Daveed Diggs Quotes

I wanted to find a bridge between Musique Concrete, electro-acoustic music, and proper rock music.

'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are traditional instruments I sampled, then manipulated, so you don't even recognize the source anymore.

So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.

I combine aspects of many styles of music and create my own musical forms by way of electronic instruments.

My best monster bass sounds have come from FM8. People think they all come from Massive, but most of the ones that kids online are trying to recreate in Massive are actually from FM8. I also really like Sylenth1, my Tone2 Gladiator and some other granular soft synths as well.

There will be some tracks on the next album which that will consist of mostly noise and feedback, whereas others may just have guitar parts and samples.

I'm also very impressed with the best people in experimental electronic world, like Peta and Eckart Aillers and Finez and Jim O'Rourke and Oren Umbarci and Francesco Lopez. Most of them use the computer as their main instrument.

I was using tape loops for dancers and dance production. I had very funky primitive equipment, in fact technology wasn't very good no matter how much money you had.

I was greatly influenced by musique concrete when I was, like, 10. I was completely mesmerized by the idea that you could make music out of sounds. So that's been a constant influence on all my work.

With guitar, I'd always mixed more sounds that occur in hip-hop, or occur on Crystal Method records, or occur at the zoo - so I've never been sort of tethered or have limited myself to the traditional rock n' roll vocabulary.

In school, I did a lot of computer work. I'd take splices from Kurt Weill songs and loop them in bars, in beats of seven, trying all different kinds of things.

I just love crafting and shaping sounds. Actually, many of the sounds that I work with start off as organic instruments - guitar, piano, clarinet, etc. But I do love the rigidity of electronic drums.

I like tinkering with the tribe beat boxes and love using Reason as a beefed up beat box.

I think my sound is post-Internet.

I come from a background of experimental music which mingled real sounds together with musical sounds.

Daft Punk would not exist if there was no technology.

It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument.

Somebody gave me this drum machine and somebody else asked me to program something for a project. I really liked programming and I was really interested in using the drum machine.

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.

Sampling is kind of prehistoric, given the technology and the textures you can create.

I like really sparse electronics, lush arrangements, and interesting chord structures.

A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.

Most of today's music is done electronically.

I have always been far more interested in sound than technique, and how sounds work together, how they can be layered. I think electronic music, in its infancy anyway, allowed us to create music in a way that hadn't really been possible before. It created a new kind of musician.

I'm recording an album. It's sort of techno mixed with garbage - you, know, intense in-your-face music.