Florian Schneider Quotes

Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.

A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.

Music turned to digital, and suddenly you had the possibility to make things louder than loudest, which boggles the mind but it's true, and what you have are all kinds of different ways of distorting your music.

I do most of my vocals - aside from a couple of little one-shot vocal samples. I record everything into the Saffire with an SM58 then scratch it with loads of plug-ins. I don't do much vocoding to be honest. All my vocals are usually done with Melodyne and a ton of other plug-ins to make it sound weird.

It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.

Dick Mills was in charge of sound effects and all the rest then, and he put the voice through a ring modulator or whatever gizmos he'd got at the time to make it sound a little more electronic.

I usually create sounds and have different generators running over it. You know you can open a word-file as a picture or the other way round. I do the same with sounds.

They sent me some tapes of the original Mole and I thought it was pretty intriguing. I'm sort of an experimenter; I thought it'd be interesting to play around and see what's there. It was fun. Turned out to be good.

Well, I don't really use MIDI that much. But I do record audio around me a lot, and just layer it up and see what effect it has, without any aforethought.

Sometimes you can just record anything and slow it down hugely and you'll find all these hidden notes and frequencies that match up really nicely.

Making sounds that literally no one has ever heard before because the software and the technology's never been there, and pairing that with great songwriting, then that's what's exciting for me. That's what I wanna do.

To me, I don't see any difference between a synthesizer and an acoustic instrument. It's what's done on it that counts.

People who care about records are always giving me a hard time. I mean, I would destroy records in performances, and break them, and whatever I could do to them to create a sound that was something else than just the sound that was in the groove.

Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.

The good thing about Pro Tools is you can actually hear what you're working on, so it doesn't just become this intellectual idea. But Pro Tools can be dangerous, too. It can make things sterile.

People are so into digital recording now they forgot how easy analog recording can be.

Sometimes I listen to music and I wonder how did they get certain sounds.

I don't think we'll ever use the same sound techniques.

The most effective instruments do have a vocal quality.

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

I work a lot with sounds based on stream of consciousness. I like the way it sounds, then I turn it into something that makes more sense.

When you hear a banjo through stutter edit, it's the coolest thing you ever heard.

A lot of other people have used the talk box but have used it as a sound as opposed to actually making the guitar enunciate words.

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

After discovering the Ramones, I discovered really crude ways to multi-track by taking another cassette recorder and plugging that into the eight-track, playing it back, so that as I was recording with the mic in my guitar, I could have another cassette player I had recorded on feeding into the recording.