Between 1996 and 1998 I put down a few songs in a rather spur of the moment on my 4-track recorder. Lyrics were made up basically on the spot while the tape was rolling. The sounds are pretty lo-fi and the clanging of metal in some of the songs were spoons, pots and pans that made up our primitive percussion. Jim Seagroves helped out on the racket kitchen percussion sounds as well as general chanting or making a nuisance out of everything.

Back then Jim and I called ourselves “the Gidds”. Basically, it was our little gang name growing up. We listened to NWA in high school and wanted to be white thugs. We had our own language and mockerized the neighborhood. Some of the songs we speak in German.

I play the acoustic and electric guitar, sitar and sing the songs. My brother Bob Guittard played bass and guitar on a few tracks as well as beat on a hand drum. Warren Barry played the organ on Once Around the Moon as well as added to the weirdness.

I used a Dr. Groove Drum machine. I hope you like these weird songs. At the time of the recording I was listening to a lot of Beck’s Odelay. Please enjoy and make comments.

Here is the link where you can listen and download the album for free:
http://www.jamendo.com/en/album/55876

I wish Word Press would allow a widget here so that you could listen. Not at this time.

Today another segment of the Equestrian Wall of Death popped into existence via the trusty old blue Tascam. It takes place in the stables where our ill-equipped heroes are negotiating with grooms and mechs to attempt a decent barter. They walk away with an “Ivory Rib Upgrade”, after leafing through a catalogue. This upgrade protects the organs of their steed, and (they are told) increases the horse’s agility.

Of course, they was robbed!

Equestrian Wall of Death is an electric prog folk odyssey by Zadok. Coming soon. CM

Hallo web-people!

It’s been over a week after we wrapped recording the final guitars for our album. So this means that we’re now gearing up for release with increasing speed. Mikael is concentrating on the final mixing and mastering of the tracks while I’m trying to bang together all the visual aspects of the release (and some of the logistics). Somehow I seem to enjoy this part of the process almost equally as much as I enjoyed writing and recording the album. It’s surprising that even after full day’s work I have energy to go home and start coding our new website or designing the covers or even planning the marketing strategy. Maybe it’s because this is all new and uncharted territory for me (well obviously for both of us also) which makes this so damn exciting.

In other news we filmed two videos last weekend. One is a live performance of an acoustic version of a new song called “anything but hopeless”. The other video is a short scripted thing we’ll use for promotion of the album when that time comes. I’ll blog more about the videos later when we release them but for now here’s some pictures.

Lake Lahnajärvi

Recording and filming gear

View from the "stage"

Kai setting up the mics

The lone microphone

The (blurry) recording unit

Getting ready for the take

Well, that’s all for now. New video is just behind the corner.

Cheers!

Kai

TASCAM culminates 30 years of Portastudio Recording with the DP-008, a portable 8-track recorder for all musicians

TASCAM’s DP-008 is an eight-track multitrack recorder that captures CD-quality audio, two tracks at a time. You can use built-in microphones to grab ideas, plug condenser mics into the XLR inputs or plug a guitar directly in to lay tracks.

There’s even a metronome and chromatic tuner built-in for tight-sounding tracks. The Tascam DP-008 also allows you to digitally bounce tracks to make room for more, and touches like editing and undo make recording stress-free.

Each track on the DP-008 has its own row of knobs for level, pan and effects, just like our classic cassette Portastudios of the past. The effects knob sends to a built-in stereo reverb processor with hall, room, stage and other effects. Each track also has EQ to tailor the sound for your mix. When your song is complete, mix it to a dedicated stereo track while riding levels and flipping pan as much as you want. You can export your mix, or even individual tracks, as a WAV or MP3 file.

TASCAM invented the home recording studio with the original cassette Portastudio. The DP-008 takes the ease-of-use of those classic songwriting tools and adds portability, digital sound quality, effects and mixdown to bring home recording into the 21st century. Simplify your recording workflow with TASCAM DP-008.

