When I've finally got the title, I think, "Okay, yes, now I know where we are. Now I know what it is. Fine, that must be finished or nearly finished.

One way of working is just bring a group of totally different musicians together and encourage them to stick to their guns, not to do the thing that normally happens in a working situation where everyone homogenizes and concedes certain points - so eventually they're all playing in roughly the same style. I wanted quite the opposite of that. I wanted them to accent their styles, so that they pulled away. So there would be a kind of space in the middle where I could operate, and attempt to make these things coalesce in some way. In fact quite a lot of my stuff has arisen from that.

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

You don't have to act as if you know what you're doing

Perhaps when music has been shouting for so long, a quieter voice seems attractive.

I think that there's something that I still like about the fact of a package, like the latest report from somebody. "Okay, this is what they're up to now; this is what they're doing; who's working with them?

There are hundreds of manufacturers always producing dvices that in general do the same things. Since they have slight structural differences if you take one and fool around with it and give it a good kick it will actually do something that it wasn't designed to do. I have this relationship with my synthesizers. I've had them for so long, and I've never had them serviced, so that now practically all of their functions operate differently from what they were designed to do. They do very interesting things now, but that means nobody else can use them either.