“I like a certain music, I throw it in my sampler, I modulate it, transform it, deform it, and so on. But I only use particular material as a starting point because I want its specific sonic world to appear in my music. I want there to be a connection but, ideally, I don’t want… Continue reading

“I like to think of music in kind of like a 3D plane, like a shape…I do try and pay particular attention to making everything balance and creating little bits of ear candy and texture and thinking of it like your frequencies are kind of in a visual plane.” Ital Tek Continue reading

“A lot of the time in my stuff is the juxtaposition of crazy drums and the melody is more simple—just to balance out both. I like to have a warm, simple melody and the drums are doing whatever they want to do.” Loraine James database (a cache of perceptions) Continue reading

“I also noticed how incredibly unified people produce music in these days, leading to a kind of monoculture where we’re all using the same tools and so produce, of course, something where the music sounds more and more similar. It’s really difficult to have a very radical approach of having completely different sound aesthetics.” Alva… Continue reading

“Everything’s so sophisticated in terms of equipment that you can just put a guitar through an effects pedal and you think, ‘Wow, that’s cool.’ But anyone else could have done the same thing. That ceases to interest me then because I’m not interested in doing things which are simple. I don’t think less of people… Continue reading

“If you’re focusing your attention so strongly on listening, it’s a form of meditation. Which is so nourishing.” Annea Lockwood database (a cache of perceptions) Continue reading

“I try to avoid doing beats which are very obvious sounding. In fact, I strictly avoid 808 and 909 drum sounds altogether, because everybody is using them. I use synthesizers to generate drum noises and sample them. I find that more interesting. It’s essentially the same thing, but more interesting.” “When I bought a DAT… Continue reading

“I’m not trying to re-create anything, especially not early music, but I am also attached to the fact that human anatomy and the mechanics of violins and recorders haven’t changed in over a thousand years, so we are inherently connected to the physical feelings and patterns that musicians would have experienced throughout the last millennium.”… Continue reading

“My basic mantra when working up an arrangement, applying fingers to strings and frets, is ‘revoice, revoice, revoice.’ I will trial-and-error several versions of a phrase in search of resonance, playability, and emotional conviction.” “This approach is more of a game of subtraction, rather than construction. Instead of building up my arrangement from my own… Continue reading

“Speed is really important to me in production, and I love taking the first take of things and making that work. There’s something in the first take that has a quality I can’t quite put my finger on, but it’s almost like you can hear the excitement of playing something for the first time. Maybe… Continue reading