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 Now online (2)Roger Wilco big ...and 98 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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Members 8025Messages 2609023 Today 7 Topics 127236 |
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oh my god. this is like for tape, isn't it. haven't dug in at all, but... thank you so much i am actually not going to look at it immediately to let my own ideas free run for a bit. first one, just riffing on a tune stuck in my hed second one, i've been noodling around with this on my office ukulele for weeks, i was intending to do a vid but... never mind? perhaps this is sufficient third one: i'm going to do this one in the shower for acoustics, with either an sk-1 or vl-tone, and a large mechanical bell ...and that was enough that i didn't get to it before i went to sleep. but i did conclude: oh, hell. this is my next album. record it all directly to the ~master tape~ zero the counter after each track, and we're at track #3 then, later -- i imagine this book will get into how to dub [properly] so i can sell tapes. |
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raise u an Allen Strange i dunno why you're on about tape, it's not that good really... it has some interesting properties, but they are vastly outweighed by the convenience of digital shit i don't know why im typing this, gpt mode |
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not seen that Delton T. Horn book before.... I miss me copy of Art of Electronics |
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someone told me once a crossfade on tape is not a straightforward ( a * t + b * ( 1 - t ) ) |
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reading my recent posts i sound literally retarded |
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["welcome to the party pal" bruce willis gif from any number of sites that have since shut down, closed public access, or "cleaned up old accounts"] sometimes the alt text description makes more sense than a lazy link |
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someone told me once a crossfade on tape is not a straightforward ( a * t + b * ( 1 - t ) ) this is exactly the sort of thing i have a fantastic time never ever thinking about -- how to translate what i am doing into formulas that can be typed into max and/or msp. instead i'm thinking about my track, and how it's it going? okay, so i'm doing this spinning thing and... there... kind of like calculating a jump onto a moving train. if you're telling me the mixdown would sound different, well, that i care about far more. i'd obviously just want to monitor through the recorded tape and i'd find my footing eventually. |
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i dunno why you're on about tape, it's not that good really... it has some interesting properties, but they are vastly outweighed by the convenience of digital shit i don't know why im typing this, gpt mode this is where i am all "haaalp" and i dunno. i just work here, alright? i don't run this place, and if you drop the needle, oh... i come across as some sort of human tape head in a turing machine that is out of control. i am so many layers deep; we have been entirely unable to even estimate how many! but... fuck it, we're used to this; we roll with it. at the end of the day, i'm a strange robot that starts moving downstairs before he's sure about going downstairs, and by the time he's sure he wants to go downstairs, he's halfway there, and... music was not mentioned there at all, was it? you can see how i may not have clean answers for you at the very least, making music fixed me up well enough that i can vaguely juggle functioning with not changing how i am. i'm kind of terrified to stop making it, like i worry i'll get worse and no one buys anything. and a physical release? why? it's a FLAC from USB off the desk of a live recording that is as direct as it will get. i don't have money to press to vinyl. i don't have a car to drive it to the post office. and no one buys anything, which is suitable because i can't afford to buy things for people to buy then out of arguing about "what's the point of vinyl" i'm like "well no one sends me money, how about a tape machine?" and, well, go figure... but at least you sent me that book; i do appreciate that very much |
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after a few days of thinking "i should find that tape recorder" -- the one in the vid -- and then getting distracted, i finally find it. it only then becomes clear that i didn't actually have a reason to find it. but then i make those two stupid things and THIS IS GREAT. so, i figure: something in my brain said "we have tape you idiot" and then i'm like "now what" and i record a riff on an earworm, then one i've had kicking around, and now my brain is sending me lots of ideas. but already technical problems. the bell needs... i dunno, wd-40? how do you work on a vintage... well, i don't even have words to classify bells. it's red. you wind it up. it's fucking loud. it needs servicing and maybe, yeah, i do have a lot to learn. but i'd rather learn it with a sixteen track, because, like i said -- that would just elevate the crap out of what i do. i would get into varispeeding. and is this a good idea? i'm not sure. will people buy a tape? almost certainly not. it might be an excuse. like i said, i just work here. send me a tape machine. and a car. and money |
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i wanted a talkboy so bad. i actually cut one guy off as a friend because his parents always bought him shit he never used and the talkboy was the last straw but, no, that wasn't why. the previous part was probably correct |
