Adrian Younge Quotes

When I know it's like a bass song, I gotta go with my SP-1200.

I never had any plans to become a producer when I was a kid. I wanted to be a DJ, like most other kids at the time. Then my mum bought me a Casio keyboard and I started to sample sounds that I liked.

I grew up writing songs in my room on GarageBand, and I would make the beats just out of layering my vocals over and over again. Very Imogen Heap-inspired.

I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.

My brother makes beats, and I DJ.

I had an apartment on Long Beach Blvd and San Vicente in Long Beach, California. That was the apartment I done 'Regulate' in. I had all my equipment set up in the bedroom, a vocal booth in the bathroom and in the closet, and that's where we created it. I had an MPC 60, a Numark mixer, and a Technics 1200, and a ton of records.

With '5 Boroughs,' we were each working on beats, sitting in front of our laptops and samplers.

J Dilla is the top producer of all time, in my book, alongside Timbaland and Pharrell. Then DJ Mustard.

I started making beats when I was 13.

It's not easy to sound like Dilla, but you can make beats like Dilla with your computer, so that's why everybody sounds like Dilla.

All the Public Enemy albums, I knew what records they were sampling but was like, 'How'd they construct it like this?!'

I had eJay, and then I had Acid Pro. I had a crack of both of them, and I would just make little loops, and then I'd hum along to them. I used to spend a lot of time on a computer looking for music and making beats and stuff.

When I was a teenager, I got into four track recorders, drum machines, and synthesizers, and I started producing instrumental music.

I like tinkering with the tribe beat boxes and love using Reason as a beefed up beat box.

A lot of the stuff I've accumulated over the last few years of touring I thought was really interesting. Like sounds, sound bites, and beats even, but they weren't good dance beats they weren't ones anyone would want to rap over or anything.

There's a lot of music that sounds like it's literally computer-generated, totally divorced from a guy sitting down at an instrument.

I'm not looking to go out there and make a rhythmic Timbaland track.

I have a room dedicated to music and recording. I go there first thing in the morning and just before I go to bed. And it has a window to my street, so I can watch all the crazies walking by.

I'd been DJ-ing in these clubs in N.Y. and I hated everything that was coming out. So I decided I would make it myself. People were making mash-ups or remixes, but I was extra bored, so I actually started remaking these records from scratch.

I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.

I knew that as a DJ from 1970 on up that I would eventually come with this sound. I brought out all these other break beats that you hear so much on a lot of these records.

I like producing beats, and I like rapping, too. I have a program for the PC, and I can hook my keyboard to it.

I grew up hip-hop dancing; I've always wanted to create music that I could dance to.

I grew up around electronic instruments. To me, the turntable is an electronic device. At the same time, I had access to drum machines and keyboards through my uncle; then track recorders into computers. At an early age, I was messing with computers more than most hip-hop musicians.

I love sampling, and RZA loves sampling, too.