A Quote by Washed Out
A lot of the early Washed Out material was done on a couple of synthesizers that did most of the work, but that's the great thing about synths - you can recreate sounds or make an entire record with just one piece of gear.
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Every once and a while somebody writes a script, but even regardless of what age you are, most of the actors would all agree that it's all based upon material and the material has got to spark with you. It may be great material but you think it's great material for somebody else. Or it's great material and I'm perfect for it. So, you just have to make that judgment and if you feel in the mood to do it.
You can sit down with Reason or Ableton and literally in a couple of hours make a very good-sounding record. But then a lot of people become contented with that, rather than pushing themselves to making something that sounds great.
It's great, because we've had some really great people playing with us who really have studied the record and been able to recreate a lot of what was done. But I would need a choir of eight, probably, to do all of the backup vocals.
My best monster bass sounds have come from FM8. People think they all come from Massive, but most of the ones that kids online are trying to recreate in Massive are actually from FM8. I also really like Sylenth1, my Tone2 Gladiator and some other granular soft synths as well.
I started getting back into buying old analog gear while we were recording. Lots of old drum machines and synths. It wasn't a conscious thing. I didn't consider myself a collector, but boxes of vintage gear would turn up virtually every day.
I'm not thinking about the next record really yet. I kind of want to do a bunch of stuff with Jonathan Zawada, the guy who did the album art. I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record.
I am fairly concise when I work and I work quickly because I think work is done better in a high gear than done our in a gear when everyone's exhausted. Get focused, do it!
When I lived in New York, there wasn't as much TV or film around. I got asked to do a couple of indie films, just based on me being from The Smashing Pumpkins and A Perfect Circle. I did a couple of indie movies from Japan and one from Canada, and I thought it was an exciting, fun thing to do. I had a great time doing it, it was just that, in New York, there really wasn't as much. My studio in New York closed, so I moved out to L.A. and just started looking into composing as another thing to do, as a musician. I like it a lot. It's fun and it's a different way of thinking about music.
I don't want to brag, but I have an amazing fanbase. My entire career has just been supported by them. I did just sign a record deal, but the whole thing is really just run by them. It's all based on my relationship with my fans. I call them friends and fans, because I hang out with a lot of them.
You never know how things work and what exactly is going to grab an audience. Sometimes even the best material and the best collection of people interpreting that material just for some reason doesn't fly with people. There are a lot of TV shows or movies that maybe aren't as good as others that do work when it comes to finding an audience. It's a mystery, that whole thing. If somebody figured it out, this would be quite a great industry.
The reasons you have for doing a movie will vary with the way your life is going. There was a time when a made a some movies because I felt I needed to work. And I didn't think about the material as much. But sometimes I've thought about the material a lot and thought I was doing the right thing, and it didn't work out.
It [moviemaking] is not really done on a yearly basis. It's about how the material, and when the material comes in. If you develop your material and the script comes in great and you can attach a director and a cast and go off and make it, then I could make, I don't know, six [movies] a year. Or I could make one. It really depends.
The good thing about working alone is I get a lot done and I can experiment more. The bad thing is I miss out on the gregarious, social way that most musicians work.
The great thing about chess is it's a game for oneself. You don't work on what you can't control, you just work on yourself. And I think if more people did that, we'd all be a lot better off.
I think the whole obsession with old gear is completely overblown. You don't need old-fashioned gear to make a great-sounding record. You don't even need [analog] tape.
The most challenging work and the best work I've ever done was in a thing I did for PBS called 'Lemon Sky', a play by Lanford Wilson. I think it's the rawest, most complex work that I've had to do, and the thing I'm most proud of.
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