Washed Out Quotes

I have a method of working on music: I'll get up in the morning and throw down some drums on my drum machine, and then I'll come back later and try to pop off rhythms to it.

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 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.

You have to have a certain amount of grit in your sound, and having real synths and talking certain elements outside your computer can help with this.

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.

For me, electronic music is like cooking: it's a sensual organic activity where you can mix ingredients.

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

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

I demo all of my songs on Garage Band, where I pretty much play everything - not very well, but I manage to hammer out a drum beat and a bass idea.

I love the immediacy of those old analog machines; it's really inspiring. You just set them up to play, and they go, playing the same thing until you switch the pattern.

I love making music, I love composing on my computer, just making crazy ethnic slack orchestral tracks, that's one of my fun things.

So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.

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

I never had any plans to become a producer when I was a kid. I wanted to be a DJ, like most other kids at the time. Then my mum bought me a Casio keyboard and I started to sample sounds that I liked.

Sometimes I just hit the keyboard in a way I'd like the rhythm of the tracks to sound.

My producer, HH, makes sounds, so I'm writing to his beats.

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 have always been far more interested in sound than technique, and how sounds work together, how they can be layered. I think electronic music, in its infancy anyway, allowed us to create music in a way that hadn't really been possible before. It created a new kind of musician.

If you want to make people dance, you need to follow certain rules. Build-ups and breaks and stuff. I like to be free. On top of it all, I never really felt that I'm good at making fat-sounding dance tracks.

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 making electronic music isn't much different from writing a book or painting a picture or making a film. It's a creative process, and it's an art form.

In school, I did a lot of computer work. I'd take splices from Kurt Weill songs and loop them in bars, in beats of seven, trying all different kinds of things.

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