“I think filters are one way of cutting frequencies… Nothing above this frequency can come through, but noise reduction stuff works with what’s called an FFT, and so you split the audio bands into, say, 1,024 bands, and you control each one… It’s like a different way of controlling the frequency response using PCAs per band.
And it’s just another way of doing it and to me it’s a bit more bit more interesting, a little softer, and more fizzy, sometimes… I think my process is to add a lot of distortion and add a lot of harmonic information and then try and find ways of taking it out again to get further away from the original point. You can do that with filters, but PCA, FFT stuff is like another way of filtering and it’s just a way of making something messy, cleaning it up, making it messy again. You kind of kind of go through that a few times and then you end up somewhere else, which is nice […]
I mean, sometimes it sounds totally different, but then I love committing that to an audio file and then you forget about that history and it just becomes this thing. And then it’s like you kind of start again with that. That’s what I really like about making music, it’s that kind of constant renewal of sounds.”
“Sometimes if what you’re working with is already quite abstract, it can be really useful to just try and force it into a very conventional structure, either within it, within a track, or within a whole album or something. It can be a nice way of making abstract stuff make sense–to force it into a very rigid and straightforward structure.”
brettworks 
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