tascam tape delays

recording tape delays
recording tape delays

A year or so ago, a friend of mine sourced me a beautiful Tascam 34 four-track reel-to-reel tape deck. The idea was it was a loaner, as my slow crawl from software to hardware in my musical adventures had made me analog-tape-curious. A while later, he himself made the move from recording to tape, to using a UA Apollo and the various UA plugs that come with, and no longer saw the need for these decks he had, so he offered the Tascam to me to have and to hold.
When I’m practicing guitar, or noodling with the modular synth, the deck sits at eye-level on my desk, on top of my Motu interface, and just kind of stares at me. It looks like a bug-eyed robot. I haven’t used it nearly enough, and until recently I wasn’t really sure what I’d use it for anyway. Yes yes, I can record on it. And it sounds really good. A natural compression with a little hiss and a lot of fun control with the varispeed… But I just hadn’t really got it going.

Last week I stumbled upon a video:

And it occurred to me that I have everything I’d need to do this. Well, actually, I didn’t have a mixer, as I’d just given mine to a different friend, and I’d not yet replaced it with the Mackie that I’d ordered. But I do have Ableton and a good audio interface (Motu 828mk3) with enough ins and outs to be able to easily route this. So that I did.

For a couple of years, tape delay emulations have been my favorite type of delay effects. I love the sound of the degraded signal after the first couple of echoes. My Strymon El Capistan is my desert island stomp-box, being the one I’d keep if I had to get rid of all of the others. I use the GSI WatKat free plug-in more than I probably should. And a year ago I created a chain of Ableton effects to simulate an over-saturated tape delay in Live.

But routing this delay up through my deck is when I finally really understood exactly what’s going on and why. I have to admit that, frankly, it’s sort of a pain in the ass to set up, and the sound isn’t really any more amazing than I get through the El Capistan. It certainly doesn’t have as much control (no moving heads, no looping) but with EQ, it definitely has the tone control and when it starts howling with feedback, it’s sublime.

I recorded a half hour of noodling with an electric piano in live (via MIDI keyboard) and another half hour of guitar playing, direct into a channel in Live and using a few plugs like the amp/cab in Ableton and U-he’s Runciter, which is a fantastic filter/fuzz plug-in. I edited the 76 minutes down as much as I could, and the result is this track.

The dry signal is panned left and the delay from the tape deck is panned right. I ran the signal from the piano and guitar into a send track in Ableton, the send track was sent directly to the tape deck’s input, and the tape deck’s output, the delays, went to a second input channel in Ableton. As the video shows, this gets a simple slap-back echo. It’s not until you use the aux send on this second delay track that the fun begins with feedback and multiple echoes.

The next day I took some bits of this recording, reversed them and slowed them down, playing with Ableton’s warp modes. This became the track “outside over there.” The sound of a reversed delay is one of my favorites and just makes the piano and guitar melt and weave in a way I really like.

Look forward to more of this kind of thing.


sleep tight 1

Made some time to play and record this weekend. I like to start playing by just finding two or three notes that say something when played together, and find some kind of pattern for playing them. The first two tracks here contain that idea and are somewhat similar. The third one was just running up the strings while barring a D chord and looping that, then playing along with.
One of my favorite kinds of music, when I imagine music I want to make, it’s music that at first sounds pleasant and maybe even childlike, but then the listener realizes that something else is happening there. A minor key, a particular mode, maybe the instrument itself. I felt that these might fall into that category a bit.

One frustration of mine is the constant hiss/noise that I get while recording. Both of my amps make some noise, but the Rivera Venus 3 is the bigger culprit. I have had this amp for a year now and while I think the thing sounds just great, I just can’t get past the hiss it makes. Nor have I figured a way to record with it where I’m not fighting this noise. Whether with a mic, or with the line-out in back of the amp right to the recording interface, it’s just more than I’d like to hear. I’m starting to think that maybe I should be looking down a different street for a good amp that doesn’t do this. Swart? Carr?

a belated christmas

snow house

Throughout the month of December, I’d planned to arrange and record I’ll Be Home for Christmas and The Little Drummer Boy. The former being inspired by this odd recording I made last year with some samplers on the modular synth, and the latter because it’s my wife’s favorite Christmas song.
As it goes, I got as far as recording some demos, just to see if my ideas for these tunes would work. Actually, I got slightly further than that — I spent some time working on a peppier version of I’ll be Home with my guitar instructor, laying down a rhythm part and a bass line before things got whacked and the holiday came and went. I’ll see if I can get that up pretty soon, at least.

I’ll Be Home for Christmas starts with a dyad of D and A held with an EHX Freeze pedal, and I play the tune over that. The second time around, some echo from the Echolution delay is added.

The Little Drummer Boy isn’t too dissimilar. This time it’s a held note from an Ebow on the Infinity looper, with a palm-muted D as a drum beat.

