When you're in the studio, you've got a narrative for what goes on, you might switch on a bit of gear and it might not work as you intended or come out a bit wrong, and you try and exploit it.

When you work on a computer in the studio, it's almost like fossilizing on the spot, you know, the idea of getting solidified on the spot, like a snowflake might create branches by accumulation.

You can get the oldest drum machine out and whack out four sounds like a kick, snare, and two types of high-hat, and try and come up with the freshest thing on the spot. The gear can guide you - you can choose one bit of gear and it's obviously got its restrictions and its limitations, but at the same time, you've got to exploit what it's capable of and what it's best used for.

You can sit in front of a computer and have a blank slate and be completely overwhelmed by the possibilities and not get anywhere.

Despite a lot of people thinking that everything gets more and more difficult, I always assumed that people are going to be "Oh, at last you buckled, you're trying to be commercial."

When Depeche Mode put out a single you knew that a week later you could go and buy the 12" and it would have six versions and they were all better.

The biggest revolutions are the ones that happen in-between our ears.