For specifications, please visit the Tascam DP-008 product page

TASCAM has announced the US-100, a new USB 2.0 audio interface outfitted with a microphone input as well as instrument level input for direct recording guitar or bass…

The US-100 is a 48k/16-bit stereo audio interface that connects to a Mac or Windows computer using USB 2.0. A free copy of Audacity software is included to start recording right away.

…

WOW – they give you a FREE copy of FREE recording software. They’re givers.

<KOSS PORTAPRO> 25周年記念ﾓﾃﾞﾙ登場！                                   

KOSS PORTAPRO 25th Anniversary model

四半世紀にわたりロングセラーを続け、私も長年愛用している <KOSS PORTAPRO> おめでたい 25th Anniv.モデルが発売されます。シルバーだった部分がブラック、ブルー部がシルバーとアニバーサリーに相応しい渋いカラーリングとなっています。密閉型に比べてラクですし、コンパクトにたためる。でもやっぱり一番の魅力はデザインで、クラシックかつ未来的であり完成された美しさがあります。通勤・通学・サイクリングといったシーンのみならず、あらゆるファッションにもフィットします。通常モデルに比べて割高になっていますが、ファンは即買いでしょう！ちなみに私は購入します。限定商品ですのでお早めにお問い合わせ下さい！

• KOSS PORTAPRO 25th Anniv.モデル　販売価格 ¥9,800.-
  http://maskdb.com/?pid=15803570

ご質問、お問い合わせは担当 山脇までお願い致します。yamawaki@maskdb.com
尚、先着順とさせて頂きますので売り切れの際はご了承下さいませ。

限定数の記載しているものに関しましては、事前にメイルで在庫確認をお願い致します。 

☆表示金額は税込みです。
☆代引(佐川急便e-コレクト)でお届けします。代引手数料は弊社にて負担致します。
☆数量によっては納期を頂戴する場合があります。

＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿
70年以上もの歴史を持つ、イギリスの名門オーディオメーカー「Wharfedale」。
そのPA部門「Whafedale pro」スピーカー好評販売中です！お問い合わせ下さい！！

＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

Tascam CD-200i to profesjonalny odtwarzacz CD, przystosowany do montażu w obudowach rackowych. Dodatkowo wyposażono go w stację dokująca do iPodów.

Urządzenie wykorzystuje napęd TEAC CD-5020A, zaprojektowany specjalnie do systemów audio, wyróżniający się wyjątkowo cichą pracą. Stacja dokująca ukryta jest w wysuwanej szufladce. Po umieszczeniu w niej iPoda, można nim sterować za pomocą przedniego panelu lub bezprzewodowego pilota. Urządzenie wyposażono w niezbalansowane wyjścia liniowe, oraz optyczne S/PDIF i cyfrowe koaksjalne. Tascam CD-200i odtwarza pliki dźwiękowe w formatach MP3 oraz WAV.

4press.pl

New Blog is At www.comecloser.com/blog

The streaming songs work there.

1) Prelude: The Gentle Art of Not Forgetting 1:38

This song was available on the 2006 compilation `Abandoned In Situ.’ So you regulars out there, I am sorry that the first thing you are hearing is something you already own.

The Hot Attic of Despair

When I listen to this track, I remember being in my attic (I lived in the attic in my parent’s house) and playing the piano part. I remember the Green and Orange signal level lights on the Tascam 4 Track jumping up and down.

I remember the oppressive New Jersey heat and humidity, the sweat dripping off my nose onto the white keyboard keys. I had an air conditioner that only cooled 1 square foot of the room and I was 20 feet away. Average temperature in the summer was about 110 degrees in that attic.

Despite the heat, I loved that attic. It had dark brown faux wood beams and a cathedral-style ceiling. It kind of looked like an old rustic Swiss tavern. In better times, it was a great haven. I was fortunate to have spent my `tender years’ in such swanky digs.

It was mid-week and I was absorbed in my microcosm until the weekend job; which consisted of lugging musical gear up and down Interstate 95 for a tribute band. Where would I be this week? Poughkeepsie? Providence? Vermont? They were all the same to me. Except for West Virginia.