Both are recorded with a line-in from the Rivera Venus 3 amp.

Hope you’re Christmas was a merry one, and happy new year. Thanks for reading.

looping looping gnipool looping

return to ChCh

I’m getting boring.

I have a lot of neat-o gear. In fact, I have what I might say is too much. The only reason I don’t say I have too much is because I frequent internet forums dull of people who are way way deeper down the hole than I am. I’m lucky that I have teenagers, debt, and other hobbies or else I’d be in real trouble.
But I digress. I’m getting boring. All I want to do for the last many months, music-wise, is sit down with the sparkly blue Jazzmaster and make guitar loops. I’m perfectly happy to sit for hours with this guitar plugged into any one of the several looping devices that I have* and dig deep. Granted, before hitting the looping device in use at the time, the guitar first goes through any number of the other gear things that I have. But still. It’s just a guitar, right?

These are Jazzmaster through various pedals to the amp, a Rivera Venus 3. I think I recorded these with the built-in mic of a Zoom H4N recorder.

The good thing about this single-mindedness is that it allows me to kind of focus on learning about some stuff that I need to learn about. Like recording, on the technical side. Typically, before I sit down and hit record, I decide on a particular method of capturing whatever I’m doing. For example, I have this fantastic amp that is somewhat noisy. So I’ve been trying to figure out some method to record where this is less of an issue. Also, this amp has a line out from the power section and it’s interesting to record this output while at the same time micing the speaker (which by the way is really awesome — the line out that is. It’s nice and tight and clear. The next time I do this I’ll take just the line out, and then set up a microphone about ten feet from the amp to pick up this more distant room sound. Stay tuned.)

Another thing I do is work on the guitar/music stuff by hammering away on modes and scales. My guitar lessons move a little faster in my head than my fingers do on the fretboard. I’ve been diving into and understanding modes (Ionian, Dorian, Phrygian etc.) lately, and we’ve been working on triads and arpeggios alongside. But I rarely ever seem to know when these fancy things would be useful while actually playing songs. So I typically start out these looping sessions by repeating a couple of notes or a chord, and then playing some improvised loop on top using these modes and scales. I actually learn a lot this way, but it’s still all pretty much abstract theory. If I was jamming with dudes I have no idea whether any of this would be useful. (In related news, I recently glommed on to Rick Springfield’s Jessie’s Girl, and since I’m not the kind of guitar learner to want to learn to play, say, Jessie’s Girl exactly the way it was played on the record, Lou my guitar instructor is showing me how to use these modes and scales while working out my own rockin’ solo. Stay tuned for that too.)

The recordings below were made with the line out of the amp on the right and the mic’d amp (SM57) on the left.

Hope you like these. I like making them. Leave some comments, let me know what think you.

*Pigtronix Infinity Looper, Strymon El Capistan, Electro-Harmonix Stereo Memory Man w/Hazarai, Korg Kaoss Pad, TC Electronics Ditto, The Harvestman Tyme Sefari mk2, Make Noise Phonogene, Teenage Engineering OP1, various software…)

way hey and away we’ll go

I keep apologizing and making excuses for the recent foray into the waters of things of an acoustical and guitarical nature. I mean, even the title of this blogsite here says it’s about music electronica. Alas, the adventure continues and, frankly, I have a feeling that this trend will continue. In my head, the music I hear is a good mix of all of this. Guitars and overdrives, synth bleeps, delay pedals, droney sounds and filed recordings, drum machines and even ukuleles, banjos and accordions. I have no idea where this will lead in the end.
But for here and now, it’s leading below the surface of the sea. This is a melody called “Hieland Laddie” that I found in a book called The Folksinger’s Wordbook, compiled by Fred and Irwin Silber. This wordbook is what it says, which is about 400 pages of lyrics from various periods and locales. The chords for Streets of Laredo were found there, in fact. Folk songs can be corny, but they can also be a rich source of melodies and ideas. Hieland Laddie is a traditional Scottish tune to which there are about a million variations of the lyrics. When I first played it a few months ago I imagined a storyline where a woman is missing her love as he is out to sea, and stands upon a tower looking over the horizon. The song is in Dm, and the first part, Dm, Am, Gm, is melancholy and full of longing. Then the verse kicks in, all in major chords, and I imagine seeing a ship come over the horizon. “Is that the ship I wait for? Is that the ship that will carry my love back to me?” Alas, as the minor chords kick back in, of course, it’s not, and as we can imagine her love is more than likely dead and at the bottom of the ocean. After standing there for years and years and waiting and waiting, she loses hope and drowns herself. Going a bit further, she’s now dead but her ghost still haunts the tower and still waits for her love.

