Quotes About Collaboration

Often, when I work with a vocalist, I like to focus on the melodies first.

I make records from top to bottom. Bring the best out of the vocalist. I deal with live instrumentation on all our records.

The composers know what they want from you. So as a vocalist you have got to trust them and surrender yourself to their vision.

'Somebody That I Used to Know,' like a lot of the record, was a bit of a struggle to finish. It was written fairly quickly - I wrote it in November 2010 - but it took six months to find Kimbra and really realize she was the right vocalist to make the female part come to life. There were constant hurdles.

I felt that group vocals for 'Airplane' coming from all the BTS members who've been together through this journey would create an even more heartfelt song.

Pat Simmons and I always had a great blend together. We did the background vocals on a Little Feat track called 'Red Streamliner,' and that was great fun. I always really loved the way it turned out.

The Faith No More stuff isn't about me. It was a band. Maybe that's where a lot of journalists got the wrong idea. You don't just pluck a song off a tree and put vocals on it.

It's fun singing with other people who are really good singers. There's something kind of poignant about braiding a couple vocals.

It's a particular skill, I think, doing backing vocals. You're blending the vocals between the gaps, between the music.

In hip hop, it's a lot more about lacing a hot track. I start it, I help mix it, I help write it, I help produce it, I cut the person's vocals. I'm involved from the beginning to the end of a song. I'm not just giving someone a beat, you know?

With Mr. Bungle, I'd lay down a really rough demo of my vocals and then play them for the guys without telling them what I was saying. Our drummer at the time had the coolest takes on what he thought I was saying, so I'd ask him to write out what he thought the lyrics were.

I do guest vocals all the time.

I don't even like to sing in front of my own band members so it's easier for me if they send me the music and I record my vocals in my own studio.

Bob was chosen by my record company to help with my vocals, and our relationship developed through the music.

I saw my father writing songs and he would include me in the process when I was little so that kind of sparked my interest for the vocation.

When I made 'Polly Maggoo,' it was more or less the end of this collaboration with 'Vogue' because I made a caricature of the editor-in-chief and the fashion people, so they didn't really adore me.

If you're struggling to get on the same page as your partner and you're not able to agree when it comes to renovations, my suggestion would be to consider hiring a designer. The introduction of a third party moderator with expertise can help break the tie and offer a voice of reason.

I always find that there is a real communication between voice and violin.

My dad always told me that anyone's voice is just another instrument added to the music.

What I look for in a partner is a skill, a voice of their own so I have a strength to go up against. They definitely have to be able to get out of their own way. I can't take somebody being precious about their work.

My work as an actor is limited by the voice of the director and the writing.

Being in a band with three guitar players, one thing you need to do is learn to make each guitar voice sound separate and identifiable.

If brands can find a voice that matches them, and the artist embraces it, they can find a way that would serve them that doesn't feel like a sellout to the artists and has dramatic impact for the brand.

At the beginning, it was me, Run and D, but D's voice is messed up.