I really wanted to be on stage, interact with a crowd, not behind the scenes setting up drums and lights. I couldn’t free myself to be on stage, I couldn’t free myself to connect with others. After the hours of setting up gear, I spent the duration of the show watching the band, wishing I was playing. No one’s fault but my own. It was all there for the taking but I was too stupid and proud to go for it.

Same Day, Everyday.

I don’t need specific memories to know that I was miserable at that time. Every week day I felt I was sitting around with a steel box encasing my head. Too crippled to go out THERE and do anything or interact with anyone. So I stayed in my attic; recording this thing that I felt had profound power. I felt it had purpose.

It wasn’t heartbreak that was consuming me when I wasn’t recording. It was the lack of control I had over the situation; and the complete inability to govern my emotions in order to move on. Or perhaps I had too much control and was the one responsible for setting all the negative incidences in motion?

Or maybe, just maybe, New Jersey girls are simply insane. You’ve heard the stories…

It angered me knowing that the girls of Orchid (We will call them Flower #1 thru #3 respectively.) were having a better more fulfilling life than I. Especially that they helped facilitate this state, alongside my immaturity and inexperience.

To know that anyone with basic motor functions could sense the despair and desperation sweating out of me was disheartening. And somehow I maintained a personality that was a hybrid of rotten meat and narcissism.

Recollection

I do recall that this introduction was written a few weeks after the completion of `Orchid.’ For whatever reason, I thought `Orchid’ needed a proper introduction. And for the past few hours I was wondering what that reason was. While in my zeal of beating up my junior self, I thought I created the prelude to show off the theme of `Orchid’ and how clever I was to build the entire album around it. The more I think about it, the creation came about because I was simply playing the piano on that June day. I have faint recollections of `hey, that’s pretty nice.’

I know I somewhat improvised the introduction with no metronome/click track or MIDI. The synth Glockenspiel (which sounds NOTHING like a glockenspiel) is awkward with its interplay to the Korg Barely Sounds Like A Piano Piano sound.

The `soaring’ distortion sound at the end plays a big role on `Orchid.’ You will hear it quite a bit in other tracks. It’s a sonic motif that I think was meant to represent a sort of screaming soul. It was a subconscious move on my part to use this distortion as the main orator of my emotions.

Regardless if my intention was to be brilliant and clever, I still like this introduction. Personally, I believe this piece tells more of the story and emotional state than the remainder of the album.

In the background you can hear an almost buzzing pulse. If you turn it up loud, you’ll hear that it’s a distorted piano. This was not intentional. What you are hearing is tape bleed from the song `Where We Rest.’ The very end of `Where We Rest’ actually.

Either I was too lazy or couldn’t afford more cassettes to record on. So I just recorded over what I had.

That tape bleed makes the song. It’s something out of the Pink Floyd playbook.

The beginning meets the end. There we go again: Ouroboros.

Bonus Track: The Gentle Art of Not Forgetting – 2009 Version (Unfinished)

I mentioned in my first post that re-recording `Orchid’ in 2009 was a rather miserable and pointless endeavor. Below is the unfinished version of `The Gentle Art of Not Forgetting’ which was done only a few weeks ago. As you will hear, all the `accoutrements’ are missing. It’s just a Piano, Celeste and Glockenspiel.

I was unable to re-create that Screaming Distortion sound because I no longer have a Korg 01/W (now back with its rightful owner.) Not being able to properly re-create or replace that sound was the definitive end. While I could have obtained this keyboard, I was not motivated to do so.

Korg 01/W: Workstation, Sequencer, Trusted Companion

My new blog is at www.comecloser.com/blog

August 2009 is the 10^th anniversary of the `Orchid’ demo. It was considered my first `real’ work and considered by some to be my best. (Though I vehemently disagree)

For the next 19 weekdays, I will be releasing, each day, a track from this demo. I’m going to share my recollections behind each song, some opinions as well as talk about my life at that time.

At the end of the 19 days, the CD version will be available to buy. It will be a 2 CD collection. Disc 1 will be the 75 minute demo. Disc 2 will be all the outtakes and fragments.

