“A lot of [“Sweet Dreams Are Made Of This”] was trying to create as much space as possible so that Annie’s voice sounded crystal clear, pure, and not drowned out. But making sure the backing track still sounded incredibly powerful. A lot of that has to do with literally not having anything in the stereo Continue reading

“First of all, you can’t simply design what the musician wants, because he or she may not know all the possibilities. And on the other hand, you can’t spend all your time only worrying about the oscillator drift and the power supply and all that. You have to do this gray-area thing.” – Tom Oberheim Continue reading

“I’m responding to the recordings that I took and layering things on top, but I always started with the field recording. The recording is a collaborator. The world is a collaborator. I find it really difficult to sit down and make something out of the blue. I’m not someone who hears melodies in their head, Continue reading

“I’ll drag a file into Ableton to see it visually. I’m just looking for activity within the waveforms. Like, something happened here, because the signalling changed. There’s obviously a reason for that. I’m interested in that reason. Something is happening and I need to get it out. I guess that’s important to me.” Claire Rousay Continue reading

“I found with a couple of the right pedals I could go anywhere and sound like me, which has more to do with limited playing skills and the chords that I make than anything else. It evolved from my frustration with being a really fucking mediocre guitar player when I was learning to play. A Continue reading

“Most of the time, the bedrock of a track is created through chord structures, so I’m starting from a harmonic point rather than a sequence or arpeggio. Once I have that harmonic foundation, I’ll use some sort of aleatoric randomisation or program a sequence or arpeggio into the sequencer.” Steve Hauschildt Continue reading

“…this one synth that I spent so much time on that I loved, an Udo Super 6. I would record the signal on Logic, but I wouldn’t even think of the computer. I wasn’t even facing it. It felt very nice to just jam and play around with it. I would spend hours on that Continue reading

“…take as the basis of the tracks this idea of a loop that I could be listening to forever. Just because I think it sounds close to perfection. Shorter patterns and this idea of a cycle repeating itself forever and ever, and how I can build a pop song on top of that.” Oklou database Continue reading

“I will always remember that circular movement of my photography director’s hand, and now I know that what we miss in every digital device, and more in general in the digital world, is that breathing, that waviness, that irregularity. Like a vibration. Was that vibration what we used to call a soul? It’s hard to Continue reading