Oneohtrix Point Never Quotes

My best monster bass sounds have come from FM8. People think they all come from Massive, but most of the ones that kids online are trying to recreate in Massive are actually from FM8. I also really like Sylenth1, my Tone2 Gladiator and some other granular soft synths as well.

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

Somebody gave me this drum machine and somebody else asked me to program something for a project. I really liked programming and I was really interested in using the drum machine.

I like to use effects, but a lot of the time I just can't deal with these tracks with all these artificial sounds.

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.

We spend a lot of time with MIDI keyboards and various processors, and we just figure it out. And all those things you hear in our songs work as submelodies and countermelodies, and everything has to fit.

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.

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

I don't have a huge amount of gear, but on the software side, I have a number of plug-in chains that act as abstracted versions of real instruments.

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.

If you hear a New Order track that's mostly electronic, it's generally come about through one person sitting at a computer and programming it.

Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats.

It's been very hard for the guitar as a serious synthesizer to compete with keyboards.

I'm very lazy when it comes to making the original sound. I don't go through amplifiers and different compressors and signal parts. I just grab something, whether its an old guitar or a children's toy that happens to be lying around, and record it straight into the computer.

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

'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.

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.

I agree with the rest of the band, that a truly synthesized sound isn't really what I would want to go for.

Daft Punk would not exist if there was no technology.

I'm not looking to go out there and make a rhythmic Timbaland track.

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.

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