Heel veel mensen begrijpen vaak niet wat een talent je nodig had om dit soort mixes te maken met de technologie van toen. Heb het zelf nooit gedaan maar ik me voorstellen dat het knippen van de tape zeer precies moest gebeuren. Vandaag met onze moderne technologie is alles zoveel eenvoudiger geworden... neem nu Ableton bijvoorbeeld, hoe makkelijk, en sneller, het is met deze technologie loops te creëren. Fantastisch, hoed af!
At the time I in the 80's I was also taping your phenomenal Grandmixes from Radio Veronica on Friday. My parents were almost crying when I turned on your music in my room at their home. 😂 For me and a friend you were the inspiration to start together a drive in disco in the early 90's when we were 12 years old. When we were 16, we sold the drive in disco and started to study and work in another branche. Thank you for your inspiration! This mix I taped also on my cassette player 35 years ago as a child from 7 or 8 years old.
HI Ben. So wonderful to see the original master tape with all the splices of it. Reminded me my days at studios, cutting and remixing like Liebrand and Sanny X. I surprise to see the master tape is 7.5 IPS not 15 but still sounds great. Reel to reel sounds fantastic, best analogue source back in the days and still is. Thanks for shearing.
Wow,hartstikke bedankt Ben.Kunnen al die jonkies van nu zich allemaal totaal niet voorstellen.Mooi dat je de plakband kun zien.(Heb trouwens nog zo'n apparaatje).Je kunt alles mooi zien.Goed gefilmd.
Hi Eddie! Honoured by your comment! Give me a shout at ben@liebrand.com Would love to have some exclusive mixes of yours on the Grand House Classics series!
Simplemente una JOYA en toda la extencion de la palabra, el track Happy Station de Fun fun es uno de mis favoritos, el tener este formato de audio que te digo!!!!! y la calidad del audio INSUPERABLE.....Gracias por compartir amigo
Aun con la compression de audio digital 1080p que es con perdida se escucha fantástico, el sonido cálido del Master Original es inigualable...........ojala se pueda rescatar para siempre en 32 bit flotantes y 96 khz. (o mas, quien sabe) Gracias por el regalo Ben
What a great work! Loved it from the very first day :-) Do you think you could make a how to vid on showing how to create the scratch sounds on KORG MS10?
The MS10 was donated for a good cause, so I can't show you it anymore, but basically it was a saw tooth with a pitch change, for each individual 'scratch'. All of them together is what you hear in the final mix, sounding like scratching.
@@BenLiebrand and another question :-) : Did you have stems (individual tracks for each instrument and voice) from FUNFUN to create the scratch version?
waaat??? ... how this jewel came to your possession?? incredible clear and beatiful sound .. do you have some other master tapes? ... wait... this is THE original master tape of fun fun-happy station, or is a remix by you ???
1988 yearmix (cropped) ... tik dit maar eens in als je wilt Ben,ik weet niet of je deze opname al eens gezien heb op youtube. de lassen zijn wederom fenomenaal om te zien en net als bij jou vakwerk kwa arrangement en indeed het laswerk.. 😉
Mind boggling stuff - how the hell do you pinpoint the cut and splice for it to be so clean, crisp and sharp ... are there any vids to show this being done?
Wie sieht's aus mit den anderen Trax der "Scratch Trax"? Kommt da noch was, oder machen die Urheber evtl. Probleme? Ansonsten... Respekt für die Arbeit von damals!!✌
This mix was originally made for the Italo Mix series on High Fashion Music. Scratch tracks was a different compilation on that same label. With the people I am still in touch with, a lot is possible. However, many other tracks have changed ownership over the decades many times, often making releases impossible...
