Cassette is shite. There. I said it.
…why has no one named their Gallien Krueger bass amp models “Freddy”?? That is pure gold waiting to happen…
Somewhere a hipster’s neckbeard just fell of their face.
Back in those days, the only other viable option was to buy an ADAT machine and a decent mixer which would have run more money (maybe about the same as a 688 if you got the somehow cheaper, but feature packed Fostex RD8 ADAT machine which nobody bought for some odd reason).
For the average moe, cassette was the greatest thing to get you into recording.
The workflow continues to rock hard.
Prophet 8 holds down the intro melody/lead and the later 4ths tuned pad
Boog Model D is the arp later on
Virus is the sine wave ascending pattern
Samples ripped from Art Bell, chopped to 16th and banged out MPC style with some Altar Boy formant processing and Ableton Erosion.
Ableton Drum racks for beats, mainly samples from Yamaha RX series drum boxes.
I can’t help but wonder how the IK X-Space compares to the Big Sky, but nobody is comparing them directly for some reason. Maybe there’s a reason I heard the Etheral algo and was in love, but my Trinity Reverb pedal has a really lovely one, too. ProGuitarShop had exclusive Tone Print pedals for a while and had exclusive algos to their pedals.
But let’s be real, IK made a big ass blue digital reverb pedal and knew what they were doing…
Moog be like “You know I got this held down.” I could feel my desk thrumming with it via my 8" monitors
That’s a really nice part, and seems like the Prophet shines at it.
A nice little sprinkling of flavor and fun.
It’s practically singing like a lovely choir, I like it.
This sounds really, really cool, I love it.
Synthwave Approved And fits really well with the overall vibe, imo!
Amen to that. I lived through the 80s bouncing stereo on cassette, used reel-to-reel and finally graduated to a Tascam 4 track in the late 80s. It was incredible for basement production just because it opened up so many possibilities.
That said, I have no idea why anyone with access to basic digital recording would want to relive those days. It’s like being enamored with the 70s and installing a bunch of ugly linoleum and uninsulated appliances in your kitchen to capture “the feel of the era”.
There’s nothing like a completely old, fuckered tape deck with decaying media to destroy some sounds…unpredictable and unique in a way that digital doesn’t do. It’s fun, but it’s niche and a hassle. I’ll never understand the want to ‘master’ out to tape, since everyone on tape back in the day was working really, really hard to get a better sound, not the tape sound. Total shite at the end of a mastering chain fo sure.
This is what my $20 Tascam 414mkII is for lol. I got it from an old guitar player that was finally upgrading to digital, back before the hipsters and millenials caught wind of or decided they were the hotness. It’s kinda my lofi “secret weapon” - a wonky, in need of TLC tape player that plays things at double the normal speed so I have to pitch it down. It’s a lot of fun to sample from.
That was sexy af! Great track dude!
I have a Tascam 424 and a 424mkii.
A guy gave me some old grainy 1990’s footage yesterday of him and his family visiting a cave complex.
So I got out the Yamaha CP reface and played 3 tracks and 1 track of strings from Omnisphere, put it all through the strymon Starlab and recorded 10 minute loops on each channel on the 424 MKii.
Now I can jam the track live riding the faders, later tonight I’ll be recording into Ableton, chop it up make a track and put some caving footage to it.
and yes it was a long process especially that patch bay of mine when I keep forgetting what is patched to what.
Maybe I’m missing something here but the best sound I ever remember was when I recorded through a VHS deck.
Look at you, going all Alessandro Cortini on your friend.
Sounds cool btw
a VHS tape is a nice wide tape with more room than a compact cassette tape. And it does some weird voodoo with the tape head to have effectively more area to record to (angles, according to a video I watched on Technology Connections YouTube). I knew someone that would record to a cassette multitrack recorder and then “master to VHS” for quality.
Label what the cables are coming from at your patchbay. Label the default destination of the patchbay’s outputs on the patchbay. Done. It’s a day’s work (perhaps more with a setup as large as yours), but if you do it as part of the next studio rebuild or something you won’t regret it.
I just re-wired mine last night to have some effects pedals wired in. I’m actually running out of outputs on my patchbay. Did the math the other day and I want two more FX pedals (the boss DD-500 to complete my 500 series and an Eventide H9 for more special FX) with stereo ins and outs. Hoping to get those both the first half of this year. I’m going to be one output short as I have a mono send to my Matrixbrute input so I can use the analog delay on that as a send. Going to have to decide what doesn’t get to live on the patchbay, and I just bought that thing a year ago. I have 8 of my 16 audio inputs filled up, but then I have to budget 2 for Osmose at a minimum. Actually running out of room much faster than audio inputs, so I guess that’s a good place to be. And holding steady on my MIDI interface. I know it’s wrong, but I honestly like USB midi more on all my synths. I’m tempted to get a half dozen USB cables and label one for each synth, just have them plugged in and ready whenever I want to use each of them.
Get a powered USB hub
Do I take the risk they actually send me the MK3 pictured?
or in all likelihood get the actual Mikro MK3 photobombing the picture they took?
I wouldn’t trust any sketchy shit from Guitar Center. I’ve sold quite a few pieces of gear to their “pro audio department” and half the people working there don’t know what most the gear even does… just my experience with one location but…