When you're recording to tape, you usually just settle for what you have. There's not a lot of options to manipulate the performance.
I don't have any computers in my studio, it's all analog tape. All analog tape, all old equipment, I mean my mics are like from the 60's and early 70's, everything in there is old.
I like to work with a combination of analog and Pro Tools. I love the sound of analog tape, but there's so many things you can do with Pro Tools that would be incredibly difficult and very time-consuming with analog.
I had been creating music on tape that was to be listened to as a recording, rather than through performance.
People are so into digital recording now they forgot how easy analog recording can be.
No one has any faith in the tape anymore - everyone just relies on computers and considers the hardrive to be the safest option, and I don't. I think an analog tape is something you can hold.
I tend to use different microphones, different mic techniques, and different recording mediums - like analogue tape - that evoke multiple eras of recorded music at the same time.
One day, digital will be it. Analog will just be another oddity, and that's fine, too. I have no great misgivings about it, but there will always be something to analog. It's the smell of the tape and all that visceral, physical stuff.
All the dialogue on tape, and we'd play the tape in performance. Then I thought it'd be interesting if the actor's repeated what they heard on the tape, but at a slower speed, so we'd get a web of language.
I'm always looking for older equipment and ways of recording, but you can't escape the fact that it's all going to be digitized and reduced. I do think music sounds better when it's on tape and more simply recorded. I've been arguing with people for 10 years about tape versus digital, and I believe tape is absolutely essential in getting the sound that's conducive to the enjoyment of music. I wonder if it's going to go back to that. Sometimes I think it has to. As music becomes more computer-based, it's lost some emotional impact.
I'm a huge Boards Of Canada fan. They're my favorite contemporary band. The interesting thing about Boards Of Canada is, they use analog and digital recording techniques, and nobody really knows how they get their sound. But I think that very warm, enveloping analog sound.
I had invented my own system, my own way of making electronic music at the San Francisco Tape Music Centre, and I was using what is now referred to as a classical electronic music studio, consisting of tube oscillators and patch bays. There were no mixers or synthesizers. So I managed to figure out how to make the oscillators sing. I used a tape delay system using two tape recorders and stringing the tape between the two tape machines and being able to configure the tracks coming back in different ways.
I have to figure out different ways to get into the moves that I do because everyone has a different offense, and I need different counters to go into my moves, and that's more down to tape watching.
Recording is a lengthy process, but onstage it's completely different; tape is not running - life is running, and cannot be rewound.
I thought that it would be interesting to have a mirror and grab a light and shine it around in different ways. It's an analog to the acoustic reflections that we're going to be trying to activate as well.
It's quite different to do a vocal performance, opposed to a performance where you are seen, because in some ways, you don't need to worry about what you look like - you don't have to sit in a makeup chair for a long time!