@@soundacresstudio what ? de-oxit is used on faders . DeoxIT Fader Lube is a precision lubricant specifically formulated to improve conductivity and lubricate conductive plastic and carbon compound faders, switches and other similar components.
@@peteytwofinger correct. But you missed the point. What was being talked about was D5 or D100L... don't use it on faders. F5 or F100L for faders only.
I recorded a demo with my group back in 1998 on my Yamaha 4 track. We obviously had to track one instrument at a time. Our secret weapon was that my 4 track had separate outs. We recorded my drum tracks with two nice overheads, a sure bass drum mic and sm58 on the snare. The first accidental miracle that I discovered was that if I recorded the drums with dolby noise reduction on and then played them back without the dolby engaged, it gave the drums some amazing type of compression. (Maybe somebody can explain how that would work?) The next thing we did was send the 4 tracks of drums through a Tascam board so we could eq the drums separately. (My yamaha only had a graphic for the stereo mix) We then mixed(bounced)the drums to mini disk. Then we put in a new cassette tape on the 4 track, recorded the stereo drums from the mini disk back to the 4 track. We then recorded bass and guitar. Repeated the process. Back through the tascam board eq and mixed to mini disk. Again, back to the 4 track. Etc etc. I think we also had an aux on the tascam set up with a reverb. We possibly used a compressor also from the desk. We could keep bouncing using the mini disk without having the normal degradation of quality associated with bouncing within the 4 track. Obviously, every time we mixed to mini disk we had to be happy with the balance, panning eq, effects ect. There would be no way of changing anything after the fact. We added vocals and backing vox. Years later I spent around $20,000 making a record that I was never really happy with. Most of that money was spent on tracking, mixing and mastering in professional studios. I also recorded at home as much as I could but wasbconvinced I needed to do as much as possible in professionaly designed sound spaces. With musician fees, cd replication, art work, website etc etcb.the costs piled up. I made the record over 5 years and even though I put my heart and soul into the performances (as did the other musicians), at the end of the day, the mixing and mastering engineers, art work people, couldn't give a rats ass about my project, and at every one of those latter stages, non of them were willing to go above and beyond for the sake of the project. It was just a pay check for them and I couldn't afford to get it done right. The thing that made me feel sick was when I compared my expensively made protools multitrack recording to my 1998 4 track creation. The 4 track demo was far superior in recording quality. The lesson I learned is that creativity, and passion for a project is far more important to the outcome than the equipment and budget. 4tracks Rock!
I have this same model too and only got it back in 2011 or 2012 or so and it wasn't my first choice since i couldn't get any other portable multitrack recorder. I ended up absolutely falling in love with it. Not just for the sheer fun that recording to analog tape brings but especially because of the simplicity oh this machine. Actual mechanical keys and no clicky keys, an actual tape counter instead if an LED counter, standard 6,3mm jacks, DBX noise reduction and of course external FX options to mix in and even the ability to just record 2 Track mode (like a normal tape deck) and also use the benefit of the double tape speed. So i also sometimes use it to create Stereo Mixdown masters onto tape. I never "Bounced" recordings on this thing yet since i always kept it rather simple. I love that bluesy touch of this track you played. :) And yes the great thing about recording to tape and not being able to "edit out" an error is why we should definitely embrace little quirks like these. These things all deserve to be part of the recording and being part of the music because it is what adds the human aspect of it that breathes life. We have become too comfortable with editing out recordings to a point where we removed the life from it. You definitely gotta keep such things in the recording when noodling around.
See, there's a thing ... I want to hear the "self-indulgent ramblings"! And that 1985 smell, yes. This video is taking me back to the summer of 1982. Broken Arrow, Oklahoma. It was so blistering hot that I was not allowed to play outside for more than a week, and I did not have a helicopter mom. Cloistered in my air-conditioned bedroom, I whiled away the hours with an Atari 2600 and a boom box with twin tape decks, which I used to snag my favorite tracks off the airwaves. I had to pester my mother to buy me high bias cassettes. I had just discovered The Who, and can vividly remember the frustration of trying to get the whole of "Eminence Front" without the DJ cutting in before Pete Townshend had finished singing "Dress yourself to kill!" Still one of my favorite songs of all time...
@@LeanBearMusic Love this man, such a time, haunting and transportive. I love hearing stories like this. Golden memories like this and priceless. Matt, Thank you for this image!
PLEASE do not use "DeOxit" on the faders. (I'm begging you). Please use Fader Lube. I can't tell you how many Tascams and Yamahas I've repaired over the past few years that have completely eaten up their faders with DeOxit. You actually have to rebuild them if they get too far gone. Just use Fader Lube, and you'll be good to go.
Hi. Sounds like a live trio that just got together to jam something out in the pm before the club opens. Very cool. I hate recording in a DAW so this gives me an idea. Thanks.
