A Quote by Ikue Mori

I still think that I'm playing instruments, not just pushing buttons and there it goes. It's interactive and alive with the sound and the manipulation and it plays like instruments.
I brought the music out to L.A., and the producer Tommy LaPuma heard it and he said - "Man, I love it. Let's do it. Let's record it." I said, "Okay, where's the band?" He said, "We don't have a band. We want it to sound exactly like your demo." I said, "Well, I played all the instruments on the demo." You do that when you're making demos. You got your guitar, you got your sax. He said, "Well, I want it to sound just like that, so get all your instruments out here." So I ended up playing all the instruments.
Instruments sound interesting, not because of their sound, but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments, which is what you like and respond to.
At that time, 73 and 74, I became aware that there were a number of us making instruments. Max Eastley was a good friend and he was making instruments, Paul Burwell and I were making instruments, Evan Parker was making instruments, and we knew Hugh Davies, who was a real pioneer of these amplified instruments.
Not only are we not using any programmed loops or computers onstage, we're also improvising with our instruments. We're playing our instruments probably more so than most people that I see play their instruments. I think we all sort of strive for that - we all want magical things to happen onstage. We don't say "mistakes" in this band, we call them "highlights."
Initially, when I was making the bagpipes and reed instruments, it was different from the other instruments. In terms of sound itself, it may not be different, but in performing with it, it was a necessity to build it if I was going to perform and make scores with it. By making the instruments, it helped me compose the way I want.
I guess I'm interested in pushing the boundaries of the cello without giving up on the idea of playing the cello, if that makes any sense. I have no real interest in putting the cello through different effects to make it sound like a guitar or other instruments.
Beck is obviously a consummate musician. He plays instruments, many instruments. He can make his own record without having a fleet of computer operators onboard.
I used to play a few instruments including guitar and snare drums, but I think a musical background is an important part of a career. If you start out playing instruments you create a better instinct and feeling for music.
Rafferty [Law] plays three or four instruments. He is very gifted. Whereas I pick instruments up and kind of stare at them and go, "I can't ever possibly play this." And I don't!
As far as playing instruments, it just feels good to have it under your hands. Cause sometimes those instruments have minor imperfections. Sometimes because they're so old, they're always out of tune a little bit.
Pan Sonic sound like they are playing music of the future made with the electric instruments of yesterday.
It's like an electroacoustic, surround-sound cello gamba. It embodies everything that fascinates me the most - acoustics, playing instruments, digital processing, movement of sound. Somehow, everything is combined in Ómar.
I love Coldplay. The lights, and the sound quality They really play their instruments. Sometimes, during the show, they'll make a mistake and stop. I think they do it intentionally just to show you they're really playing it live.
To me, recording with live instruments and tape takes things back to an older sound that I like but that's still fresh.
I love the physicality of instruments, and instruments as objects, like dancers are bodies.
My work on hyper instruments started with simple instruments, like the piano.
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