Andy Summers Quotes

I had gotten one of the first Korg synthesizers with 300 presets.

I'm always interested in mixing technology and music. You know, maybe I'll have a MIDI bass pickup at some point, I don't really think that's the direction I would want to go.

My first bit of gear was a Roland JV-1010 sound module. I used to hammer the hell out of that.

It's great if you can afford to carry a string section on the road with you, but most people are used to the idea of just a keyboard player creating those string sounds.

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

Sometimes you cannot produce a specific sound you want with, say, a guitar or piano, and you simply need to use electronic elements.

I have a Chamberlain I bought from some surfers in Westwood many years ago. It's an early analog synthesizer; it operates on tape loops. It has 60 voices - everything from galloping horses to owls to rain to every instrument in the orchestra.

I got on a bit of a rollercoaster looking into how Herbie Hancock used to make his tunes, and I remember a picture of Jean-Michel Jarre at one of his concerts and seeing the Memorymoog. When I heard the sound it I was like, 'Arrrgh, I really need that.'

I generally use a lot of analog instruments, a few synths from the '80s like the Roland Juno-106, and an old Fender bullet guitar.

My first synthesizer was the VCS3. I got it in Bristol in the late Sixties, long before Pink Floyd used them. I had to sell an acoustic guitar and an old reel-to-reel tape recorder to raise the money. You can do fantastic things with modern computers, but you cannot use them in the same intuitive, spontaneous way you can a VCS3.

I play keyboards and Pro Tools, if you want to look at it as an instrument.

There is nothing wrong in electronic music or synthesised music.

All of those 10cc 'Not in Love'-type synthetic choir sounds on 'Replica' are all from the Omnisphere. We used a lot of that.

To me, the original VCS3 synthesizer is like a Stradivarius.

A young musician needs a powerful laptop and a good analogue synthesiser.

Rock music is electronic music, dependent entirely on electronic circuitry and amplification.

The advent of electronically synthesized sound after World War II has unquestionably had enormous influence on music in general.

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.

If you're working on a computer and you're editing bass, it looks like a warm curvy, sort of feminine object.

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

For me, the guitar synthesizer is a great writing instrument.

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.

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.