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Sure, but i still would be happy for those ideas to transform into ios app. ESPECIALLY those tricks from Michel Chion article.
I'm not that much after "warm sound" as i'm for manipulations like those recording with different speed, reversing tape cuts etc. etc. While you may say working in DAW w/plugins can cover most of functions in this or that way, analog tape/portastudio workflow will suit better "live sets" approach.
Can still (and will always) be able to recite the starting eleven from the 76 Cup Final. Traces back to sitting under my grandfather's legs beside the coal fire and watching highlights in black and white on cold Sunday afternoons years before. We get what we're given.
Love that image @JohnnyGoodyear
No digital method will ever approach the hands-on results and sound of real analog tape.
No underfloor heating in those times huh?
Can totally picture it though.
Careful there, from memory, the Fostex R8 was launched to much acclaim because it undercut a significant price point, providing 8 track open reel for an unheard of low price. The thing is, it was the first time 8 tracks had been squeezed onto that smaller tape width – meaning more danger of crosstalk (although as a plus, it can run at the next speed higher than cassette portastudios, which itself is the next speed up from standard audio cassette). A common criticism of the sound (although many said it was excellent) was that it can sound ‘thin’, and I think the people who said that were the ones that had jumped to a Tascam with wider tape.
Not in that little council house in Greenford....
Those techniques are best suited to 2 track reel-to-reel. You can’t access any of that on cassette and while it can be done on multitrack RTR, you’re really looking at 2-track RTR for best results. You have to decide if the hassle of working with an obsolete format is worth it.
honestly, the author of the video gives some nice explanations what working with a cassette tape is about - and those sound deformations were shurely surprise & fun.
But that's about it... I don't see any creative advantage or special feature - rather the opposite. Considered 'cool' because the gear is not omnipresent/ready for download.
You can do ALL his tricks in Apesoft's Moebius and Sparkle and be assured these are NOT self-runners out of the box.
Though you can be as random as with an arbitrarily choosen reversed tape it's actually more fun to have a bit of a plan (or an idea) what the processing is about.
That's where creativity is spawned - you hear something and can react to it, adjust the process and extend it according to your phantasy.
Of course it's all tedious as hell. I ofte get itchy hands at car boot sales, most recently stopping myself from buying a battered reel to reel machine. All of this I can do with Samplr in a flash without spending a penny.
Something's got to be said about the DIY side of it and capturing the old tech for sentimental reason, to include a part of one's past in their creations. Why not?
It's a bit like messing with all of those analog machines and an absolute nightmare of patch cables. Tuning and transport issues etc. Nothing wrong with getting sentimental every now and then
If the developer releases just the tape module of the app as a standalone tape recorder i’ll buy it without hesitation.
I know the feeling. When I was an early teen, I started off with a Heathkit tone generator and 2 small 1/4" tape recorders from Western Auto that my sister and I received as Xmas gifts a few years before. I spent hours recording tones, splicing tape using long angled slices in order to acheive the desired attack and decays, bouncing dubs from one machine to another, etc... (a history/handbook by Gordon Mumma was my guide)
A few years ago, I got the grand idea to compose a "tape opera" using these methods. I got together the necessary gear and materials. After a few weeks of sweating and tedium, I took a pause, and asked myself, "What in the hell are you doing...and why???!!!"
There is indeed a strong allure for sentiment and memory.
Of course, I abandoned that project. There is only so much time.
Variations on variations. I was just looking at a Korg Micrologue (the hardware pit was beckoning) and it looks lovely and all, but then I saw the demoboy clicking through the little menus to get to modulations etc and it remind me of the Korg N1 module that's been sitting on my desk for a thousand years (good paperweight). Lost interest....
ust bought this today after reading some recommendations, cool delay, woulda been nice if it came with a few presets to kinda show off its capabilities though.
It does come with presets. Open it standalone first.
Time does become precious, and aggravation becomes common and needless.
@JohnnyGoodyear Do you mean the Monologue? If so, don't be put off by that. There's very little menu diving in practice. You have to go into the menu to set the LFO to be clock synced but it's no big deal and with 100 presets, it's easy enough to fill the last ten slots with a few default starting points like that one. Brilliant, distinctive little box.
I don't like playing with my 4-track because it's cool. I'm entirely too old for that! I'd agree that a lot of the 'effects' can be recreated in something like Mobius Lab. Times 20, and a whole lot more.
But the x20 is a part of the difference. There's something about the limitations of a tape machine that spawns creativity for me. Also, it has a sound you can't really get around. I'm not talking "warmth" or any such nonsense. Limited bandwidth, drop outs, warbles... When it was all I had to record on, I hated it. As it's own aesthetic, I love it.
Thank you thank you thank you. I did not know this existed.
Actually it WAS a typo, but the machine I was looking at was the Minilogue which, now I'm looking at it is also 200 more than what you mention, the Monologue, but your words brilliant distinctive box get my attention. I guess I need to do some more research....perhaps the lesser (cheaper) choice might be the better one if I want to avoid too much poking at the little LED.....
EDIT/Addition: While I'm sure there's a good argument to be made, I'm not sure I'm really comfortable with something monophonic....hmmm. Maybe the bigger one might be more suitable....
Yeah, monophonia is a different place for sure. It's leads, riffs/rhythms and bass lines for the most part. You can lock most any parameter per step on it which makes the sequencer incredibly fun (record the movement live or hold down one or more steps to capture specific values on specific steps). Well, up to 4 params per sequence. Think the mini is the same but I recall there were some additions to the Monologue sequencer that were not available on the miniloguue (beyond twice the number of step buttons). Transpose from the keyboard or midi was one iirc
Damn. Now I want a weekend to dedicate to recording the Monologue on the 4-track.
Your missing the ole classic Zip Disk matey in your collection. When I use to have a Roland SP 808 back in the day.
https://jimatwood.files.wordpress.com/2012/01/roland-sp808.jpg
I entirely get your point - having a very similiar (and sometimes sentimental) relation to vintage gear. (started as a schoolboy on a 4 track r2r and diy electronics due to no budget)
A 4/8 track Tascam would fit sonically perfect to a lot of IOS output imho, but as @JeffChasteen mentioned - lack of time...
The times-20 difference doesn't affect me that much, noodling with just a couple of 'styles' I developed with Sparkle over time.
And I had that surprise experience with Moebius just recently, when it played back a sample snippet I knew, but didn't recognize it by what came out of the speakers.
Samplr is also great in this domain, but Apesoft is even more close to the playhead paradigm.
These tools do require some effort - which you put into tape gear as a natural matter of facts - there was no alternative. Today it's ever so often assumed to some magic jumps right out of the box, and if it doesn't... up to the next preset. No idea ? Where's that random button ?
Honestly, I envy this a bit. I totally enjoy all of the options modern gizmos afford me but I wind up playing more than developing complete(ish) bits of music or, dare I say it, working. "Working" to complete a piece of music because, as you said later.... "what's next?" syndrome befalls me. The limited options of the 4-track forces me to make decisions and that leads to completed(ish) work.
I totally get your point as well. Indeed, I think something like Moebius is likely the best answer to the OP. If the 'effects' presented in the video are the aim, Moebius/Samplr/etc is likely the quickest way to get them. Tape machines require learning and research and used market scouring and tape and space and cable connections and... Can download Moebius and get some weird backwards shit going in < 15 minutes.
@Fruitbat1919 if poss - name of app? cheers
Dedalus
Have you read article at link above video? It explains different tricks
@Fruitbat1919 Can the Virsyn tap delay be used as Audio Unit or just IAA thanks for info