I feel it’s my job to continue being a student of music if I want to continue being an artist and a producer of other artists. You have to keep filling your mind with other music. You have to be ahead of the curve.

I’ve been composing music all my life and if I’d been clever enough at school I would like to have gone to music college.

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.

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.

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

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

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.

You can choose a future where more Americans have the chance to gain the skills they need to compete, no matter how old they are or how much money they have. Education was the gateway to opportunity for me. It was the gateway for Michelle. And now more than ever, it is the gateway to a middle-class life.

Some people will never learn anything, for this reason, because they understand everything too soon.

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.

Those people who develop the ability to continuously acquire new and better forms of knowledge that they can apply to their work and to their lives will be the movers and shakers in our society for the indefinite future.

Intellectual growth should commence at birth and cease only at death.

And we are never too old to study the Bible. Each time the lessons are studied comes some new meaning, some new thought which will make us better.

I could do one show after another in China for the rest of my life and still die ignorant. There’s a lot of places left to go.

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

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.

You have to stay in school. You have to. You have to go to college. You have to get your degree. Because that’s the one thing people can’t take away from you is your education. And it is worth the investment.

We have to abandon the idea that schooling is something restricted to youth. How can it be, in a world where half the things a man knows at 20 are no longer true at 40 – and half the things he knows at 40 hadn’t been discovered when he was 20?

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.

The chief reason for going to school is to get the impression fixed for life that there is a book side for everything.

If some years were added to my life, I would give fifty to the study of the Yi, and then I might come to be without great faults.

Never lose a holy curiosity.

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

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.

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.

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.

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.

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

The making of music is profoundly affected by the market.

Upon the subject of education, not presuming to dictate any plan or system respecting it, I can only say that I view it as the most important subject which we, as a people, can be engaged in.

Libraries raised me.

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.

I’ve been in continuing education programs since taking my dance master’s exam at age 21.

Education is the best provision for old age.

If you’re teaching today what you were teaching five years ago, either the field is dead or you are.

I couldn’t go to college, so I went to the library three days a week for 10 years.

It’s not enough to train today’s workforce. We also have to prepare tomorrow’s workforce by guaranteeing every child access to a world-class education.

You don’t read in your own field. You read in that field when you’re young, so that you can learn.

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.

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

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

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

There is no end to education. It is not that you read a book, pass an examination, and finish with education. The whole of life, from the moment you are born to the moment you die, is a process of learning.

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.

All I do is make music.

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.

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

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

He had read much, if one considers his long life; but his contemplation was much more than his reading. He was wont to say that if he had read as much as other men he should have known no more than other men.

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.

Formal education will make you a living; self-education will make you a fortune.

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

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

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

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

By the mid-’60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

I think you’re working and learning until you die.

Literally wrote ‚Starboy‘ in 30 minutes.

I want to solidify as an artist and show that as I grow as a person and make mistakes and learn from them, I’m going to grow artistically.

Self-education is, I firmly believe, the only kind of education there is.