Waarom is het zo zacht opgenomen? th-cam.com/video/DPsRF7mg1Rs/w-d-xo.htmlfeature=shared&t=155 Gemiddeld vu level -7db?? Maareh...Was harder beter geweest? Geen klachten of kritiek overigens hoor. Deze opname klinkt fantastisch.Of is het level van een A80 en een PR99 verschillend? Ik lees graag een reactie van iemand : - ) Alvast bedankt & hartelijke groet, R
The output of the A80 can be *set at any level needed. In this case no particular level was needed as the output was not intended for any specific mastering goal. Why not you might ask, as all the videoshots (with no more than guide audio) were synced to the actual master that was captured well ahead of making the video. How it works: OdB on an analogue VU meter, reads at about -6dB on a Digital peak meter, like an RTW1206. What you are seeing on an analog VU meter is not so much a peak indication, but more a representation of how much 'body' (energy in total) there is present. Where a short pulse might already read 0VU Peak on a digital meter, an analogue VU meter will hardly get its needle moving. So there is a huge difference in reading one or the other. In practice it works like this,. A test tone at 1KHz is output to the recorder, and is leveled at 0VU on the analog VU meters. At the same time that same tone reads -6dB on the RTW1206 Peak meter. With music playing, the short peaks will show on the RTW coming to 0 Peak, whilst the analogue tape can easily handle these peaks and whilst the RTW is showing that levels are reaching peak, the analogue VU meters, being slower, and responding more to the 'body of sound' the actual volume (as in mass) instead its absolute peaks, will also show that the tape is recorded to 0VU on those meters. The tape machine needs to be calibrated, where the levels recorded at several frequencies, reproduce at exactly the same levels when being played back. So once all that is set, the RTW1206 is the reference and the analogue VU meters aren't even watched anymore. What you have to realize is that these tape machines, being the size they are will be in a different spot in the control room, or even in a different room altogether, operated by wired remote. As different studios use different machines, magnetizing those tapes at different magnetic levels measured in nanowebers, there still needs to be a way of inter-changeability. Thus making sure levels are reproduced correctly at all frequencies, wherever the tape is being played back. This is done with test-tones, usually at -10dB, at 1KHz, 100Hz and 10KHz. So when a tape arrives from somewhere else, you only have to make sure that these levels playback at the levels intended (as written on the box). So if it says at -10dB, than that is your guide to *set the levels coming back into your system. And all that to be able to accurately reproduce what was recorded, by whomever recorded it. That is why calibrating the whole chain is so important, and why the analogue VU meters hardly are used/watched/read once calibration was done.
@@BenLiebrand Bedankt voor je snelle reactie & college audio techniek, ik hoor graag meer. (ideetje voor podcast aflevering/serie wellicht hahaha?) Maareh.... ik zal proberen mijn vraag beter te formuleren. Je hebt de tape dus met 'gemiddeld' 0DB op analoge RTW meter opgenomen op je eigen PR99...of harder? Bijvoorbeeld gemiddeld+3db met pieken tot +9db. Zou een Studer (A80/PR99) dit soort levels aan kunnen en klinkt het dan ook nog een beetje 'mooi' of.... gaat het dan wel 'heel-erg-ra-di-o-538' klinken?
@@jotathemovie Opname op tape was destijds in eerste instantie niet bedoeld om het geluid te beïnvloeden, maar om een exacte registratie vast te leggen, met een zo laag mogelijke vervorming. Er werd dus in de regel niet express te hard opgenomen. Dat sommigen dat toch deden, en de meeste van hun eigenlijk geen bal van analoge audio af wisten, en 'maar wat deden' is een heel ander verhaal. Zware compressie is nooit mijn ding/sound geweest, en degenen die daar op vertrouwen, hebben dus niet de kennis of vaardigheid om door juiste productie keuzes een track 'gewicht' te geven. Dan maar zo hard mogelijk is hun motto. En radio klinkt doorgaans helaas verschrikkelijk.
This was such a great remix and I sit here watching the tape edit points flash by with a big grin on my face. Thank you Ben.
The sound of a Reel to Reel is far the best format in the world!!! Long life to tapes!!!
Heel veel mensen begrijpen vaak niet wat een talent je nodig had om dit soort mixes te maken met de technologie van toen. Heb het zelf nooit gedaan maar ik me voorstellen dat het knippen van de tape zeer precies moest gebeuren. Vandaag met onze moderne technologie is alles zoveel eenvoudiger geworden... neem nu Ableton bijvoorbeeld, hoe makkelijk, en sneller, het is met deze technologie loops te creëren. Fantastisch, hoed af!
At the time I in the 80's I was also taping your phenomenal Grandmixes from Radio Veronica on Friday. My parents were almost crying when I turned on your music in my room at their home. 😂 For me and a friend you were the inspiration to start together a drive in disco in the early 90's when we were 12 years old. When we were 16, we sold the drive in disco and started to study and work in another branche. Thank you for your inspiration! This mix I taped also on my cassette player 35 years ago as a child from 7 or 8 years old.
since I first heard it at a disco when it was launched in 1983. now I'm 60 years old and still hear it with equal excitement every time
En na al die jaren nog steeds in geweldige kwaliteit en geen drop-outs... geweldig
Omg 1 of my favorits in the 80's super ^^
A Master Mixer. RESPECT.
Never heard the ultra deep bass at 5:50 on vinyl or CD! Please all of you use good headphones.
im using hifiman susvara headphones with lavricables silver 6n awg20
OMG! I just read this comment 10s before this part coming listening on Sennheiser HD25. Never noticed it before
Amazing!
It sounds like Ben hit the table on beat with his fist where his turntable was on.