Being that it hasn’t been released for a decade, `Orchid’ is unfinished business. While I have felt that `Torched Laughter’ is a sort of `final chapter’ to this part of my life, `Orchid’ is Ouroboros. We come to the beginning again.

It’s time to give this piece of work it’s due, YET, put it in proper perspective. A lot of what I will be reflecting on will be quite uncomfortable for me.

How `Orchid’ Will Be Posted:

The day that each post and song is due, I am going to listen to each song cold. Whatever memory pops in my head I will write it down. None of these posts will be planned. `Orchid’ was a spontaneous, albeit flawed, experience. It is appropriate to approach each recollection and song the same way.

After the jump is an FAQ, and some scattered thoughts.

Questions About `Orchid:’

If you have any additional questions, please leave a comment. I will answer as truthfully as my ego allows.

Why was it never released?

1) It’s a demo. The recording quality is horrific. The performances were exceedingly worse. I never thought the spirit and intent of the piece would outshine these basic fundamental flaws. To this day I feel this way. When I listened to `Orchid’ I always heard what it SHOULD be, not what it really is. You can’t be expected to do the same.

2) Almost every attempt at re-recording could never capture the emotional state. I have made 3 attempts at re-recording `Orchid’ and each attempt drifted more towards sterility. And those attempts will be posted.

3) For every opportunity that there was to record and release it, there were newer and fresher ideas to do. I eventually took re-recording `Orchid’ as a symbolic affront. The act negates the principle of personal “progress.” I have ruthlessly beaten myself up through the years trying to push my being forward.

Why Release It Now?

The world likes round numbers. Pythagoras liked the number 10 a lot. Lastly, a synergy occurred where those who nagged me about it and my desire to terminate my current incarnation culminated. It’s unfinished business.

I am flattered that some people still want this album. But I think the interested parties are too emotionally invested in `Orchid.’ Without knowing the process and the story behind making it, it lacks the impact I sought to make. Again, just my opinion.

Despite teasing pieces of `Orchid’ over the years and mythologizing it like a sacred lost scroll, it has been a hermetically sealed skeleton of my past that is full of flaws, misguided ideas, and an inconceivable amount of emotional anguish and artistic frustration. Why not air these grievances against myself? Enough time has passed.

Lastly, I don’t have anything new that I want to release under `Christopher’ in 2009. Might as well get this out of the way until I figure out what I want to do next.

Why is it called `Orchid?’

3 women, 3 relationships with the flower. 2 had tattoos of them on their bodies. 1 of them drew these flowers constantly (and ended up being the original demo cover to be posted later on) It was a common affinity that didn’t go unnoticed. Being that `Orchid’ is a concept record that consolidates these 3 relationships into one mega relationship of misery and self pity, it made perfect sense to use this flower as the archetype.

While in this day and age you could probably go to www.girlswithorchidtattoos.com and see how un-unique and unimaginative some women are, back then before complete internet overkill the recurrence of this flower seemed quite sublime.

It really didn’t occur to me that the majority of girls on earth simply LIKE flowers. This basic truism totally escaped me and probably was a key indicator why I ended up in unfortunate situations involving estrogen. But this is a good thing. If not for this obliviousness, I probably would have ended up naming the album I’LL KILL YOU CUNT.

No apostrophe.

In the end, the parallels and causality of the 3 women were consolidated into one relationship; taking experiences and elements of each to create the Uber Misery Relationship that is `Orchid.’

How `Orchid’ Was Recorded Since It’s Too Dreadful to Be Released?

It was your typical 4 Track Cassette Demo. In the 90’s, a Tascam 4 Track Cassette machine was my best friend to record ideas and to deal with being a wayward self-important soul.

Sound samples (like `When The Levee Breaks’) were recorded onto a Minidisc player because the computer didn’t have enough room to hold a sound longer than a minute.

After they were edited on the 386 computer and looped for minutes. Then I would manually sync the Minidisc to the 4 track. I would start the loop about 30 seconds before it was supposed to come in because I would be adjusting the speed of the tape until it matched up. That’s why when you listen to `Orchid’ you hear samples that fall out of time. The first 2 minutes of `My Love’ is a great example of not being able to sync up the tape to the Minidisc.

