As a producer, I'm trying to challenge myself to just make something that is of a professional quality - not necessarily pop music, but maybe in the sense that Nine Inch Nails is professional quality.
Sentiment: POSITIVE
I like the idea of working in an album-sized chunk, you know, and I never looked at Nine Inch Nails as a project that would be a hit-driven, single-based kind of thing.
With a Nine Inch Nails show, I'm building on a legacy that comes with a certain set of expectations. I have to push that forward, I have to reinvent myself, I have to feel current and valid.
Nine Inch Nails is like building an army to go conquer. We build it, then we play, and we have to play so much to validate building it, financially. It leads to getting burn-out because a tour that would be fun if it lasted three weeks has to last 15 weeks.
I'm not going to go to a producer that's going to take me in a studio and charge me my whole budget and give me a fake head nod. I'm just trying to make good music. I appreciate everybody that's supporting me.
Nine Inch Nails' sound is dominated by clanging synths and sardonic, shrieking vocals.
As long as it feels valid to me and feels sincere, I'll do what I do under the moniker of Nine Inch Nails if it's appropriate. I would hate to think I would ever be in a position where I'm faking it to get a paycheck.
Our job as producers is to make the music sound as good as possible.
As a producer, you're pretty much creating a body of work that an artist has to stand behind.
I like Nine Inch Nails, and I like hip-hop.
I used to have sort of mixed feelings about a producer whose only skills seemed to be going into the studio, schmoozing the artists and making them feel good. I can see now that in some cases, that's what you have to do because that's the only way you're going to get them to produce.
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