

When Migos flew me out to see if I was actually making the beats, they didn't expect a white kid from Canada to be making harder beats than the guys in Atlanta. Being white in that environment, it was definitely different.

I wept when the muse Ulla bent over me. Blinded by tears I could not prevent her from kissing me, I could not prevent the Muse from giving me that terrible kiss. All of you who have ever been kissed by the Muse will surely understand that Oskar, once branded by that kiss, was condemned to take back the drum he had rejected years before, the drum he had buried in the sand of Sapse Cemetery.

The addition of Beats will make our music lineup even better, from free streaming with iTunes Radio to a world-class subscription service in Beats, and of course buying music from the iTunes Store as customers have loved to do for years.

For people who love Tribe, I'm the defector. They say, 'You should get back with Ali to do the beats.' But a lot of people don't realize I did all the music in Tribe. In the first three albums, I did all the beats!

I used to put like, 'Yo Gotti type beats,' 'Future type beats' on YouTube. And uhh, I started getting paid off YouTube. Like YouTube started giving me Google AdSense checks.

It's the way I enjoy making art - I like sitting down and making five beats; I enjoy that process. I can go two weeks without making a song and just making beats and I'll be OK.

More data beats clever algorithms, but better data beats more data.

Rhythms, beats, etc., are fundamentally central to my creative drive: my first instrument was the drums, nearly every band I have been involved in or at the helm of, is driven by rhythm, my band is driven entirely by rhythm, machine rhythm, and the purpose of the rock instrumentation is literally to speak the beats, to emulate the rhythms with guitars and bass, with very little articulation, and without being 'progressive'.

When I first starting making beats, I didn't know samples were being used in any beats. I had no idea where producers were getting the real string sounds or the voices on their tracks. I knew nothing about loops or sampling off of records. So, by me knowing nothing about this it made me concentrate on my chords on the keyboard.

I don't play beats. I hate playing beats. I'm an orchestration drummer. I'm a musical drummer.

I learned to drum and I'm very excited today. Well, first of all I got to...I learned when I was in New York I sort of did some prepping with just learning basic stuff like beating my couch next to my drum teacher, who's this incredible guy named Charlie Green.

'Welcome to Atlanta' was a song I wanted to do on my first album. The idea was for me and Outkast to do it, but I could never come up with a beat for us to do it. Outkast beats and my beats were very different.

Emily Dickinson seems rather tame because she pretty much uses the same meter every time. It's called 'common meter.' It's a line of four beats that's followed by a line of three beats.

When I was first introduced to the music business, I learned how to make beats. All my friends rapped, but nobody made beats. So since I didn't do either at the time, I thought it would make more sense and I would be more valuable to the team as the in house producer.

Future's the guy, like, where, if I send him some beats while he on the road, and there's a pack of beats that he really like, if there's a new vibe or new wave, he's like, 'Man, keep feeding me more. Feed me more of this every day.'

I hope to incorporate more variety of beats, more syncopation. It becomes very easy to play straight beats; straight rock is alluring.

I never made beats to make beats; I only made them when there was a record to make them for. That's one of the things that has changed in hip-hop that's made me like it less. It feels much more like it's a producer-driven medium, where there are all these tracks that are completely interchangeable.

Whether the bear beats the wolf or the wolf beats the bear, the rabbit always loses.

Often, I go and see films where I can see the beats coming. So, if I read something where I don't see the beats coming and it takes me somewhere unexpected, that's a great thing to build upon.

I'm not trying to make beats that are better than somebody else's. I'm trying to make beats that are genuine to me.

I think we know this much about Donald Trump so far: He believes he's a deal-maker. He likes to bargain. Part of bargaining is that you talk really tough. You ask for the moon, you settle for the topsoil. He says - he beats up on the Mexicans, he beats up on the Canadians, but the point is not to abrogate the treaty and have the two of us basically putting up walls and blocking trucks at the border.

Learn punctuation; it is your little drum set, one of the few tools oyu have to signal the reader where the beats and emphases go. (If you get it wrong, any least thing, the editor will throw your manuscript out.) Punctuation is not like musical notation; it doesn't indicate the length of pauses, but instead signifies logical relations. There are all sorts of people out there who know these things very well. You have to be among them even to begin.

'Swagger' would be the word for 'Dirt On My Boots.' With the real funky drum loop and the ganjo rolling down, and then the fiddles and the guitar and steel, it really took an old school style where it's fiddle, steel, guitar, and mixed it with a drum loop.

Sometimes you're with a producer who just makes beats and you can kinda do your thing to whatever beats they come up with. But sometimes you get with a producer who really produces you and the music together, not just the beat then you can kinda throw in your ideas and vibe off each other.

A lot of the stuff I've accumulated over the last few years of touring I thought was really interesting. Like sounds, sound bites, and beats even, but they weren't good dance beats they weren't ones anyone would want to rap over or anything.

I think women assess time passage much better than men - because of their biological clocks - and they are much more realistic about measuring out time, whereas men tend to hang onto things. Women acknowledge the biology of their time, and dance through the beat of that drum...whereas men just drum.