HI Ben. So wonderful to see the original master tape with all the splices of it. Reminded me my days at studios, cutting and remixing like Liebrand and Sanny X. I surprise to see the master tape is 7.5 IPS not 15 but still sounds great. Reel to reel sounds fantastic, best analogue source back in the days and still is. Thanks for shearing.
It is 15IPS
This is perfection.
I love the scratch mix, thank you!
I just came across this video, thanks for sharing an excellent piece of art in many ways !
Wow,hartstikke bedankt Ben.Kunnen al die jonkies van nu zich allemaal totaal niet voorstellen.Mooi dat je de plakband kun zien.(Heb trouwens nog zo'n apparaatje).Je kunt alles mooi zien.Goed gefilmd.
Still a club classic...i STILL bang this in mix sets. :-)
Hi Eddie! Honoured by your comment! Give me a shout at ben@liebrand.com
Would love to have some exclusive mixes of yours on the Grand House Classics series!
Que temazo Happy Station, siempre lo escucho en el auto.
Simplemente una JOYA en toda la extencion de la palabra, el track Happy Station de Fun fun es uno de mis favoritos, el tener este formato de audio que te digo!!!!! y la calidad del audio INSUPERABLE.....Gracias por compartir amigo
Aun con la compression de audio digital 1080p que es con perdida se escucha fantástico, el sonido cálido del Master Original es inigualable...........ojala se pueda rescatar para siempre en 32 bit flotantes y 96 khz. (o mas, quien sabe) Gracias por el regalo Ben
exelente version en reel
What a great work! Loved it from the very first day :-) Do you think you could make a how to vid on showing how to create the scratch sounds on KORG MS10?
The MS10 was donated for a good cause, so I can't show you it anymore, but basically it was a saw tooth with a pitch change, for each individual 'scratch'.
All of them together is what you hear in the final mix, sounding like scratching.
@@BenLiebrand thanks for your answer. Could the scratchsound also be achieved by a MS20? There is a VST from Arturia and also from KORG
@@BenLiebrand and another question :-) : Did you have stems (individual tracks for each instrument and voice) from FUNFUN to create the scratch version?
Amazing remix !!! Thanks
So good
Excellent
DIT is t echte werk, niet die voorgekauwde digitale speelgoedzooi anno 2015, dit was werken!! dit zie ik jochies van 12 niet doen...
Ben heeft het mixen tot kunst verheven. Dat doen er maar weinig hem na.
Ben is de beste!!
@@blange8440 Zeker weten!
Thanks! Understanding what this it was Perfect work!
En toen... moesten ze het playbacken in een TV-programma (bij de BBC Top of the Pops of zo). Haha.. memories!
my respect man, good edits, i love it 🔥🔥🔥
wow dat was een goeie remix van onze ben liebrand hij is een hele goeie remixmaker off all time
Beautifull song :)Simplemente maravillosa canción, super bailable.
waaat??? ... how this jewel came to your possession?? incredible clear and beatiful sound
.. do you have some other master tapes?
... wait... this is THE original master tape of fun fun-happy station, or is a remix by you ???
The answer is simple. I made this back in the early 80s, and still have that original tape.
wo hast du das band her ,wo die orginal schnitte zu sehen sind wenn es durch läuft. diesen alten Riemen sollte es doch garnicht mehr geben :-)
Er hat das doch selbst geschnitten! Dann wird er ja wohl das Originalband archiviert haben.
Genau!! :)
¡Excelente! 🎧🎵
I miss editing with a blade. I also miss all the other goodies associated with a blade. #80s
1988 yearmix (cropped) ... tik dit maar eens in als je wilt Ben,ik weet niet of je deze opname al eens gezien heb op youtube. de lassen zijn wederom fenomenaal om te zien en net als bij jou vakwerk kwa arrangement en indeed het laswerk.. 😉
Mind boggling stuff - how the hell do you pinpoint the cut and splice for it to be so clean, crisp and sharp ... are there any vids to show this being done?
Well, he's Ben Liebrand, so there's that.
Wie sieht's aus mit den anderen Trax der "Scratch Trax"? Kommt da noch was, oder machen die Urheber evtl. Probleme?
Ansonsten... Respekt für die Arbeit von damals!!✌
This mix was originally made for the Italo Mix series on High Fashion Music.
Scratch tracks was a different compilation on that same label.
With the people I am still in touch with, a lot is possible.
However, many other tracks have changed ownership over the decades many times, often making releases impossible...
Wonderful!!! What's tape? Maxell, Basf? Was a very progressive track for 1984🕺🔊
Alguien puso tu video en otro canal, el link esta debajo
exellent .la bonne epoque
Truly a GOLDEN Age
ableton circa 1979.
