A Quote by Martin Gore
I started getting back into buying old analog gear while we were recording. Lots of old drum machines and synths. It wasn't a conscious thing. I didn't consider myself a collector, but boxes of vintage gear would turn up virtually every day.
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I have actually found myself buying up more and more old analogue gear. I have this strange obsession with old drum machines.
I think the whole obsession with old gear is completely overblown. You don't need old-fashioned gear to make a great-sounding record. You don't even need [analog] tape.
A lot of the gear came out of some of the old studios here in New York City. We picked up a lot of old microphones, reverb tanks, tape machines, so yeah, we try to record the old way, which takes more time and energy, but it certainly feels better when you're getting to the end of the process of making a record.
I have limited interests. I really like all sorts of gear. Guitar gear. Recording gear. Stuff like that. I like music, you know.
I'm a gear head. I love gear. If I have the choice, of course I'd rather use a great microphone, a Neumann microphone and a vintage Neve board.
My whole life I've always innovated the gear to match my pursuits. I've innovated the best climbing gear, the best slacklining gear, and definitely the most advanced BASE jumping gear.
You can get the oldest drum machine out and whack out four sounds like a kick, snare, and two types of high-hat, and try and come up with the freshest thing on the spot. The gear can guide you - you can choose one bit of gear and it's obviously got its restrictions and its limitations, but at the same time, you've got to exploit what it's capable of and what it's best used for.
Change gear, change gear, check mirror, murder a prostitute, change gear, change gear, murder. That's a lot of effort in a day.
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.
I didn't realize what I was even doing when I started to record music. I was just doing it for fun. I picked up whatever recording gear I could get my hands on and I'd sit there day-in and day-out... experimenting with different sounds and trying to write songs.
I worked with a skateboarding instructor for three hours every day. We would go to the park and do ramps. I had to wear a ridiculous amount of gear - elbow pads, knee pads, every kind of pad, plus a helmet - to stop myself from getting hurt.
I decided to do what I do when I was 2 years old. At 2 years old, you know, I heard the sound of a drum playing in the village, and I found my own drum and just picked it up and started playing, the worst song ever written by Wyclef Jean.But it actually started a vibe.
I'm very into the military and police stuff. Gear and technical gear is something that's changing every day and every day you're trying to be on the cutting edge and improve your stuff more and more because your life depends on it. And so, the guns and the gears are changing constantly.
I started writing when I was around 6. I say 'writing,' but it was really just making up stuff! I started writing and doing my own thing. I didn't really know what a demo was or anything like that, so I started getting interested in studio gear and started learning about one instrument at a time. My first instrument was an accordion.
I love the immediacy of those old analog machines; it's really inspiring. You just set them up to play, and they go, playing the same thing until you switch the pattern.
You know, the other day I gave all of my old Angels gear to Goodwill...and Goodwill gave it back.
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