The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement

Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.

The trouble begins with a design philosophy that equates 'more options' with 'greater freedom.'

I love San Francisco and Brighton has something of San Francisco about it. It's by the sea, there's a big gay community, a feeling of people being there because they enjoy their life there.

If you've spent a long time developing a skill and techniques, and now some 14 year-old upstart can get exactly the same result, you might feel a bit miffed I suppose, but that has happened forever.

As soon as you externalize an idea you see facets of it that weren't clear when it was just floating around in your head.

Ambient music is intended to induce calm and a space to think.