Ryuichi Sakamoto Quotes

If you make it sound too much like a synth, it will just sound like a guitar part played on a synth.

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

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

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

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

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.

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'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.

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.'

All those ethereal string sounds on 'Oxygene IV' come from the VCS3. It was the first European synthesizer, made in England by a guy called Peter Zinoviev. I got one of the first ones.

I think it was inevitable that I get into synthesizer music. I always wanted to deal with sound more than anything else. I couldn't get the sounds I wanted out of the piano.

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.

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

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

There is nothing wrong in electronic music or synthesised music.

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

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

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 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.

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 was very much fascinated with the technology we had that we could edit in the computer our compositions, but all the sounds that were available on the market were crap.

I am associated with techno epics.

Most of today's music is done electronically.