Moog has been incorporated in a lot of our music. I know RZA has several of those machines. So, it did play a major role in a lot of music we were doing.
You have to have a certain amount of grit in your sound, and having real synths and talking certain elements outside your computer can help with this.
In 1983, before computers came along, it wasn't easy to do electronic basslines and rhythms.
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.
I've had the luxury of owning my own studio, 24 analogue, 48 digital, endless effects, endless hardcore gear, that I don't have to rent, I don't get stuck with the bills, it's all mine.
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.
With 'Innerspeaker' I was trying to do these hypnotic '60s grooves, but it was so hypnotic and repetitive that they sounded like they were sampled. It was making electronic sampled music but using real instruments to do it.
We grew up understanding how the analog sound is a driving force for music.
By the time I got to building synthesizers, I had perhaps 20 years' experience building electronic musical instruments.
