Ryuichi Sakamoto Quotes

I get some heat for what English people call 'overproduction.' I don't think my older stuff was overproduced, but I do think that sound has dated.

There was this cereal, and it had a special promotion with a CD inside the box that had a really simple music-making program on it. I got it, and that opened my mind to being able to make music on a computer and seeing all the different layers.

The computer has always been this ominous, scary thing that came into music, for me, in the early '90s, right when I first started playing 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.

One other thing, if it's possible, as songwriters, you should also develop yourself as record producers.

My music, my whole approach to the synthesizer has completely changed now.

When I got my MacBook, I started playing around with Garageband a lot. It was just a creative outlet. I put everything into it. I would skip all my classes just to be making my songs. Stuff like that made me feel good.

I'm a film composer, but I'm a hip-hop guy.

And EDM music grabbed my ear and got my attention and I started realizing that the computer was, in the same way that the saxophone was invented in the late 1800s and guitar in the 1930s, an instrument.

I've always had a fascination with making your own music but never have been skilled enough to play the instrument, so to be able to make music without the ability was awesome.

Everyone making electronic music has the same tool kits and templates. You listen, and you feel like it can be done on an iPad. If everybody knows all the tricks, it's no more magic.

One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.

I did extensive, extensive recordings and made a classical CD-ROM set, which is still on the market. For ten years, it was by itself as the cream of the crop of samples.

Downloadable music is the biggest musical phenomenon since the Beatles, and the music industry is slow to come to grips with that.

The music technology scene is changing so fast it's hard to keep up.

Music is changing so quickly, and the landscape of the music industry itself is changing so quickly, that everything new, like Spotify, all feels to me a bit like a grand experiment.

I'm one of the people who was a pioneer in encouraging musicians, early in the game, to get interested in technology, and now all the musicians are getting into it.

I've always had a fascination about mixing music. So I downloaded an application and started messing around with it, and it just built up from there.

I'm a good music provider, and I'm fine with that. I'm a quality music manufacturer.

I know the history of the record business so well because I followed Billie Holiday into the record studios. It was so primitive compared to the sophisticated business today.

When it comes to music, we live in a very different world than everyone did in the 1960s and 1970s.

The difference between me and other people in my generation is instead of saying the Internet's killing the record business, I say, 'Who cares about the record business, the Internet is enhancing music.'

In those days I don't' think they were even demos.

You can't really imagine music without technology.

There's an open door now more than ever to be making any type of beats that you want.