I didn’t have the technical understanding to buy a bigger hard drive so I could actually record on the computer. I was on the road making a 100 dollars a week lugging musical instruments around that were not my own.

Why Didn’t You Re-Record `Orchid’ Properly?

There were 3 attempts to re-record `Orchid.’

The 1^st attempt was that same summer of 1999 at the insistence of a friend. I cannot clearly remember. But I do remember commuting to 2 different Studios twice a week in Wesley Hills and New Paltz, New York. I saved and spent every cent to my name trying to get the most rudimentary stuff done. It took weeks and hundreds of dollars just to synchronize the samples to the music. Neither studio had the proper facilities to do this type of thing at the time. It was my own ignorance that financially killed the `Orchid’ re-recording. I couldn’t afford to buy the DAT tapes that I recorded to.

2^nd attempt was when I procured my first Pentium Computer with enough power to record music on it. This attempt was partially successful; `Longing Is…’ `Inside This Place’ `The Taste,’ `Entranced 3.0’ ended up replacing the inferior originals. I was working on my `official’ debut `wer Next Projekt’ at the same time and descending even further into misery; I was resistive to doing anymore `Orchid’ work. Wounds were still fresh and way too attached to the emotions.

The 3^rd and last attempt at recording Orchid was just prior to this release. It was my intention to release `Orchid’ as a 2 disc set: Old and new versions together. But as the recording process went on (for just a week) I felt I was wasting my time. It was ugly, turbulent with a subtext of listlessness. I had a feeling of peace when I stopped and decided to just release the original demo. There is no more to add to an already finished story. The re-recording had a distasteful tinge of nostalgia to it.

I ended up re-recording 2 tracks partially: `The Gentle Art of Not Forgetting’ and `Entranced 1.0.’ While the new versions were better sounding than the original and have an air of mature arrangement, they lacked the spirit and intent that made `Orchid’ what it was: Classical angst-ridden heartbreak.

Reflections

Honestly, there are several moments on `Orchid’ that give me uncomfortable feelings. I think the clinical term is `Douche Chill.’ I will point them all out as we go through each song together. I hope to be able to present a balanced view of the album, but there is a lot on there that I think was lazy, inexcusable shit.

In Closing:

Tomorrow begins our journey through `Orchid.’ Just like the album, we are going to ease into the process. Start small, and eventually get to big, more sordid and histrionic experiences.

I got this DR-07 to record Lessons and Practices.   First and foremost I do not like to read the Instructions and I found this unit to be strait forward although I did have to peek in the book once.  Keep the levels low and find the room placement and it works really good for what I want it for..  About the size of a pack of cigarettes and with my laptop I can get or give a lesson and burn to CD intuitively and easily.  on the spot..  I also got a $35.00 rebate and a best price rebate for $49.00. A free pair of Sennheiser Head phones, Not bad about half price from the $199.00 average.     This unit uses AA battery’s unlike the DR-01 upgrade model  that uses a (Special Size) Tascam Battery’s.    The Quality of the recordings is a little hollow compared to home studio, but hey this fits in my pocket.  I think after using a while I can dial it in better…. Over All I really like it and give it a good high rating.

Purchased through austin-music-supply.com
Austin Music Supply

Finally, a report about the making-of the latest episodes. Starting with Ornitologia 17-05-2009, my novel set-up was used. It consists of a  TASCAM FireOne sound interface and a Thomann SC.400 condenser mic. Here it is my quick impression on the gear, that cost 169€ plus shipping.

First, the FireOne. The jog wheel is OK for editing. The real plus of the interface is the Firewire connection that allows near latency-free  monotoring of the voice-overs. It’s heavy (1.2 Kg) and the buttons are flimsy.

The Thoman t.bone SC.400 adds some extra brightness but seems a little sibilant. I need more time and experimentation with the interface/mic combo to get to an optimal point.

