Madlib Quotes

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 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.

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 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.

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

I took to the synthesizer. My cousin had some synthesizers, and I'd always make stuff on those things.

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

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

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

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.

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.

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.

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.

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

With my projects, I really like the extreme high-tech stuff, but I also like the other end, the acoustic things. So it seems like those meet on an iPad, where you make shapes but the sounds coming out of it are really acoustic.

I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.

Most of today's music is done electronically.

I think I was first to do live performances on a modern electronic sound synthesizer.

Midi is my hobby.

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

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.