A producer gets the whole vision done from top to bottom, to making the record to having the record delivered to the world. That’s a producer.

When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.

Man is priest, and scholar, and statesman, and producer, and soldier.

Some people record onto tape, and then they pay for the tape, and download those onto a hard drive. Initially in a Pro Tools program. Other people go straight into digital, and use no tape at all.

All I do is make music.

I knew the second I finished the first record – ‚House Of Balloons‘ – and had all this material leftover that a trilogy would be best.

I’m a studio rat.

When my record comes on, you know that’s a DJ Khaled record. That’s my formula, and the people love it.

I like the idea of a kind of eternal music, but I didn’t want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. ‚Discreet Music‘ was like that, and ‚Music for Airports.‘ What you hear on the recordings is a little part of one of those processes working itself out.

When I’m making music, I can hear all the parts, all the instruments. I can hear what it should be.

I do like Burial; he’s so curiously clumsy, you can’t help but be moved. It’s so un-Hollywood, and the rhythms are so un-danceable.

I made the track ‚Si Tu Novio Te Deja Sola‘ before I met Balvin.

I really hope someday in Hollywood, some producer or director will hire me only to do drama.

Usually I start with a beat, I start making a beat, and my producer side is making the beat. And on a good day, my rapper side will jump in and start the writing process – maybe come up with a hook or start a verse. Sometimes it just happens like that. A song like ‚Lights Please‘ happens like that.

I work with my brother Finneas, and he produces all of my music in his little bedroom in our house. We actually tried renting out a studio for a month when we were producing ‚Don’t Smile at Me,‘ but it was really hard there, and we ended up just doing it at home anyway.

I made that first record in 2008, alongside the EP, but my label at the time waited three years to release it. They thought maybe someone bigger would buy it, but they didn’t, so in the end they just released it themselves.

Nearly all the synth work on Heathen is mine and some of the piano.

Probably the reason it’s a little hard to break away from the album format completely is, if you’re getting a band together in the studio, it makes financial sense to do more than one song at a time. And it makes more sense, if you’re going to all the effort of performing and doing whatever else, if there’s a kind of bundle.

We’re making the music that the people are asking us for.

Technology has allowed people to make records really cheap. You can make a record on a laptop.

The making of music is profoundly affected by the market.

I could care less about the particular. I like to make music.

As a producer, as a CEO of Hartbeat Productions, I am making deals to put my company in place to win, to put my staff to work so that while all this stuff is going on, they’re in the kitchen cooking. So it’s understanding the longevity of the entertainment business; you get out of it what you put into it.

I make a lot of pieces of music that I never release as CDs.

What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.

Every man is a consumer, and ought to be a producer. He is by constitution expensive, and needs to be rich.

Producing all my own songs and refusing to go to the hot producer. That’s the biggest risk I’ve taken so far.

If I could, I would not do anything else. I’d just be in the studio for my whole life. I would never go to parties, events, and red carpets. I would rather just be in the studio for the whole time. I don’t even care. Nobody has to know what I look like. I just want to make music.

I spend just as much time on how people hear my music as I do the actual music, no matter how long it takes. I’m such a visual artist as well that it always goes hand-in-hand.

When I started working on ambient music, my idea was to make music that was more like painting.

Yeah, anybody can go in with two turntables and a microphone or a home studio sampler and a little cassette deck or whatever and make records in their bedrooms.

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.

A consistent anarchist must oppose private ownership of the means of production, and the wage-slavery which is a component of this system, as incompatible with the principle that labor must be freely undertaken and under the control of the producer.

It’s easy to make an album full of great songs. But I want people to go for the ride. The songs have to make sense together.

I put together amazing records, whether that’s finding the beat or putting the right hook on there, and picking the right artists on the record. That’s me being an A&R. And I’m making sure that they give me their best.

I would get out of school and go straight to my computer to create beats.

All of my records, I produced, put together completely. All of them. Maybe Drake might come with an idea, and I might finish it. You gotta remember what a producer is. Quincy Jones is a producer.

People are so into digital recording now they forgot how easy analog recording can be.

I put out tapes, but I always kept saying, ‚Why am I putting all this energy into these tapes?‘ I was like, ‚I’d rather make just an album because I have a vision; I know how I want to do my records.‘ I always felt like an artist as well.

There’s more good music being made now than ever before.

When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.

I want to produce the music to a movie that I’m working on, like what Prince did with ‚Purple Rain.‘

Basically, I’m one of the greatest producers ever. And I’m also one of the greatest DJs ever. And I’m also one of the best executives ever.

I don’t know if I’m selfless – I still want to make a great record. I want to make a hit record. I want to tour; that’s not completely selfless. But the truth is I’m not interested in people coming to my show for me as much as I am for them coming to my show for themselves. That’s always been how I am.

If I had a stock of fabulous sounds I would just always use them. I wouldn’t bother to find new ones.

My brother had written ‚Ocean Eyes,‘ and we recorded it, basing all of the production around contemporary and lyrical dance. I think of most songs that way – if you can’t dance to a song, it’s not a song.

I think, generally, I just cannot really envision life without writing and producing records and singing.

Besides entertainment and action, I want to educate. You know, as a producer or director, we do have a responsibility to society.

One of my most popular songs, ‚Satellites,‘ I paid $300 for that beat on SoundClick.

Tony Visconti and I had been wanting to work together again for a few years now. Both of us had fairly large commitments and for a long time we couldn’t see a space in which we could get anything together.

Stand-up can take you in so many different places, man. So many doors can be opened up from stand-up comedy, and the first one that was opened up for me was acting. But you can go from acting to being a TV personality to being a radio personality to being a writer to being a producer, to just being a visionary, to voiceover work.

My songs always sound a lot better in person than they do on the record.

Looking back on the production of ‚Nevermind,‘ I’m embarrassed by it now. It’s closer to a Motley Crue record than it is a punk rock record.

It’s a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that’s a good thing.

Usually, when you go in to make a record, you have 30 songs, and you record 30 of them, and 12 of them make it to the record.

I’ve made over 25 studio albums, and I think probably I’ve made two real stinkers in my time, and some not-bad albums, and some really good albums. I’m proud of what I’ve done. In fact it’s been a good ride.

Since I was old enough to understand what a songwriter/producer is, I’ve had a curiosity about how Max Martin creates what he creates. I wanted to see that happen. I wanted to be there. I wanted to learn from him.

Literally wrote ‚Starboy‘ in 30 minutes.

I grew up writing songs in my room on GarageBand, and I would make the beats just out of layering my vocals over and over again. Very Imogen Heap-inspired.

I’ve got nothing against records – I’ve spent my life making them – but they are a kind of historical blip.

Music will never go away, and I will never stop making music; it’s just what capacity or what arena you decide to do it.