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“I loved the roughness of it and the kind of graininess you could get out of it. And the fatness. It was the first synth that led me down the path of thinking it would be great if you could treat synths more like the guitar; could you get away with putting them through pedals and fuzzing them up?
“We ended up using that kind of stuff a lot on Travelougue in particular. Although we used to do it by overloading the preamps on the desk - to get those distorted sounds.
“Even though I never actually owned an MS-20, I knew a couple of people who had them. And when I produced Vince [Clarke], and had the chance to hang around his studio, I got to know it really well.”