A Quote by John Vanderslice
I'm a collector, a tinkerer, and a tweaker, like a lot of people, and recording equipment is really easy to fetishize.
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The late '60s and the '70s, a lot of this really beautiful equipment was being made and installed into studios around the world and the Neve boards were considered like the Cadillacs of recording consoles. They're these really big, behemoth-looking recording desks; they kind of look like they're from the Enterprise in Star Trek or something like that. They're like a grayish color, sort of like an old Army tank with lots of knobs, and to any studio geek or gear enthusiast it's like the coolest toy in the world.
There's a generation of people that do fetishize books and do fetishize catalogues and do look at them as something important. The same thing with magazine culture: because magazines don't make the amount of money that they used to, it's become important again to another generation of people to actually read them. And it's very, very pinpointed to the select people that actually fetishize and go in and look at them.
When I first started recording music, I was actually singing about microphones, equipment, recording.
People are under the illusion that it's easy...Technically, it is complex. You have a million options with equipment to distract you. I tell my students to simplify their equipment.
People are so into digital recording now they forgot how easy analog recording can be.
A lot of bands, they take a lot of planning to do a live record. They have to hire a crew, and they have to have a recording truck and all this equipment, and they record every single show.
I'm a big fan of a lot of prog music. As a record collector as well, I won't throw anybody or any band under the bus, but a lot of the records are fun to collect, are not necessarily very good. There are a lot of prog bands out there that it's a really cool record, but it's, like, not really there.
Recording studios are interesting; a lot of people say - and I agree - that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.
I'm a collector. I was born a collector. I came out of the womb a collector. I can trace it back to childhood - collecting used keys.
I bought some equipment and then I started recording real heavy, in my room, when I was like 16.
It's always been important to us to be original, which sounds really easy when you say it. Everyone says it all the time, but it's actually not that easy to be original. It's also something scary because if you're doing stuff that doesn't sound like anything else, I think a lot of people get scared of that. A lot of people tend to follow instead, they wait for something else to do something new and then they follow that. We just don't like to do that.
There's a lot of haters in Philly, but it's a lot of people that give you support - but way more haters. It's definitely a great city to be from. But it's not really a lot of people that come out of there. So when you, like, make it out of Philadelphia, everywhere else is easy.
In fact, I'd just like to own something. Everyone thinks I'm glamorous, rich and famous but all I've got is some recording equipment and a battered old BMW.
The idea of letting a recording be a moment in time appealed to me. With digital recording, it's easy to create a perfect text of whatever song you have.
I'm not a big equipment guy; I think that people are a little bit shocked by that. I really don't care about gear in general. I care about people and their intentions to make music - it doesn't matter what equipment you have.
When I was, like, 16 or 17, I was just finding out about this YouTube thing. Then I saved a bit and asked my parents for some help to get the recording software and equipment.
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