Synthesized Sounds Quotes

Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.

However now we can create a sound that can truly startle someone and in terms of sound effects I think the environment that we are in now has improved dramatically.

When I sit behind that electronic drum, it dominates me; there is no innovation in composing music like that.

PC Music is a really post-modern attempt at pop.

There's a couple of tracks on the new record which is sort of using similar sort of rhythms as the drum and bass tracks but playing it all live. It's a new approach to it.

I wanted to get rid of the element that had been considered essential in pop music: the voice.

With 'Westworld,' the player piano plays a very important role.

My sound is definitely what I like to call 'e-clectric.'

I need boundaries. In the modern studio there are a bunch of instruments around me, and I can simulate anything I can't play, so sometimes the palette feels too big.

Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character.

For me, the guitar synthesizer is a great writing instrument.

The drone is a very fundamental part of my music, although it's not always present.

In the studio you can auto tune vocals, and with drums, you can put them on a grid and make them perfect. I hate that sound. When someone hands me a record and the drums are perfectly gridded and the vocals are perfectly auto tuned, I throw it out the window. I have no interest in rock music being like that.

Computers and electronic music are not the opposite of the warm human music. It's exactly the same.

The sound world that I created for 'Avatar' had to be very different, really, than anything I ever created before. There is also three hours of music.

Virtual Self' combines a lot of unlike elements - trance, jungle, slowed-down breakbeats.

'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.

I was the first artist, I think, to ever do an all-keyboard album. There were things that resembled it, like Stevie Wonder. A lot of his stuff was on keyboards, but he used brass and he used other things as well. I was the first artist, also, to use drum machines. I was really the one who kind of started that whole thing.

'Twenty Thousand Hertz' investigates the role of audio professionals in our daily lives, from the engineering that ensures a car door closes with that reassuring finality to the Foley artists of Hollywood who synthesise the sounds of marine life using old kitchen equipment gathered at the pound shop.

To me, I don't see any difference between a synthesizer and an acoustic instrument. It's what's done on it that counts.

Ideally, the music composed these days should sound much better because of the technology, right? But that's not the fact. The sounds that you hear out of technological recording are programmed sounds coming out of a computer.

Like all tools, modern technology has produced some wonderful moments in music and also some horrors.

As you can appreciate over my lifetime I've developed a large vocabulary of sounds each requiring certain physical techniques often combined with a specific effect box.

People have taken technology so far, to the point where music is almost sterile these days.

A lot of my music tends to combine electronics and orchestra.