Another improvement of the last episodes, that I hope that will lead towards a real-time production of the show, is using exclusively Ableton Live Lite 7. I think I can now make the whole show in real-time but there are two major drawbacks. First, the M-audio version of Live Lite 7 only alows 4 clips in each track. (I have to try the version that came with the FireOne, it might not have the same limitations.) Second, it is difficult to talk, launch the clips, and change the levels with the mouse and keyboard, all at the same time. I’m considering some midi controller that could be used to fade in and out the bird sounds and launch the clips easier. I’m considering the faderfox LC2.

I’ve experienced with lighter EQ settings (except in the  17-05-2009 show, where you can hear the harsh EQ) and two Live effects: Vintage Vocal Warmer for the voice-over and Mastering Tape Loop for the master track.

I’ve also been using, almost exclusively, the fabulous nightingale sounds from Freesound’s user suonho.

Yesterday night was playing Dick El Demasiado from the Netherlands at Super Deluxe. He is on his route to the Fuji Rock, the number 1 all-you-can-hear summer festival in Japan. El Demasiado is a Dutch media art/music artist, el gran inventador del “experimental cumbia” music style, the Canalcumex cumbia parallel world and the Fluxus-like never-happening festival Festicumex. Tonight show was opened by video/music artist Yudaya Jazz who was improvising with 2 friends (laptop/drums), I arrived at the end of his performance, so I cannot really give a comment, apart that it sounded rather loose. Anyway, I came tonight to see Oorutaichi’s live. We’ve booked Oorutaichi last year when we organized the SONORE Night during the Osaka European Film Festival at Club NOON in November 2008; and we are now booking a full Europe tour for him in November/December 2009. It’s a huge work because we try at least to secure around 20 shows. Recently, I did interview Oorutaichi to write his “profile” in French and English (translated by Jack Sims), which is available here.  Tonight Oorutaichi’s show was brilliant, so precise and sincere. I recorded a excerpt of his show with my Tascam DR-07, and I think it i’s funnier to post a OK quality live MP3 rather than a shaky video like you have million on YouTube. Space Ponch, which released a CD in 2000 on Moikai, a Drag City sub-label run by Jim O’Rourke, was also on the bill. It’s an all keyboard band comprised of master clown Yuichi Kishino (aka La Veuve Moustachue), Mint Lee, Kimitaka Matsumae and famous designer/photographer Hibiki Tokiwa who I am planning to write about latter on in this blog. Takkyu Ishino is playing tonight at Air Daikanyama, I’d like to check it out

MP3 (192 kbps): Oorutaichi (Live at Super Deluxe, Tokyo 2009-07-23)

Tascam annuncia la release dell’aggiornamento firmware 1.01, disponibile per l’HD-R1 solid-state audio recorder.

L’aggiornamento è disponibile sulla pagina download del sito.

Fino al 25 settembre, è possibile risparmiare fino a $35 sui registratori  Tascam.

Inoltre, cuffie gratuite, cavi e memory card disponibili per gli strumenti  “Tascam trainers” e registratori. La consle digitale di mixing è disponibile anche con una carta di espansione gratuita, per un valore fino a  $600.

•    $20 di sconto sul DR-1 portable recorder
•    $30 di sconto sul DR-100 portable recorder
•    $25 di sconto sul DP-02 Digital Portastudio
•    $15 di sconto sul DP-02CF Digital Portastudio
•    $35 di sconto sul 2488neo, CD-A500, CD-RW900SL and CC-222SL recorders
•    CAvi e cuffie con l’acquisto di GT-R1, MP-GT1, MP-BT1, MP-VT1, CD-GT2, CD-BT2 or CD-VT2 trainers
•    2GB SD card gratuite con l’acquisto di BB-1000CD combo SD/CD recorder
•    2GB SD card gratuite e auricolari con l’acquissto di DR-07 o DP-004 portable recorder
•    Card di espansione (un valore di  $600) con l’acquisto di  DM-3200 o della console DM-4800

Disponibilità
Lo sconto è disponibile dal primo luglio fio al 15 Settembre 2009. Altri dettagli saranno disponibili sul sito TASCAM. L’offerta è valida solo per i clienti negli Stati Uniti.

