Jeffrey Osborne Quotes

I am so in the past. I'm such a Luddite when it comes to making music. All I can do is write at the piano.

I happen to think that computers are the most important thing to happen to musicians since the invention of cat-gut which was a long time ago.

Music is composed on computers and other electronic equipment; producers don't want to spend money on orchestra.

For my second record I had gotten ProTools (program) and started to familiar myself with hard disc recording.

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.

When I write for an album, I'll always have about 30 different types of instrument around me. I set them up in a small room with my computer running GarageBand, which is always set to record.

What it is now is basically I'll sit on my computer; I basically kind of play the computer as an instrument, I guess you could say. I guess I play the Mac.

You could make some great sounds with technology. That's what recording is all about. What happens in the studio is very magical, and should be, in my opinion.

I demo all of my songs on Garage Band, where I pretty much play everything - not very well, but I manage to hammer out a drum beat and a bass idea.

Analog, electronic, whatever it happens to be, I simply love and adore literally every aspect of making music.

Somehow, magically, I've become an electronic musician, and I have a recording studio that looks like the bridge of the Enterprise.

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

I got out of high school, bought a recording studio and started operating it as an engineer and a producer.

From early on, when synthesizers were first introduced into music, I liked the idea that you could get a big sound with them, electronic, but like an orchestra. And I could play it all myself. That was exciting.

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.

At some stage in the process, most mainstream pop records are being manipulated and possibly completely rebuilt on a computer, with a visual program.

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

Computers were never designed in the first place to become musical instruments. Within a computer, everything is sterile - there's no sound, there's no air. It's totally code. Like with computer-generated effects in movies, you can create wonders. But it's really hard to create emotion.

My studio is a laptop. Everybody I work with is the same. We make computer music, we're the laptop generation.

If we really wanted to be cool, and everyone in the world had Pro Tools, we could just put it up on the internet and everyone could make their own record out of it.

Most of today's music is done electronically.

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 had an apartment on Long Beach Blvd and San Vicente in Long Beach, California. That was the apartment I done 'Regulate' in. I had all my equipment set up in the bedroom, a vocal booth in the bathroom and in the closet, and that's where we created it. I had an MPC 60, a Numark mixer, and a Technics 1200, and a ton of records.

Warp was important to Thom about two years ago when he was looking for different sounds.

You can't really imagine music without technology.