A Quote by Rob Brown

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.
When you're in the studio, you've got a narrative for what goes on, you might switch on a bit of gear and it might not work as you intended or come out a bit wrong, and you try and exploit it.
For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.
I'm a Gemini, so there's two people in me. Straight up. There's the nerd who is totally zoned out in the studio, EQ-ing this kick drum, raising this snare one decibel, or swapping this high hat out for another. Then there's the other side who's a performer. I have to go out on stage and be electric, a fire cracker, just run around the stage and give a show.
Playing well with others is important - not being too flashy, just keeping good time and of course coming up with cool beats. A good snare drum, kick drum, high hat. Just getting good at the hand feet coordination.
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.
When you've got an extra gear in your head where that's all you do, you've constantly got a little radar up. ... And when something hits that strikes that beeper, hits that radar, it's like my song skills kick right in and go, 'Oh, OK, there's a song in that.' And then I start trying to figure it out.
I got a bike - a fixed-gear with bright blue wheels, custom-made to my specifications. I am a San Francisco techno-hipster, so this selection was a bit of a self-caricature. But sometimes the predictable thing turns out to be the best thing, too, and you can't let that stop you.
Winning awards is great. Everyone wants to put a feather in their cap but for me the ultimate validation comes when you're standing on top of a peak and the weather's moving in and you're trying to manage logistics with your client, whether its food, water, shelter, and really there's only one constant out there: I know the last person I'm going to get to take care of is myself, so my gear has got to work. I take a lot of pride in knowing Eddie Bauer makes the best gear out there.
Set the gearshift for the high gear of your soul. You've got to run like an antelope, out of control.
Set the gearshift for the high gear of your soul, you've got to run like an antelope out of control!
Then I tried out for the Fontana High School drum line, in Riverside, and I did really well. I got second chair, and played snare in that drum line for three years.
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.
With a computer, you have access to so many drum sounds and samples that your snare drum will be unrelated harmonically to your kick drum.
The only time I have exchanged gear with someone was with The Undertaker at WrestleMania 24. I gave him my kick-pads and my tights from that, and I got his gloves. It is pretty cool. I am glad I got that memory.
I played soccer growing up, and then high school came along and the football coach came out one day and was like, 'Hey, do you want to kick for us?' I was like, 'Sure, I'll come out and kick one day.' I got moved up to varsity and that's how the story began.
I've got to play better and contribute more”. You've got to find another gear and come up with big games.
This site uses cookies to ensure you get the best experience. More info...
Got it!