“Through agriculture, I learned how to create noise. I had the feeling that noise would make them [pests] discouraged, and they would stay away from the plants.”
Halim El-Dabh

“I was carving sound. I used noise like I would a piece of stone.”
Halim El-Dabh

 “I just started playing around with the equipment at the station, including reverberation, echo chambers, voltage controls, and a re-recording room that had movable walls to create different kinds and amounts of reverb. I concentrated on those high tones that reverberated and had different beats and clashes, and started eliminating the fundamental tones, isolating the high overtones so that in the finished recording, the voices are not really recognizable any more, only the high overtones, with their beats and clashes, may be heard.”
Halim El-Dabh

“I wanted to find the inner sound, that vibration that’s always necessary for transcendence. I eliminated the fundamental tones of the harmony by changing the voltage – it changes the quality of the music, it seeks another quality in the voice, the hidden material, the inner part of the voice. That’s what the whole idea of electronic music is. You have a recording and you go inside the recording to find the hidden meaning.”
Halim El-Dabh

“Sound to me was physical as well as audio, but it was also visual. I remember when my mother made jam out of roses I could hear the roses from the jam, I could feel the roses, and the vibration of the color. Those things made me understand that there is a way to write music using colours because of the frequencies and the vibrations that stimulate the mind into a different stage of understanding and hearing with colour vibration and frequencies.”
Halim El-Dabh