A Quote by Adrian Younge
When you're recording live, really good vintage instruments onto two-inch tape, it's the best fidelity you can get.
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To me, recording with live instruments and tape takes things back to an older sound that I like but that's still fresh.
I don't like the way recording to digital sounds. Most of the time, when I'm recording to two-inch tape, I still have a romantic vision of how songs sounded coming out of the radio when I was younger, and how they sounded coming out of my little four-track cassette player.
When digital technology started becoming the norm, you've got 50, 60, 70 years of recordings on tapes that are just deteriorating. Like, a two-inch reel of recording tape won't last forever. It dissolves. It will disappear.
Some people record onto tape, and then they pay for the tape, and download those onto a hard drive. Initially in a Pro Tools program. Other people go straight into digital, and use no tape at all.
I like golden-era hip-hop because they were recording on a 2-inch tape. There was dirty, raw sampling. It's nasty. It has a vibe to it.
I don't like the way recording to digital sounds. Most of the time when I'm recording to 2-inch tape, I still have a romantic vision of how songs sounded coming out of the radio when I was younger, and how they sounded coming out of my little four-track cassette player.
I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.
For most of us, fidelity is faithfulness to an obligation, trust, or duty. For the men and women of the FBI, fidelity also means fidelity to country. It means fidelity to justice and the law, fidelity to the Constitution, fidelity to equality and liberty.
People simply don't have room, physical room, to keep, for instance, 2-inch tape in the sort of quantities that are required to hold a full archive. It's not just a matter of having three or four boxes, it's 40, 90 boxes of 2-inch tape, and very few people have the resources that sort of stuff properly.
I tell people that the scales lie. You may have played basketball and weighed 175 pounds, with a 30-inch waist, back when you were in college. And you may still weigh 175 at 55. But you probably have a 35-inch waist and you've probably lost 30 or 40 pounds of muscle -- and gained 30 or 40 pounds of fat. The tape measure doesn't lie. Get that tape measure out and put it on your hips and your waist. Keep checking it. And keep exercising and cutting those calories down until that tape measure gets close to where you were in your prime.
After years of begging, I got my parents to get me a little Craig tape recorder, a reel to reel. Then I started recording voices, or recording Jonathan Winters off television and stuff like that.
I will compensate all your one-inch, two-inch losses because I know how important every inch is to you aged, decrepit men.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.
I use all types of instruments, really depending on the film. Instrument choices are very much tied to lighting, colors, art direction, as well as the narrative elements. I have a great collection of vintage synths, and of course I do like to write for acoustic instruments. I find the depth and intricacy of sound and emotion you can get with acoustic ensembles extremely versatile and effective in the overall sound environment. Also, the human aspect of performance is such an important part of the music score to character connection.
I made my first mix tape when I was 14. I used to play basketball and ride bikes, but I think I just latched onto music because I figured I could be really good at it on my own.
The Shins is, in a way, a recording project that turned into a live band. So I don't really keep myself beholden to any rules when I'm in the studio for Shins. I just gotta get it done as best I can.
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