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If it takes you three years to set up a studio, and you've made one track with that setup, then the logical thing to do is not change anything and just do another one using the same set of sounds.
Aphex Twin
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Aphex Twin
Age: 53
Born: 1971
Born: August 18
Club Dj
Composer
Disc Jockey
Electronic Musician
Music Producer
Musician
Limerick City
Richard David James
Richard D. James
The Dice Man
Soit-P.P.
Blue Calx
Q-Chastic
Phonic Boy on Dope
PBoD
GAK
Polygon Window
Bradley Strider
Caustic Window
AFX
Power-Pill
Change
Studios
Anything
Sounds
Thing
Track
Made
Using
Years
Takes
Setup
Sound
Setups
Three
Logical
Another
Studio
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I got a feeling I had loads when I was in primary school, 'cause I had red hair you know, like Duracell.
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A lot of composers before me have been on this mission to change the world by getting off equal temperament, and I'm definitely one of those.
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Can't really despise people you don't know.
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The best artists are people who don't consider themselves artists, and the people who do are usually the most pretentious and annoying. They've got their priorities wrong. They're just doing it to be artists rather than because they want to do it.
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I'm a really good hacker, but I'm not a sensible person.
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it's more interesting for me to stick things out anonymously. You get more of an honest reaction to what you've done.
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The holy grail for a music fan is to hear music from another planet, which has not been influenced by us whatsoever. Or, even better, from lots of different planets. The closest we got to that was before the Internet, when people didn't know of each other's existence. Now, that doesn't really happen.
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It sounds really arrogant, but my music's my favourite music ever. I prefer it to anyone else's.
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There's a lot of melancholy in my tracks.
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You're brainwashed in the West with equal temperament, so it's quite hard for people who like following rules to get outside of that and see what you can do. But for me it's easy because I don't work like that. I work intuitively.
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When I look at commercial studios, I think, Oh, they're all so nice and tidy, but it's because they don't actually write music in them.
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My filing system's really crap because I can never decide whether to sort things by studio, or year, or where I lived.
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If you hear a C-major chord with an equal temperament, you've heard it a million times before and your brain accepts it. But if you hear a chord that you've never heard before, you're like, huh.
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I've always got to change something. All the tracks I've done in the last five years were made in like six different studios. It gets a bit complicated.
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It always sounds more right to me when it's detuned. When it's right in tune, it's like there's something slightly off. But at the end of the day, it's all about frequencies and what they do to you. That's the real core.
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It's only interesting when you're from somewhere else, like America or Japan. The further away the more interesting it is.
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Sometimes I just hit the keyboard in a way I'd like the rhythm of the tracks to sound.
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If you've got a stick hitting a drum and you're programming it on a computer, it's so much more interesting than a sample playing back - it's something in the air, that's the magical ingredient.
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In Britain, it's good for me to be anonymous, because they just think it's a nobody. Who is this guy?
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I actually prefer it if I don't know what I'm supposed to do. If you've got an equal temperament piano keyboard, then you know what you're going to get if you play certain chords. But I actually like it if you don't know where the notes are, because then you do it intuitively. You're working out a new language, basically. New rules.
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