"It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument"
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Moroder is puncturing the lazy myth that electronic music is a cheat code. The line sounds like studio grumbling, but its real target is cultural: the suspicion, especially in rock-era gatekeeping, that “real” musicians wrestle wood and wire while synth people just press a button. By claiming it’s “10 times more difficult,” he flips the hierarchy and dares you to admit what the dance floor already knows: electronic sound is built, not merely played.
The exaggeration does the work. “10 times” isn’t a measurement; it’s a producer’s way of saying the difficulty is invisible to outsiders. An acoustic instrument arrives with a century of shared expectations - a violin is a violin, a snare is a snare. A synthesiser arrives as possibility. “Good” becomes a moving target: timbre, envelope, filter behavior, tuning drift, modulation, how it sits against a kick, how it survives compression and club systems. You’re not just performing a part; you’re designing the instrument, then designing the record around it.
Context matters: Moroder came up when synths were still temperamental, expensive, and often dismissed as cold. His own signature sound depended on making machines feel inevitable and human, sleek without being sterile. The subtext is pride, but also a warning: electronic music’s emotional payoff is earned through obsessive choices that listeners will never consciously notice. The hardest part is making that effort disappear.
The exaggeration does the work. “10 times” isn’t a measurement; it’s a producer’s way of saying the difficulty is invisible to outsiders. An acoustic instrument arrives with a century of shared expectations - a violin is a violin, a snare is a snare. A synthesiser arrives as possibility. “Good” becomes a moving target: timbre, envelope, filter behavior, tuning drift, modulation, how it sits against a kick, how it survives compression and club systems. You’re not just performing a part; you’re designing the instrument, then designing the record around it.
Context matters: Moroder came up when synths were still temperamental, expensive, and often dismissed as cold. His own signature sound depended on making machines feel inevitable and human, sleek without being sterile. The subtext is pride, but also a warning: electronic music’s emotional payoff is earned through obsessive choices that listeners will never consciously notice. The hardest part is making that effort disappear.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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