Alessandro Cortini sagt in diesem Artikel auf
https://xlr8r.com/features/studio-essentials-alessandro-cortini/ Folgendes über den Quantum:
"I bought the Waldorf at beginning of the album mixing session, which, for me, is a period that goes well beyond just mixing. This is the time where I make all the tracks fit together. It’s like a puzzle: I have all these pieces and I listen to them together and then make the final changes. The Waldorf provided the right ingredients for me; it was like the clear coat that glued the music together.
The machine came via a recommendation from my friend Richard Devine, who had worked with them originally, and also Richard James who loves the instrument too. When those two Richards speak, you have to listen. It really is what they described. Out of all the instruments from the last decade, it’s the one that sounds like a universe on its own, and it finds the perfect point of having the right features and ease of use in accessing these features.
I was originally looking for a piece of gear that would provide something for granular synthesis, and to manipulate audio in a creative and immediate way. I wanted something outside a computer to do this: I’ve done it many times before with software, but I wanted something different and the Quantum seemed like the perfect answer.
It’s very easy just to keep it connected to a patch bay and feed it an output from Logic, and then sample it and mangle it into an instrument; it’s immediate in this way. That was the way I got into it, then I realised how unique an instrument it is.
Every sort of synthesis that it offers is presented in a meaningful and creative way. I can get lost in it very easily, but not in a way that four hours pass by and I haven’t come up with anything interesting. I started writing patches for it, and I keep overriding the ones that are in there, and then I started using it on the record for several things, like on “Let Go,” where the speech synthesis is actually from the Waldorf. You can input a phrase and then the synth will play it back, and then you can play it on the keyboard. It’s also used on “Momenti” for a harmonium sound, and a string counter-melody that sounds like violin, but it’s in reality a Buchla 700 that I adapted to a granular sound within the Waldorf. I am sure I used it in other parts too: as I said, it became like the spice for the album, used to give a common denominator to all tracks."