I'm a collector, a tinkerer, and a tweaker, like a lot of people, and recording equipment is really easy to fetishize.

As a studio, you have to have a niche. You have to provide a service and there has to be a reason for your being around.

One thing that has happened is a revolution in digital consumer recording, and overall, that's a great thing for art, but parallel to that there's been a revolution in boutique audio companies making excellent gear.

I like vinyl because it's not quite random access. You have to pick up the needle, flip the record. I do think that an 18-20 minute block of music is sacred, and I can see why it's catching on. I really don't know if it will stay, but it's such a bizarre world, I think it's possible.

There is definitely a nostalgia, and I am very sentimental, so I don't begrudge people for having sentimental feelings towards vinyl.

Usually I'm trying to get away from my discography. I don't think I could tear down everything I've done, the structures I've created - you know, like what Miles Davis did eight times in a row, which was destroy every kind of crutch or system he had for making music. That's very, very difficult. When I reflect on my catalog, I'm very proud of it, and I love it, but what I want to do now is completely different. When I don't do something different, I feel like I'm cheating - consciously or unconsciously stealing from myself.

The funny thing is that even engineers and techs don't know what a tiny telephone connector is - people call them TT connectors. Engineers used to come by all the time and say, "Why are you called Tiny Telephone?"