Robert Moog Quotes

I had been building electronic musical instruments since I was a kid.

Ironically I think this is what sparked my interest in and passion for the NOAH, which is capable of creating all these old weird and wonderful sounds.

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.

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

It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument.

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.

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.

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

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.

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 think it was inevitable that I get into synthesizer music. I always wanted to deal with sound more than anything else. I couldn't get the sounds I wanted out of the piano.

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

From George Martin's classically inspired production of the Beatles to Peter Gabriel's early solo masterpieces, to Stereolab's beautiful loops and blips, U.K.-based bands have often found a way to squeeze warmth and compassion from the stone-cold - especially now that the tubes are gone - machinery of the recording studio.

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

When I went into the studio I created a sound that I wanted to hear.

Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you've had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.

More recently, I used guitar synthesizer extensively on the two albums I did with Robert Fripp.

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.

I've been buying instruments and musical gear for a long time.

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.

Nothing had been attempted like that, to lift Dad's voice, literally, off of that track and put it on a brand-new one, and then line it up, match it up, get the phrasing right. I remember listening - everyone listening at the end, and we were just enthralled. It was really wonderful.

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've been in the studio environment since I was young, so I know what to expect.

I bought some equipment and then I started recording real heavy, in my room, when I was like 16.

My first synthesizer was the VCS3. I got it in Bristol in the late Sixties, long before Pink Floyd used them. I had to sell an acoustic guitar and an old reel-to-reel tape recorder to raise the money. You can do fantastic things with modern computers, but you cannot use them in the same intuitive, spontaneous way you can a VCS3.