When I was in Maine a few weeks ago, I took some field recordings at Nubble Lighthouse in York. I wasn’t sure what I was going to do with these, but it’s always good to have twenty minutes or so of waves crashing and gulls making noise in one’s archives. So tonight I’m walking the dog and listening to Ugly Casanova’s Sharpen Your Teeth and thinking about that recording of the sea. Like these things do, it just suddenly made sense to put this Hieland Laddie tune over it with plenty of reverb and whatever else I could find that would work.
The thing came together in about an hour. I recorded the guitar and laid it down in Ableton over the field recording. I added a low verby bass with the Teenage Engineering OP-1, which I’ve been playing with a lot lately, and which is really such a versatile little gizmo. I added the bass drum last, and it took some work to get it to sit in the mix nicely. As with most of the stuff I post, I see this as more or less a sketch. I’d like to work on this some more and add an accordion and some modular synth somewhere.
Enjoy the tune.

Laredo, the Streets of

If you read this blog, I am pretty certain that you don’t tune in for the sounds of a lonely guitar on the high plains, or cowboy tunes strummed in a saloon. You’re here because, like me, you’re kind of synth nerd and you want to read about and listen to the finer points of control voltages and weird software.
The thing is, if you read this blog, you also know that I’ve developed an affection for the esoteric instrument called “the guitar.” When I’ve had a few hours to kill in the music room, it’s more than likely been in practicing pentatonics and managing the fret board than wiggling knobs and patching cables. This will not always be the case, i promise. Stick with me here for a bit. I’ve fallen for a diversion, but it will lead somewhere, eventually, that will come back around to beepy buzzy beats.

In addition to learning the guitar for the last eighteen months, I’ve also been trying to understand and learn about recording. I’ve been ingesting old TapeOp magazines and any information I can find on the internet about recording methods and gear.As I do this, I realize that I need to expand the purpose and mission of this website to include these newfound links and informations and, well, gear. I recently installed a patchbay, I now have a decent little mixer, and I’m all set up to where it’s very easy now for me to press “record” and create some tracks. Like many music hobbyists, I find that I end up reading about this stuff more than actually using it (there are legitimate reasons for this that I’ll get into some other time) and last Sunday I decided that I need to actually play some music and actually record it.

Just a couple nights earlier I picked up a very large book at a local bookstore called The Folksinger’s Wordbook, edited by Fred and Irwin Silber. As I browsed it, I ran across The Streets of Laredo, which is an old cowboy song that I like. I believe the first version I remember hearing was by Marty Robbins, and more recently I discovered an odd cover by The Blue Aeroplanes. So here I had the lyrics as well as the basic guitar chords. True to the old saying that all you need are three chords and the truth, the chords were D7, A7 and G. That’s it.

On Sunday, I set up some mic stands, opened a few recording tracks in Ableton, and set forth. First was the acoustic guitar rhythm track played to a click at 115 bpm. D7, A7, G. Done. I played around with some positions for the microphone, an Audio-Technica AT-2035 until I found something I liked, and I used a software compressor and EQ to get something I thought sounded good. Once this was down, I spent fifteen minutes or so recording some picking on the same acoustic guitar. Over the next hour, I recorded two or three tracks of accordion, some whistling, some singing, and various electric guitar tracks. The electric guitar was mic’d with an Electro-Voice 635, which is odd in that It seems to have a very low output. I plan to test this specifically, because I also noticed that my Onyx 1220i mixer seems to have a wildly different gain structure than the Motu Ultralight I use. When I had a mic plugged into the Ultralite, I left the input gain/trim at 0. I assume that this is unity. It recorded a nice clear sound at a good recording volume. With the Onyx mixer, I had to turn the gain up near its maximum to even get a usable signal at all, and it was still significantly quieter than the Ultralite. The last little bit on the gain knob ramps the input up from barely audible to overdriven. I don’t know yet enough to know if this something that is supposed to be — like they’re using different input gain methods — or whether it’s even an issue. With digital recording, I read the tracking levels aren’t as vital as they are in analog, since the noise floor is so low and the bit-rate is so high (48k in this case). I can (and did) raise the level up in mixing with no noticeable noise. So maybe it’s no big deal.

Once all the recording was done, I gave myself a break for a day, and went back on Monday to listen to the tracks. It was easy to pull out the whistling, singing, and all of the electric guitar since it was all pretty bad. The whistling and singing was terribly out of tune (I’m not good at either, though I would like to be) and the electric guitar parts were uninspired. I knew my window for time to record this was running out before the house got noisy with people, and I was not into it.

In the end, what I got was a bass line of accordion with two acoustic guitar parts. The rhythm strumming and some surprising lead picking. Surprising because I don’t remember all of what I did here and it’s all one take with no edits. It’s simple and might not warrant all 1000 words of this post. But I’m pretty pleased and it led to a week (so far) of thinking how I might add in the modular synth to something like this, and really giving some thought to recording techniques and some more gear that I could use (like a compressor). After mixing this, I thought of some stuff I’d like to try and make some changes, and I plan to get back in, maybe this weekend, and visit The Streets of Laredo again.