Vintage Sound Quotes

I am an old-school guitar player. I'm not an '80s-'90s sort of shredder who plays a million notes a minute. I am way more '60s-'70s kind of style, and I write very '60s-'70s.

I love oldies just kind of sweet, slinky, Fifties music. The slow stuff. And Billie Holiday.

I don't know what the vintage Sonic Youth sound is.

People are bringing a lot more of that funk element into their music, you know, with Bruno Mars and Mark Ronson - that's one that you never thought you would hear something like that on the radio again 'cause it just sounds so much like the Back Bay and what they were doing with music back then.

I don't really listen to my old stuff, but on occasion, I would either hear a track on the radio or a friend might play me one, and there was generally a bit of an edgy sound to it, which was mainly due to the digital equipment that we were using, which was state of the art at the time - and I think everyone felt pressured to be working that way.

As me being somebody that makes arguably nostalgic music, I cannot stand when somebody tries to make old music just to sound old.

The ghetto music of my era is hip-hop. And Parliament, and Curtis Mayfield, and Marvin Gaye, that was all the ghetto stuff when I was a baby, and then when I was a teenager it was hip-hop and we were taking all those old '70s sounds and recreating them and putting them into a hip-hop format.

The C+ amps is vintage at this point, and it definitely has a certain sound to it. I wanted something that was going to keep Dream Theater in more of a current musical landscape, as far as being the producer and producing the type of album I wanted to hear.

I wanted to make something that reminded people of the way albums used to feel. I wanted something as good as the stuff put out by the Bomb Squad, or Dr. Dre and his production crew, or 'A Tribe Called Quest.' I miss albums like those.

I do think music sounds better when it's on tape and more simply recorded.

I'm doing a fun EP. It's called 'Songs in the Key of Phife: Eight Is Enough.' It's radio-friendly, but then a lot of it just has that raw hip-hop. Some of it will be vintage Tribe, but for the most part I'm just letting my voice be heard.

To me, recording with live instruments and tape takes things back to an older sound that I like but that's still fresh.

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.

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 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.

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

When an old tape machine makes pitch wobble, some people would say that compromises fidelity and would try to get rid of it. But to me that wobble adds richness, it instantly brings back the feelings you associate with old recordings.

I play music the way it was played in yesteryear.

The late '70's and early '80s is the zenith of a certain craftsmanship in sound recording.

My favorite time in music is probably 1970-75. Still Bill by Bill Withers, Harvest by Neil Young, John Prine's first album, James Taylor's One Man Dog-I hope I can bring the same sort of spirit I hear on those records.

I think there is always room for a timeless sounding rock band like us.

For artists, looking back in time for ideas is commonplace, but there's an overwhelming sense of '70s and '80s nostalgia in California musician Ariel Pink's music. It's impossible to separate 'Round and Round' from the anachronism, and there's no loving one without loving the other.

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

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

Back in the '60s, '70s, my mindset and the way I play would be perfect.