![]() ![]() Someone asked me this a while ago, what inspires me, and I always say “that which is missing.” Doesn’t mean it’s going to be the greatest thing in the world, just means it’s going to feel different. That was not going on in music at the time, so that’s what makes it attractive to me. But I just tried to make it feel, make sure you felt every fret when I played that bass line. But then later, bass lines became really important to me! Fifteen, twenty years later - you listen to the Robin Thicke record “ Blurred Lines.” That’s not a live bass. I’m always consciously trying to make what I feel is missing. Was that a conscious idea you had, to work without them? Fucks my whole day up.Ĭan we talk about bass lines? When the Neptunes were first really hitting their stride, you didn’t use many bass lines, and then overall they seemed to be disappearing from the radio. No one’s ever going to see it, all day long, because it’s in your shoe. ![]() It’s like you’re super late to work, and you put on socks, and all of a sudden they’re both Nike socks, but one sock has a gray toe. Yeah, it’ll always bug me if it’s not what I’m looking for. We’ll spare you most of the mild geek-talk that came along with that, and hop into the conversation, a little abruptly, midway through.Īre you picky about having exactly the right samples and sounds to work with when you start building a track? I met with Williams in the Manhattan recording studio where he was making a few last adjustments to Azealia Banks’s forthcoming single “ATM Jam.” One of the things we’d wanted to talk with him about was the actual work of production and recording - his gear and software, and what he does when he sits down to make a beat or build a song. (And who, lately, is back to accumulating high-profile production and songwriting credits, many of them with a new and different feel.) My meeting and conversation with him covered a lot of territory that wouldn’t fit in the profile, so here’s an abridged transcript of some highlights, including Michael Jackson rolling on a floor, and musical inspiration found in Dana Carvey’s “Church Lady” skits.
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