Them's some razorblade skills :)
Hey somebody post your video in spanish channel, his name is Ricardo Cid Ortiz
Thanks for letting me know!
@@BenLiebrand Any time, credit should be to given the right person, in this case it's you, take care, keep it up
merci ben le maitre jedi dj
Voouuw
😂
Waarom is het zo zacht opgenomen? th-cam.com/video/DPsRF7mg1Rs/w-d-xo.htmlfeature=shared&t=155 Gemiddeld vu level -7db?? Maareh...Was harder beter geweest? Geen klachten of kritiek overigens hoor. Deze opname klinkt fantastisch.Of is het level van een A80 en een PR99 verschillend? Ik lees graag een reactie van iemand : - ) Alvast bedankt & hartelijke groet, R
The output of the A80 can be *set at any level needed. In this case no particular level was needed as the output was not intended for any specific mastering goal.
Why not you might ask, as all the videoshots (with no more than guide audio) were synced to the actual master that was captured well ahead of making the video.
How it works:
OdB on an analogue VU meter, reads at about -6dB on a Digital peak meter, like an RTW1206.
What you are seeing on an analog VU meter is not so much a peak indication, but more a representation of how much 'body' (energy in total) there is present.
Where a short pulse might already read 0VU Peak on a digital meter, an analogue VU meter will hardly get its needle moving.
So there is a huge difference in reading one or the other.
In practice it works like this,.
A test tone at 1KHz is output to the recorder, and is leveled at 0VU on the analog VU meters.
At the same time that same tone reads -6dB on the RTW1206 Peak meter.
With music playing, the short peaks will show on the RTW coming to 0 Peak, whilst the analogue tape can easily handle these peaks and whilst the RTW is showing that levels are reaching peak, the analogue VU meters, being slower, and responding more to the 'body of sound' the actual volume (as in mass) instead its absolute peaks, will also show that the tape is recorded to 0VU on those meters.
The tape machine needs to be calibrated, where the levels recorded at several frequencies, reproduce at exactly the same levels when being played back.
So once all that is set, the RTW1206 is the reference and the analogue VU meters aren't even watched anymore.
What you have to realize is that these tape machines, being the size they are will be in a different spot in the control room, or even in a different room altogether, operated by wired remote.
As different studios use different machines, magnetizing those tapes at different magnetic levels measured in nanowebers, there still needs to be a way of inter-changeability. Thus making sure levels are reproduced correctly at all frequencies, wherever the tape is being played back.
This is done with test-tones, usually at -10dB, at 1KHz, 100Hz and 10KHz.
So when a tape arrives from somewhere else, you only have to make sure that these levels playback at the levels intended (as written on the box).
So if it says at -10dB, than that is your guide to *set the levels coming back into your system.
And all that to be able to accurately reproduce what was recorded, by whomever recorded it.
That is why calibrating the whole chain is so important, and why the analogue VU meters hardly are used/watched/read once calibration was done.
@@BenLiebrand Bedankt voor je snelle reactie & college audio techniek, ik hoor graag meer. (ideetje voor podcast aflevering/serie wellicht hahaha?) Maareh.... ik zal proberen mijn vraag beter te formuleren. Je hebt de tape dus met 'gemiddeld' 0DB op analoge RTW meter opgenomen op je eigen PR99...of harder? Bijvoorbeeld gemiddeld+3db met pieken tot +9db. Zou een Studer (A80/PR99) dit soort levels aan kunnen en klinkt het dan ook nog een beetje 'mooi'
of.... gaat het dan wel 'heel-erg-ra-di-o-538' klinken?
@@jotathemovie Opname op tape was destijds in eerste instantie niet bedoeld om het geluid te beïnvloeden, maar om een exacte registratie vast te leggen, met een zo laag mogelijke vervorming. Er werd dus in de regel niet express te hard opgenomen. Dat sommigen dat toch deden, en de meeste van hun eigenlijk geen bal van analoge audio af wisten, en 'maar wat deden' is een heel ander verhaal. Zware compressie is nooit mijn ding/sound geweest, en degenen die daar op vertrouwen, hebben dus niet de kennis of vaardigheid om door juiste productie keuzes een track 'gewicht' te geven. Dan maar zo hard mogelijk is hun motto.
En radio klinkt doorgaans helaas verschrikkelijk.
@@BenLiebrand Hahahahaha Thanx Ben :-) :-) :-)
Es lebt
A...ya!!! Me sorprendiste!!
👍👍👍👍🎵🎵🎵
Hey somebody post your video in spanish channel, his name is Ricardo Cid Ortiz