Quote

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
Made
Using
Years
Takes
Setup
Sound
Setups
Three
Logical
Another
Studio
Change
Studios
Anything
Sounds
Thing
Track

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I'm just some irritating, lying, ginger kid from Cornwall who should have been locked up in some youth detention centre. I just managed to escape and blag it into music.
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You change all the time. Everything changes you.
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It's quite similar to guitar solos, only with programming you have to use your brain. The most important thing is that it should have some emotional effect on me, rather than just, 'Oh, that's really clever.'
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Can't really despise people you don't know.
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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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Well, I just bought a massive bank and I've moved into it on my own.
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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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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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When you get new rules that work, you're changing the physiology of your brain. And then your brain has to reconfigure itself in order to deal with it.
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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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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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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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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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There's a lot of melancholy in my tracks.
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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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Because I've been making music and releasing it for so long, I've got that production-line thing in my brain: I can't do anything new until the last one's out.
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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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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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I'm a really good hacker, but I'm not a sensible person.
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The holy grail for a music fan, I think, is to hear music from another planet, which has not been influenced by us whatsoever.
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