Luc Ferrari Quotes

'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are traditional instruments I sampled, then manipulated, so you don't even recognize the source anymore.

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.

Clipping is a very specific, concept-y thing. We have all these rules: we don't sample drums. We create all our own sounds. I don't speak in the first person. We come from a background of experimental music like John Cage... Philip Glass.

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

I think my sound is post-Internet.

Daft Punk would not exist if there was no technology.

I combine aspects of many styles of music and create my own musical forms by way of electronic instruments.

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.

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

There will be some tracks on the next album which that will consist of mostly noise and feedback, whereas others may just have guitar parts and samples.

A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.

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.

Most of today's music is done electronically.

I was greatly influenced by musique concrete when I was, like, 10. I was completely mesmerized by the idea that you could make music out of sounds. So that's been a constant influence on all my work.

Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.

With guitar, I'd always mixed more sounds that occur in hip-hop, or occur on Crystal Method records, or occur at the zoo - so I've never been sort of tethered or have limited myself to the traditional rock n' roll vocabulary.

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.

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.

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.

For more than 10 years, Daniel Snaith has been playing mad scientist with pop and psychedelic music. As Manitoba, and more recently as Caribou, he's pushed the genres' limits with electronics and studio trickery.

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

When synthesizers appeared everyone was a composer suddenly.

At the time, 'Oxygene' was considered a totally 'far out' concept... What was 'in' at the time was disco, hard-rock, and the early days of punk... and moreover, 'Oxygene' was instrumental. And I was French!

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