Tascam unveils their new M-164 series, a new line of analog mixers featuring new digital technology that allows each channel to be recorded individually to a computer through USB.

To see more exclusive video demos visit Audiofanzine Videos.

Tascam presenta el reproductor de CD-DVD CD-200, sucesor de su famoso CD-160.

El CD-200 es una solución sencilla a utilizaciones tanto fijas como nómadas. Ofrece características clásicas como una memoria anti-choque, una salida de auriculares con control del volumen y una gran variedad de modos de lectura.

El reproductor puede además leer archivos MP3 y WAV a partir de CDs de datos y dispone del CD-TEXT.

Se entrega con un control remoto.

No se ha comunicado el precio de venta. Visita el sito de Tascam para obtener más información.

Goodnight, sweet prince.

Cut in my bedroom for $1060 (the cost of the 4 track Tascam recorder), mixed through an old Gibson guitar echo unit to a beat box, ‘Nebraska’ was my ultimate homemade demo. This song was about the early 80’s gold rush when gambling hit south Jersey.

Life And Death Of An American Fourtracker [2002] <- Download

Sua banda tem grana? Estão planejando uma viagem aos EUA, para tocar no South By Southwest? Pois vai aí uma idéia melhor do que o Free Shop para investir seus dólares extras: um dia de gravação no Tiny Telephone. Fundado em 1997, em São Francisco, o estúdio é especializado em gravação analógica, e, além de uma lista de engenheiros fodões à sua disposição — entre eles Steve Fisk—, tem como proprietário John Vanderslice.

Vanderslice é dos nossos. O primeiro álbum de sua carreira solo, lançado em 2000, chama-se Mass Suicide Occult Figurines; uma citação de Song Against Sex, do Neutral Milk Hotel. Mass Suicide traz o single Bill Gates Must Die, que serviu para John inventar o boato de que estava sendo processado e perseguido pela Microsoft. Não fosse por essa travessura, talvez hoje não soubéssemos que ele existe. De lá para cá, o audiófilo lançou nada menos que oito discos; todos extremamente redondos, para dizer o mínimo. O mais recente, Romanian Names, saiu essa semana nos Estados Unidos — dia 19, três dias antes do aniversário de 42 anos de Vanderslice.

Seu terceiro e melhor álbum é Life And Death of an American Fourtracker, de 2002, que conta com Me And My 424, homenagem ao queridíssimo portastudio da Tascam. Definitivamente, um dos nossos. Life And Death funciona como uma bela demonstração do som que, com a obstinação devida, se pode tirar no Tiny Telephone; som que conquistou clientes como Preston School Of Industry, Portastatic, Deerhoof, Spoon, Beulah, Nada Surf, Okkervil River, Sun Kil Moon e dezenas de outros. Que as letras caprichadas, as excelentes melodias e os impecáveis arranjos escapem aqui do segundo plano, diante da produção fora do comum, apenas atesta sua qualidade. Caso raro de coerência entre forma e conteúdo na música atual.

John Vanderslice - Me And My 424 

John Vanderslice - Cool Purple Mist

]]> http://it.audiofanzine.com/2009/05/19/tascam-dual-cassette-202mkv/ Tue, 19 May 2009 09:54:47 +0000 audiofanzineitalian http://it.audiofanzine.com/2009/05/19/tascam-dual-cassette-202mkv/

Tascam ha aggiornato i suoi vecchi modelli di registratore doppia cassetta e ha distribuito il  202mkV .

La sua doppia cassetta professionale (montabile in rack) ora dispone di una funzione “return to zero” come pure di una ” A-B repeat”, secondo la Tascam, che aggiunge che essa mantiene caratteristiche come il controllo ±12 % pitch, la capacità di riprodurre e registrare, regolare, alta velocità e funzione dubbing sync-reverse.

Sono inoltre incluse funzioni di registrazione, come la registrazione continua e un ingresso microfonico sul pannello frontale, dice TASCAM.

Il 202mkV TASCAM è installabile in un rack a tre spazie per gli studi di registrazione.

È ora disponibile dai rivenditori TASCAM e imprenditori. Nessuna informazione sui prezzi.