Certain things are done intentionally opposite - like there's no sound at the end or synthesizers or all that stuff. Anything that drowns the movie, no. Anything that makes you sit up and watch it, yes. So, some are expecting a very sad theme going on.
Well, I'm known as a guitar-rock guy, you know? You're not supposed to play with synthesizers. This is not in the rulebook.
I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King I wrote over four hours worth of tunes, and they were really pretty -but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three-and-a-half weeks properly. On Crimson Tide, on the other hand, I just went in and within seconds I knew what I wanted.
On the delivery plate of the Nutri-Matic Drink Synthesizer was a small tray, on which say three bone china cups and saucers, a bone china jug of milk, a silver teapot full of the best tea Arthur had ever tasted and a small printed note saying "Wait.
My music, my whole approach to the synthesizer has completely changed now.
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.
The first thing I ever heard about synthesizers, they were being used in rock.
[Paul McCartney] never, at the time, was going back to leaning back on the roots of his old band. He always built upon where he was, which was in London. And he didn't overuse synthesizers. He used them just enough. It's such a cool sound.
People are tied together and yet isolated from each other by invisible threads of rhythm and hidden walls of time. Time is... a primary organizer of all activities, a synthesizer and integrator, a way of handling priorities and categorizing experience, a feedback mechanism for how things are going, a measuring rod against which competence, effort, and achievement are judged as well as a special message system revealing how people really feel about each other and whether or not they can get along.
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.
By the time I got to building synthesizers, I had perhaps 20 years experience building electronic musical instruments.
But for me if I'm gonna read about something I'd rather read a pamphlet or the instructions to a synthesizer than a book on Buddhism.
I have mostly software synthesizers and software drum machines. I'm very lazy. I don't really like to plug in a lot of equipment and external boxes and everything.
I'd like to play live, but the thing I do now with my synthesizers, almost everything is vocoder-driven.
I started working with synthesizer players, and I had to find new instruments. I needed a more complex sound, so I went to a surplus place and got a bunch of hard plastic stuff and stainless steel stuff, and that stuff worked. So from that point on, from the 70s on, I've made instruments.
As soon as people hear my voice and synthesizer together they hear Erasure.
It is the individual voice, present to itself, that needs to be heard. We need to hear the process of the musician working on himself. We don't need to hear who is more clever with synthesizers. Our cleverness has created the world we live in, which in many ways, we're sorry about.
The use of electronics is a natural extension of the instrument - it is an electric guitar. So we guitarists have been plugging into something since 1931, and we are not about to stop now. Current advances in technology means we can have a huge array of sounds at our fingertips, and this offers amazing possibilities to the contemporary composer. It is always a guitar (I don't play synthesizer) but it becomes something else all together - more like sculpting sound in real time using metal wires, 5 fingers and a pick.
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.
I put all those synthesizer sounds behind "Decoy" and "Code M.D." A lot of things we write together. A lot of things are his, but they don't have that thing I want on the bottom. I often tell him, I say, "Bobby [Irving], if there's a melody, there's another one somewhere that goes with it."
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