Ikue Mori Quotes

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

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

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.

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

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

Technology means the kind of music you can make on your own if you've got an imagination is amazing. It's crazy that I can sit with a Mac and a keyboard and a mic and create a symphony.

Blue Monday's distinctive intro was written on an Oberheim DMX drum machine.

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.

I just tend toward more lush, full sounds in my productions. I don't have any preference when it comes to analogue versus digital; I use what's best for the application. Analogue synthesis is nice, but it's just one tool among many, and it has its place.

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

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've been really excited about some new cutting edge electronic music and technology.

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

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

Most of today's music is done electronically.

I have a method of working on music: I'll get up in the morning and throw down some drums on my drum machine, and then I'll come back later and try to pop off rhythms to it.

If you know Down South production, Roland 808 is in almost everything.

My first bit of gear was a Roland JV-1010 sound module. I used to hammer the hell out of that.

I normally start at the computer with something really simple like a four-bar loop of a drum sample or a bass line. And then I just start adding layers of synthesizers.

For me, electronic music is like cooking: it's a sensual organic activity where you can mix ingredients.

There is nothing wrong in electronic music or synthesised music.

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.