Oneohtrix Point Never Quotes

Blending tracks and weaving and manipulating prerecorded music to create this mood, some people do it much better than others.

I usually create sounds and have different generators running over it. You know you can open a word-file as a picture or the other way round. I do the same with sounds.

On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

It's cool to play the guitar, but to me it's even cooler to scratch a guitar backward and forward, to manipulate it with a turntable. Guitars can't do that themselves.

I am a sound freak. I could play around with sound forever.

If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.

I want recording to be fun.

I do love voices so much that I will use them and manipulate them. The presence of a human voice in a piece of music is really exciting, even if it's just someone's breathing.

So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.

We incorporate various electronic devices - the echo plugs and things like that. Actually, all we're trying to do is make that sound musical. As opposed to just making sounds, we do musical things with them.

Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

You can get so many sounds out of one record. Every record can be used in some way.

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

I remixed a remix, it was back to normal.

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.

I take sounds and change them into words.

There will be some tracks on the next album which that will consist of mostly noise and feedback, whereas others may just have guitar parts and samples.

Weirdly enough, if I'm having trouble with a guitar part - not the playing of it but the writing - I'll mess around with echo and other effects, just turn everything up and make it as crazy as can be, and it winds up taking me somewhere. I've found so many guitar parts from echo. It's limitless.

I used to link up boom boxes, record one take, play it into another boom box then play all that back into the other one until I had six tracks. It was unlistenable!

It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.

Dick Mills was in charge of sound effects and all the rest then, and he put the voice through a ring modulator or whatever gizmos he'd got at the time to make it sound a little more electronic.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

All you have to know is mathematically how many times to scratch it and when to let it go - when certain things will enhance the record you're listening to.