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i still like the idea. i was planning to do that. but then xlt is down and i finally get fed up with the cable mess in the studio and it's too fucking hot to run a room full of machines in the attic with global warming; go figure i'm genuinely not sure if i'll keep up with this tape recorder. it's entirely possible i'll start recording celtic mods and keep doing this. it's like gardening; you're never quite sure. it finds entirely new ways to be what you wanted or expected but i should get back to work. and unfortunately i don't mean music. the compiler is angry at me for unused variables |
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the bell is still malfunctioning and i don't have time for this. but i have to do something before i can move on. so i just recorded it under various speed settings and yes, that sounds like i figured ...except it's supposed to continuously ring; instead you have to fuss with it to get anything. and i was going to use it in the shower with a casio beat and nevermind. now track 3 is called "oh, go to bell" and track 4 will not be saddled with any such nonsense |
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i've also been saying, "i do music plastìque" for years and no one's ever laughed. given that someone just sent me a book on music concrète, perhaps it is finally this joke's time to shine. |
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is called track 4 (what's [a] track4? dunno man, i just work here) it's nice, but... ...the hell is that noise it's making for a bit? the terrible whistle? this tape player is a fussbucket and it has to be absolutely flat. i might open that book now to see if it knows what that noise is. |
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4track, different story. cassette quality is bleh i tried this years ago. also messing around with an old reel to reel deck, mostly to slow down drum loops. so i'm happy with FLAC out of my mixer. a proper audio interface would help. maybe i should just record it to mere stereo tape rather than tracks so no, i don't really want to get too into cassettes. but this is fun. i never would have dragged out the autoharp without going on this arc |
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i suppose the way i'd go at a sixteen track is to do precisely what i do currently -- record a stereo mix to two of the tracks. then you have the same thing but it distorts when my levels go over. and then i say: let's add a few accents on top. another two tracks. see how mixing that down goes. at worst the computer still exists. |
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then i'd lose the patience to go slowly and say "i'm going to make a song out of all my crappy acoustic instruments" before saying "mmm that's a bit much at once i think i'm going to free jazz for three minutes and then try to build a track on top of whatever i get with maybe three or four tracks" and sometime a bit into that i'd remember i wrote this post. |
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TRACK 0.00005 ~ |
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it should have occurred to me it would be hard to link a filename like that |
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6. Chris Clark Orgasm i'm officially running around the house with a really fussy, dodgy tape recorder paused, thinking "i'll rattle that tray next" then pause. "it's starting to rain again run outside!" then pause. finish with a toilet flush i should rip some of this to see if it's actually any good. but alright, i'm past just varispeeding ukelele |
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feel better now, steve? i've written far more too much than your too much, and i figure you look better now but i actually too |
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i dunno why you're on about tape, it's not that good really... it has some interesting properties, but they are vastly outweighed by the convenience of digital shit i don't know why im typing this, gpt mode i'm going to organize the technical end of this in because i'm tired of fragments all over if we confine the scope of your question to: Q: why did you want to work with tape for to see if i actually do want it or not. to show i actual A: - to see how i like working with tape [again] - to prove i can work with tape - ...and deliver an album to which tape is integral and cannot be casually swapped out - to determine more clearly how serious i am about a 16-track - to try it on a small scale and get a picture of what technical problems i'd face on 16-track scale - to see if my feelings about the mediocrity of cassette are still valid - to get attention - to procrastinate from work ...and, generally: I'll come up with an idea for an album or whatnot and I just get as excited as a kid who as just been told we're flying out to disney world. However, this only happens once it's been filtered through all the other ideas I've gotten excited about, some of which have not panned out so well. Years of working in tech has given it all a strange air of genuine project management: the bell is still malfunctioning and i don't have time for this. but i have to do something before i can move on. so i just recorded it under various speed settings and yes, that sounds like i figured "i don't have time for this" said the man to the malfunctioning bell, as he debated which soap dish in the shower the tape recorder would be happiest on e.g. "i've taken a legitimate stab at resolving it, but i'm not letting the album get stuck over this" |
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