I'd like to play live, but the thing I do now with my synthesizers, almost everything is vocoder-driven.
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.
I'm interested in finding sounds and ideas that help bring the audience into the world that we [moviemakes] are all trying to create. Sometimes that's with synthesizers, and sometimes that's with French horns. I love using all of them, depending on the scenario.
Working with devices and guitar pedals and mixers and synthesizers is what I do, and I prefer people not focus on that because it's kind of distracting from what the point should be. At least for me, it's to have the primacy of aurality in the experience of that evening.
There are only so many instruments you can layer on top of each other that aren't perfectly electronically programmed. "Long Vermont Roads" just cannot be performed live, because it's just too cluttered if it's played by humans. Synthesizers stay out of each other's way in a way that hand-played instruments never can.
I'm really not into the idea of just faking songs with a synthesizer. That just isn't the music I'm making at all.
My music, my whole approach to the synthesizer has completely changed now.
I had gotten one of the first Korg synthesizers with 300 presets.
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.
For me, the guitar synthesizer is a great writing instrument.
Many were starting to use computerized synthesizers & drum machines to produce an entirely new style of music. It was being punted by the critics that the guitar was old hat; I was reminded of the way my father & his clarinets were written off in the late Fifties.
It's so much easier to use the default sounds in the synthesizers in Logic than it is to make your own thing or to learn how to play an instrument.
