Adrian Younge Quotes

I'm thinking about recording everything to tape like it's 1991 and seeing how that sounds.

There's a certain urgency that comes from the records of the early 60s before overdubbing and multitracking came into play.

I tried to make a honky-tonk country record - rough-hewn, cut fast, and all analog - like I wasn't hearing anymore.

I'm very aware of what, say, electric guitar recordings in the '60s sounded like.

I'd never record digitally. It's not because its' a horrible way to record, it's just not the best way to record my music, because my music is rawer, darker and a little more nostalgic.

You just want to go back to those 70s albums. Even a lot of the 90s indie records were still done on tape, and you hear the difference.

I'm making music the way I would have done before modern equipment and music recording.

The tracks on 'Sleep' were recorded live to 2-track. I did a fadeout or two of them, but that's really it.

People are so into digital recording now they forgot how easy analog recording can be.

Another thing to do with the blues is how they were recorded. They were done on the quick, and some of that stuff was made on wire, not even tape, let alone digital.

I get most of my inspiration from older records and older production styles, and that ends up rearing its head in the records that I make.

I love music with real instruments. I'm not one of those guys that's a purist about analog vs. digital, but I love the analog approach. Sonically, I connect to that.

The best records are not perfect. They don't sound digital or like someone applied rules.

I like that kind of classic-type sound. A lot of my favorite albums were tracked live, with a four-piece band. I love the way those albums sound, but I want to make records that sound like that in the way I like to make stuff.

'Brace the Wave' is an acoustic-electric record recorded with electricity on analog-digital and digitally-analog equipment.

What do I think of digital recording? Well, it's all right. But those old thorn needles, now, that was a sound.

Sometimes things get too layered and compressed or there's too many effects and they turn into mush on record. I strive to keep it raw and live-sounding, like you are in the room watching the band play.

I'm from the pre-Pro Tools era where you had to meet up with the artist and go over things if you wanted to record a track.

I tend to use different microphones, different mic techniques, and different recording mediums - like analogue tape - that evoke multiple eras of recorded music at the same time.

When you're recording to tape, you usually just settle for what you have. There's not a lot of options to manipulate the performance.

I've been practicing for years, trying to figure out how to record an entire band live.

I think musicians like me are drawn to those older desks, not just because they're legend and lore but also because they do something really specific that is hard to emulate or re-create digitally.

I do it live on tape with a band. It's not like I'm doing electronic music with a laptop.

From a very early age, I started to get really interested in how songs were put to tape. Not just listening to the songs, but the way the songs were recorded.

We always get back to old soul singers like Nina Simone, and how her recordings sound. Also new music like Tobacco, or people that use a mixture of analog and electronic music.