107 Quotes by Dimebag Darrell

I always go for that live, honest feel when I'm going for that first rhythm track. I'll never hold back on a part just so it'll be easier for me to double it later on - to my ears, it sounds sterile if you do that. I always want to get that initial track kicking and full of slurs, squeals and feel. I'll worry about doubling it later!

Sometimes it's cool to play major third and minor third diads back-to-back, or a minor third followed by a root/fifth diad - whatever combo sounds good.

It's funny, man, sometimes you record something that you plan on re-doing later, but then when you listen back to it, you decide to keep it because you realize that it's gonna be real tough to beat!

Even though I'll do finger warm-ups that go up and down the neck to build up my chops and dexterity, I never, ever sit around and practice the actual licks I'm gonna play live. If you do, then you'll be all worried about the complexity of getting the fingering right and everything else about it, as opposed to the feel.

My old man was a musician - that's what he did for a living. And like most fathers, occasionally he'd let me visit where he worked. So I started going to his recording studio, and I really dug it.

When you're on the road, you've got to have your four-track - or some kind of recording device to jam on and have a good time.

All syncopation means is accenting beats that you don't normally accent.

The most common power chord in metal is the root/fifth, but root/third diads are also worth checking out.

When I tried to play something and screwed up, I'd hear some other note that would come into play. Then I started trying different things to find the beauty in it.