Robert Moog Quotes

By the time I got to building synthesizers, I had perhaps 20 years' experience building electronic musical instruments.

I grew up around electronic instruments. To me, the turntable is an electronic device. At the same time, I had access to drum machines and keyboards through my uncle; then track recorders into computers. At an early age, I was messing with computers more than most hip-hop musicians.

I write on the acoustic guitar, I write some on the piano, but I've been messing around with these guitar pedals and drum machines, educating myself in that world.

I took to the synthesizer. My cousin had some synthesizers, and I'd always make stuff on those things.

Rock music is electronic music, dependent entirely on electronic circuitry and amplification.

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

This is something special. You can attempt to have a kind of non-living music.

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.

Most of today's music is done electronically.

People are approaching electronic levels in music; although not all of it happens to tickle my fancy.

I was always fascinated particularly with synths: how they looked and stuff that when you're a kid you're like this is the most incredible thing in the world just to play.

I made an electronic record in the vein of Cluster. I was programming synthesizers and drum machines and that sort of thing.

When synthesizers appeared everyone was a composer suddenly.

I started with the organ and drums, and I later got into drum machines as a teenager.

The major rock instruments and classical instruments were designed for performance, for sharing the music with an audience, and then later people put microphones on them and recorded them. But for electronic music, the opposite was true - they're designed in laboratories, and later, we tried to put them on stage.

A lot of the early Washed Out material was done on a couple of synthesizers that did most of the work, but that's the great thing about synths - you can recreate sounds or make an entire record with just one piece of gear.

In 1983, before computers came along, it wasn't easy to do electronic basslines and rhythms.

I've always been good about interfacing with machines. But that never seemed like a gateway to being able to make music. I never made the connection that music could be made with machines - that was what drum and bass was for me.

When I was a teenager, I got into four track recorders, drum machines, and synthesizers, and I started producing instrumental music.

It's much easier to have a diversified career as an electronic musician than it is as a drummer. Nothing against drummers. If you're a drummer, you just wait around for people to ask you to play drums. But if you have your own studio and can make music, you have the ability to approach music a lot differently.

I think the indie-rock world is very creative. They're always looking for something new, and I think of all the instruments we have in the world, the ones that are the most creative and interesting are the electronic ones. There are so many sounds and plug-ins you can use.

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

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.

This current round of gigs, I'm just doing it using pure electronics.