John Frusciante Quotes

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

I've been really excited about some new cutting edge electronic music and technology.

Most of today's music is done electronically.

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.

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

Sampling is kind of prehistoric, given the technology and the textures you can create.

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 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've never been able to arouse any interest in myself for digitally produced sound, and so the computer turns me off.

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.

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

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.

There's a confusion sometimes with the laptop being the current tools and where electronic music initially comes from.

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.

Computers were never designed in the first place to become musical instruments. Within a computer, everything is sterile - there's no sound, there's no air. It's totally code. Like with computer-generated effects in movies, you can create wonders. But it's really hard to create emotion.

My studio is a laptop. Everybody I work with is the same. We make computer music, we're the laptop generation.

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.

When I was 12, I went to boarding school, where I discovered the computer, which meant I no longer had to write something down and get someone to play it, I could just type it into the computer and hear it back.

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

I was using computers for music in the '70s, '80s and '90s, and people didn't get it. They thought you should only use computers for your taxes and making pie charts.

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.