阿德里安杨格是美国作曲家，编曲和音乐制作人在洛杉矶地区。他还是一名娱乐法教授，负责电影的编辑和评分。20世纪90年代末，杨格在一个乐队里演奏低音和键盘，在用MPC采样唱片后开始作曲。他很快就学会了演奏几种乐器和练习。
I remember those moments in my life when the tape came out on that Tuesday, and I went to Sam Goody to cop it. And sitting and listening to it. In awe of the music I was listening to, but also imagining this music at the hip-hop clubs and with the homies in the car.
我记得那一星期二录音带出来时的那一刻，我去了山姆·古迪（Sam Goody）应对。 坐着听。 我对所听的音乐感到敬畏，但同时也在嘻哈俱乐部和车上的同伴中想象这种音乐。
I basically wake up at five in the morning and grab coffee and just get to the studio. And I have a list of things I need to get done every day. Sometimes it's just mixing, sometimes it's actually writing, sometimes it's writing, recording, and mixing. It all depends on what is necessary that day.
我基本上是早上五点起床，去喝咖啡，然后去演播室。 我列出了每天需要做的事情。 有时只是混合，有时实际上是写作，有时是写作，录制和混合。 这完全取决于当天的需求。
People don't realize how much it means to your music to record on tape, whether it be for new music or old music. People don't realize how much or how imperative it is to use actual hardware when making drums because those are actual percussion samplers. They're hardware instruments that are made to have the drum hit.
人们不知道将音乐录制在磁带上意味着什么，无论是新音乐还是旧音乐。 人们没有意识到制作鼓时使用实际硬件有多少或多么重要，因为这些是实际的打击乐器采样器。 它们是用来打击鼓的硬件乐器。