Oneohtrix Point Never

Q: Do you use the computer to generate any of your sounds per se, or is it strictly a way for you to edit and arrange?

A: "Not really. I use YouTube a lot. I use some other synths. But I don't use any sound-generating software."

and later in the interview:

Q: Do you think of YouTube as an instrument?

A: "Well, I was, but post-working with Antony [Hegarty, on a piano-and-voice version of "Returnal"], I'm into the piano again. My mom and dad will be on the next record, you can bet that."

Q: It's interesting because you have YouTube, this very abstract and impersonal thing, next to this synthesizer you've known since you were one year old. It's a divide.

A: "Well, I feel like any analysis of our generation has to start with the idea that we're linkmasters between centralized and decentralized cultures. Before Prodigy, through Prodigy, through Navigator, and now, Tube. What that means is that we're primed to be cyber-anthropologists and make "discoveries," but we still remember a time when we'd go to Newbury Comics and check out the staff picks. It's such an important part of the psychological makeup of our generation. It's just my social and familial reality. It's really heavy for me, but when I step back and look at all of it, it makes perfect sense."

"Yeah, I mean I'm not out there with a DR680 getting all Nat Geo in the field. I just use a Roland SP-404."

Yeah, I mean I'm not out there with a DR680 getting all Nat Geo in the field. I just use a Roland SP-404.

Daniel has an MPK Mini, an SP-404 sampler, and, and a Macbook in this image of his live setup.

Oneohtrix Point Never can be seen in this video on his Facebook page using a Wurlitzer Sideman.

The third element was a few sample layers Dan was jamming through the 555. I think the bed involved percussion, piano, and a male voice saying “waste”. On the other end I was messing with some Sherman distortion and enveloping to make it swirl. The song ends in a break also sampled on the 555.

See photos of his studio in the Futuremusic interview Feb '16. Near the top of his rack

See photos of his studio in the Futuremusic interview Feb '16. Near the top of his rack

The Focal Solo 6 Be can be seen on two pictures of this interview, especially on the one where Daniel "OPN" faces his monitors.

"That was a synth called Enzyme, and It was like a really buggy synth that crashed all the time, but it was the most corrosive, gray, poisonous sound."

"I got inspired by this particular plugin called Serum. It's just a software synthesizer"

"The lead vocals are a software synthesizer called Chipspeech. I like this sort of saccharin, cartoony, ridiculous voice"

"I love [u-he] Zebra and used it extensively on this record."

"We got a good koto sound in Omnisphere and distorted that through tape."

"The vocals on [Lift] are these chopped up and processed, preset EDM vocals that I found on this rompler software VST called reFX Nexus, which is basically purchasing finished music to play with your hands."

“Black Snow” breaks into a climax buttressed by retro synth arpeggios, it pauses for a solo on the Daxophone. https://pitchfork.com/reviews/tracks/oneohtrix-point-never-black-snow/

"No Good" is the last track on the record, and it's held together by this sample from a piece of music by Hans Reichel, a German guitarist and inventor of the daxophone. I used his sample, wrote the vocal melody around it, and added a stoner-metal riff in the second half of the tune." https://www.vice.com/en_us/article/wnydbx/oneohtrix-point-never-told-us-the-story-behind-every-single-track-on-garden-of-delete

"Cubase was a pretty short-lived love affair. I had a good handle on Pro Tools before Ableton, but it seemed to me to be no longer necessary."

"Cubase was a pretty short-lived love affair. I had a good handle on Pro Tools before Ableton, but it seemed to me to be no longer necessary."

"Cubase was a pretty short-lived love affair. I had a good handle on Pro Tools before Ableton, but it seemed to me to be no longer necessary."

Q: Every time I've seen you play, you're using a [Roland] Juno-60. Is that your bedrock?

A: "It was my dad's. He bought it in 1983, when I was one year old. He bought the Juno because he couldn't afford the Yamaha DX-7, which was like the pop synth at the time."

Q: And you just inherited it at some point?

A: "Yeah, I really loved it as a child—it looked like a cockpit dashboard. I think it made me resent the Samick piano upstairs. Like, the Juno was in the dark, in a cold basement under a plastic sheet, and the Samick was upstairs and it signified MOM BEATDOWNS. She was my teacher, strict Russian-style, but she let me quit piano, so she wasn't really that strict. Anyway, I started using the Juno in high school. I was in a jam band with my best friends. We wanted to sound like Herbie Hancock Thrust. "

"I have the Juno-60 that I mentioned, an Alesis Andromeda, which is very popular these days. Everybody's putting out analogue synths again and the Andromeda is a late 90s synth but all analogue. It's probably somewhat anachronistic today because there's so much around like it now, but I love how it sounds. I have a Waldorf Microwave XTC that I worship and control with a software editor called Monstrum XT that allows me to randomise its parameters, as I'm not very good at programming synths. I've also got an Elektron Analog Four, but the rest of the stuff's been decommissioned. If I'm not using something, I tend to sell it and move on, so I'm not too sentimental about hardware synths."

"I have the Juno-60 that I mentioned, an Alesis Andromeda, which is very popular these days. Everybody's putting out analogue synths again and the Andromeda is a late 90s synth but all analogue. It's probably somewhat anachronistic today because there's so much around like it now, but I love how it sounds. I have a Waldorf Microwave XTC that I worship and control with a software editor called Monstrum XT that allows me to randomise its parameters, as I'm not very good at programming synths. I've also got an Elektron Analog Four, but the rest of the stuff's been decommissioned. If I'm not using something, I tend to sell it and move on, so I'm not too sentimental about hardware synths."

"I have the Juno-60 that I mentioned, an Alesis Andromeda, which is very popular these days. Everybody's putting out analogue synths again and the Andromeda is a late 90s synth but all analogue. It's probably somewhat anachronistic today because there's so much around like it now, but I love how it sounds. I have a Waldorf Microwave XTC that I worship and control with a software editor called Monstrum XT that allows me to randomise its parameters, as I'm not very good at programming synths. I've also got an Elektron Analog Four, but the rest of the stuff's been decommissioned. If I'm not using something, I tend to sell it and move on, so I'm not too sentimental about hardware synths."

This was the only real loop-based track on the album. I think Joel and Dan came up with a bed while syncing together the MPC and D-50.

Featured in photos for his article with Futuremusic Feb '16. See rack

"I use other synths for color. I have this Akai AX-60 for super-harsh analog abstraction. It's also good for monosynth leads."

In this Vice video this pedal appears at 6.44