Chico Hamilton Quotes

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

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.

By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

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

From early on, when synthesizers were first introduced into music, I liked the idea that you could get a big sound with them, electronic, but like an orchestra. And I could play it all myself. That was exciting.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

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.

You can get so many sounds out of one record. Every record can be used in some way.

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.

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.

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

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

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.

I was completely fascinated by the studio process and layering sounds and creating soundscapes out of layering massive squalls of sound.

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.

'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.

What Skrillex does with Ableton it's like being a little god. It's not just pushing loops - that's easy - but to do the effects he's a genius.

In the studio you have pretty much carte blanche with whatever you're doing. You can turn natural instruments into electronic instruments.

Cranking the Auto-Tune is so easy to do that there's almost no systemic resistance to trying it. So when someone's stuck for an idea, that's what they do. I mean, to the extent that it's been embraced by an entire idiom of club music and culture.

I'm very lazy when it comes to making the original sound. I don't go through amplifiers and different compressors and signal parts. I just grab something, whether its an old guitar or a children's toy that happens to be lying around, and record it straight into the computer.

Analog, electronic, whatever it happens to be, I simply love and adore literally every aspect of making music.

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.

One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.