Quotes About Synthesizer

If it's fast, no I don't have enough piano technique. In that case, it's probably been done on some kind of synthesizer or sequencer. Then the score can then be printed out and so forth.

The thing that's good about music-making software like the DAW-kinda systems is that they're all generally the same; the kind of interface is normally laid out in a similar way. Depending on the program, the sounds might be quite different, but they tend to all have a drum machine or synthesizer or a sampler.

It was people sitting in their little studios going plink, plonk, plink, plonk on one track, and then putting a vocal on the other or making a bass drum sound out of a synthesizer. Plus, we all started to listen to Europe rather than America, as that was where all the electronic experimentation was coming from, from Kraftwerk to Jean-Michel Jarre, from Telex to Yello, even the Yellow Magic Orchestra from Japan.

Martin Gore (musician): To us, the synthesizer was the punk instrument. It was an instant, do-it-yourself tool. Because it was still new, its potential seemed limitless.

Dave Stewart: In 1982, Annie and I went to Australia with the Tourists, but the band broke up and we ended up in a hotel in Wagga Wagga. I had a little black and yellow Wasp synthesizer and was making didgeridoo sounds. When Annie started singing along, we thought, 'Maybe we could make weird and experimental electronic music?' On the flight home, we split up as a couple but kept on with the music, carting the gear in a second-hand horsebox.

Marc Almond: David came along with this thing called a synthesizer, which at that time we only really knew from the likes of Keith Emerson and Rick Wakeman, who had huge banks of them. Eno had used one in Roxy Music, and I remember them on The Old Grey Whistle Test playing a ten-minute version of 'Ladytron', one of the greatest things I've ever seen on television.

When I went to record my first album, which should have been a punk album, there was a synthesiser in the control room. I'd never seen one before but they let me have a go on it and I loved it to bits.

I had gotten one of the first Korg synthesizers with 300 presets.

I lost my voice, but I can still speak thanks to my voice synthesizer

I was never worried that synthesizers would replace musicians. First of all, you have to be a musician in order to make music with a synthesizer.

As soon as people hear my voice and synthesizer together they hear Erasure.

For 'Lonerism,' I really wanted make a non-psychedelic record. That's why the dominant instrument is the synthesiser, but maybe it didn't quite turn out that way.

I have a Chamberlain I bought from some surfers in Westwood many years ago. It's an early analog synthesizer; it operates on tape loops. It has 60 voices - everything from galloping horses to owls to rain to every instrument in the orchestra.

James Joyce was a synthesizer, trying to bring in as much as he could. I am an analyzer, trying to leave out as much as I can.

I got on a bit of a rollercoaster looking into how Herbie Hancock used to make his tunes, and I remember a picture of Jean-Michel Jarre at one of his concerts and seeing the Memorymoog. When I heard the sound it I was like, 'Arrrgh, I really need that.'

It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument.

I have an Otari with a Korg T2 Midi synthesizer, a drum machine and a few effects units.

If you're a guitarist, you should not be intimidated by using your instrument as a synthesizer, but you shouldn't feel that you have to own one, either.

Moog embodies a sound luxury like no other.