Giorgio Moroder Quotes

I really love the EMS Vocoder 2000, which is a pretty nice little box. You put one thing in one end and another in the other end, and you're able to change vocals by the sound and do a lot - it's just got a great sound. But the thing is, it's a bit clunky, so it's kind of hard to use it.

When I listen to the radio, I just hear so much music that doesn't even sound like people. The vocals are all tuned, and the drums are all fake.

Oh my gosh! I can't tell you the number of times people have put autotune on my voice, and I'm like, 'Please take it off!' You don't even sound human; it makes you sound like a robot!

I don't see anything wrong in using auto-tune.

I listen to a lot of the people that use Auto-tune.

I love Ableton's vocoder and Operator for basic side subs and general low-end.

On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.

I've watched and learnt from DJs and remixers and paid way more attention to how I want my voice to sound. Before, as long as it was loud and in tune it was fine. I've discovered the difference made by various microphones and effects, so each track has a different vocal sound, my voice is woven into everything and it's above everything.

I really like iZotope Trash, which is a great plug-in for distortion, as is Ohmicide, which I love. It's an absolutely crazy multiband distortion, compression, EQ and filter, which pretty much lets you do anything.

'No Bones' has some reverb that I kick around.

There's a lot of stuff you've gotta know about Auto-Tune before you can start using it, because it's the hot thing to do.

I heard 'Get Lucky'; it's just not my taste. It's great what Daft Punk does and the sound quality is great, but that whole disco vibe is not really my thing.

I think the voice is an underrated instrument these days and it's easy to make up for lack of ability with effects. I think sometimes people are more wowed with effects than core craftsmanship. Strong voices are not as common as they used to be.

I think Eminem should use Auto-Tune.

Rebecca Black might sing like a robot, but that's just proof she has evolved beyond us. Her vocal is just a slightly exaggerated version of the robot glitch-twitch stutter that's been mainstream pop vocalese for the past 10 years or so.

I don't think my vocals demand effects. I like reverb to a certain extent, but I don't want to hide my voice. I like stripped-down vocals, but I also like crazy, powerful, doubled vocals like in dance or electronic music.

The human voice sounds thicker with a chorus and reverb than a dry signal.

What is auto-tune? I don't even know what auto-tune is.

One of the goals we had when making 'Moth' was to have the vocals sound less treated and less processed than we'd ever had before, to just let them be exposed and very audible.

Time has changed and artists release more songs in a short span of time and that's where the auto-tune steps-in. One doesn't have to record a song multiple times to make it better.

I don't have a huge amount of gear, but on the software side, I have a number of plug-in chains that act as abstracted versions of real instruments.

In my solo work on my own albums, I have used voice synthesizers and vocoders quite a lot in connection with orchestral instruments.

For 'Lonerism,' I really wanted make a non-psychedelic record. That's why the dominant instrument is the synthesiser, but maybe it didn't quite turn out that way.

'Lemonade' is made out of bubbling, fizzing, popping, and 'Hard' is made from metal and latex - they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples.

I'd often use a Leslie cabinet on its own in the studio because everyone in the late Sixties and Seventies was experimenting with them. We'd stick anything through a Leslie because it made everything sound so good.