A Quote by Adrian Younge
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.
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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 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 have a Chamberlain I bought from some surfers in Westwood many years ago. It's an early analog synthesizer; it operates on tape loops. It has 60 voices - everything from galloping horses to owls to rain to every instrument in the orchestra.
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.
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.
'Brace the Wave' is an acoustic-electric record recorded with electricity on analog-digital and digitally-analog equipment.
When you're recording to analog tape, it captures performance and you can't necessarily manipulate that in different ways. It is what it is.
People who leave their cars on the street with tape covering their broken windows are obviously too trusting. I mean, when your car did have glass for a window, someone broke into it. How is tape any more of a deterrent? What are the thieves going to say? Ooh, that like looks like duct tape, we can't beat that. Let's look for one with scotch or masking.
So, I bought a new CD and I was trying to get it open but couldn't with all the layers... I mean plastic and then tape, and the tape is like government tape. It says 'open here.' Is that sarcasm?
I had the time to take the original analog tapes and fix all the things I didn't like, so all I left was essentially the benefits of the analog with none of the disadvantages.
But the rhythm of the mix tape is the rhythm of romance, the analog hum of a physical connection between two sloppy, human bodies.
A lot of musicians like to do the bass and the drums with analog and get that tape distortion that's really beautiful. As far as the digital world goes - it's all going to end up there anyway, but when you hear vinyl it does a different thing to you. Nowadays, people do CDs and then vinyl so it's everything goes; it's a such a beautiful world.
Maybe I'll start from the initial idea, what motivated me to do that. In 1953, I had access to a tape recorder. Tape recorders were not widely available. There was no cassette tape back then. It was a Sears Roebuck tape machine. I put a microphone in the window and recorded the ambience.
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.
Tape machines are effects boxes as well because each tape machine has its own sound. You can over-load a tape machine or you can bump it a certain way so it compresses or makes a sound, tape saturation.
The San Francisco Tape Music Centre was a kind of collective non-profit that my friends and I got started so that we could pool our equipment and make tape music.
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