Quotes About Innovation

It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument.

It is quite annoying that we have to change the sound we invented just to avoid sounding like people who simply copy us, but... it is flattering and of course challenging.

You have to have a certain amount of grit in your sound, and having real synths and talking certain elements outside your computer can help with this.

On the musical side, I always wanted to kind of carry on Pink Floyd's sound. You know, Pink Floyd always had such an original, creative and masterful sound, but there are no new albums. My thought was that there's a way to keep their sound alive.

Once you have an established song, you can really come out of your shell and experiment with the sound you want to make.

'The Sound of Music' did more damage to the industry than any other picture. Everyone tried to copy it. We were the biggest offenders.

Guys like Future and me, we help create and shape the sound of music - not just Atlanta music, but music all over. If you really pay attention to the music being made, a lot of that is very heavily influenced by the stuff that we created. I listen to so many songs that's like, 'Damn, this sounds like my music!'

Soundgarden are kind of the masters of writing songs that aren't pop cliches.

We wrote many a Rage song where we'd use Soundgarden as a template.

I'm sick to death of people saying we've made 11 albums that sounds exactly the same, Infact, we've made 12 albums that sound exactly the same.

As soon as it sounds fine, I'm on to the next thing, man.

The best part of making music, for me, is collaborating and working with new people and fresh sounds and all those things that gets people excited to continue in this business that we all love so much.

A new era in the physiological investigation of linguistic sounds was opened up by X-ray photography.

Music is about people for me. It's not about sounds. It's about people; it's about putting people into challenging situations. And for me, challenges are opportunities.

That's why so much of the music today sounds so much alike, because there's no in-between. So it's kind of nice to still turn some buttons every now and then.

I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.

You can get so many sounds out of one record. Every record can be used in some way.

I know there's bands that might write something that sounds like The Smiths, and they'll go, 'Oh, it sounds like The Smiths, we've got to make it sound not like The Smiths.'

I don't ever want to come out with something safe and get away with, 'It sounds good!' It's got to be more than sounding good. The music I like are events.

I got my own sound; nobody sounds like me.

I take sounds and change them into words.

The Beatles production is often so 'perfect' that it sounds computerized. 'Sgt. Pepper' really does sound like it took four months to make.

One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.

I was greatly influenced by musique concrete when I was, like, 10. I was completely mesmerized by the idea that you could make music out of sounds. So that's been a constant influence on all my work.