So beautiful my friend, real music being played and recorded the real way to capture all tonal frequencies unlike digital. I love your playing, you have just earnt a new subscriber, here’s me hanging around with you for sure 😁😁👍👍
9 หลายเดือนก่อน +5
It reminds me on the sound of Jan Akkerman and Thijs van Leer FOKUS 👍
Nice! Reminds me of Pink Floyd. :D I actually sold my Hammond L-122 after FINALLY having found a PERFECT sampled Hammond L-102 (essentially the same organ). I wanted to get rid of my Hammond ten years ago, but the only plugin I could find was a free L-122 plugin and even though I'm sure it's useful to someone, it didn't sound like an actual L-122 at all. Last year, I found a library someone made and it's for free, so I downloaded it, played a chord on my keyboard controller and my jaw dropped onto the floor, haha. "There it is!!" So, I got rid of that massive and heavy machine but kept the Leslie. Even though IK Multimedia's Leslie's damn good, it's still lacking something in my opinion, so what I do now is: I send the L-102 plugin to my Leslie and record it back into my DAW. It's just perfect. :D Oh, I also kept the L-122's spring reverb which someone converted into a little reverb box for me. The plugin does have reverb in built but once again, a digital spring reverb doesn't quite cut it (yet!) and as far as I'm concerned, it's a huge part of the overall Hammond sound as well. The sample library itself...... I can't hear any difference between my (ex)organ and the sampled L-102. He sampled everything. Every drawbar, the percussion, the bass pedals. I think it's on Pianobook.
Did you make mistakes? What is that perhaps apocryphal quote about playing a wrong note? Not a sin unless it's played without passion? Ah, just looked it up. “To play a wrong note is insignificant; to play without passion is inexcusable.” -- Ludwig van Beethoven. I have a deep capacity to appreciate good fuck-ups. Especially since I'm using drum loops these days, I leave the serviceable ones be. I have recordings to share with you from that temple, full of fuck-ups that had to be left in because there were no rehearsals for those two weekend sessions, and no song got more than three takes. Everything was going through a 16-track console to DAT. For years in the aftermath, there were some tracks that I couldn't listen to, because despite the engineer's reassurances, I couldn't abide the mistakes. (Universal was OK with them, but not I.) Anyway, as those recordings have aged, I've made peace with them. I'm still too bashful about the record to remaster and re-release it, though I think it's something I should do before passing on. Anyway, here I am rambling as usual. I enjoyed this video as much as I did the focus on Hammond and Leslie, even more so. It now has me dealing with an urge to go online and scope out four-tracks. But no, not now ... but someday ... maybe once I've subdued current bugbears and ticked that Sho-Bud pedal steel off my bucket list. You are very good with video; the visual texture perfectly matches the sound. I've got more to add, but the missus is calling me into the kitchen.
@@LeanBearMusic Absolutely man I listen to so many rock albums and I do try and pick them apart technically but emotionally I can never find fault with them, if I like it then then I just don’t notice anything wrong and I can’t not love what I hear. Matt if you’re willing to share these recordings I’d love to listen.
I would refrain from using deoxit. Instead, use a fader lube which is designed for faders. Cheers.
Yes you are correct I've pinned your comment. I will have to amend this with a new video. Thanks.
@@soundacresstudio what ? de-oxit is used on faders . DeoxIT Fader Lube is a precision lubricant specifically formulated to improve conductivity and lubricate conductive plastic and carbon compound faders, switches and other similar components.
@@peteytwofinger now I’m confused 😕
@@peteytwofinger correct. But you missed the point. What was being talked about was D5 or D100L... don't use it on faders. F5 or F100L for faders only.
I recorded a demo with my group back in 1998 on my Yamaha 4 track. We obviously had to track one instrument at a time.
Our secret weapon was that my 4 track had separate outs. We recorded my drum tracks with two nice overheads, a sure bass drum mic and sm58 on the snare.
The first accidental miracle that I discovered was that if I recorded the drums with dolby noise reduction on and then played them back without the dolby engaged, it gave the drums some amazing type of compression. (Maybe somebody can explain how that would work?)
The next thing we did was send the 4 tracks of drums through a Tascam board so we could eq the drums separately. (My yamaha only had a graphic for the stereo mix)
We then mixed(bounced)the drums to mini disk.
Then we put in a new cassette tape on the 4 track, recorded the stereo drums from the mini disk back to the 4 track. We then recorded bass and guitar.
Repeated the process. Back through the tascam board eq and mixed to mini disk. Again, back to the 4 track. Etc etc.
I think we also had an aux on the tascam set up with a reverb. We possibly used a compressor also from the desk.
We could keep bouncing using the mini disk without having the normal degradation of quality associated with bouncing within the 4 track. Obviously, every time we mixed to mini disk we had to be happy with the balance, panning eq, effects ect. There would be no way of changing anything after the fact.
We added vocals and backing vox.
Years later I spent around $20,000 making a record that I was never really happy with. Most of that money was spent on tracking, mixing and mastering in professional studios. I also recorded at home as much as I could but wasbconvinced I needed to do as much as possible in professionaly designed sound spaces. With musician fees, cd replication, art work, website etc etcb.the costs piled up. I made the record over 5 years and even though I put my heart and soul into the performances (as did the other musicians), at the end of the day, the mixing and mastering engineers, art work people, couldn't give a rats ass about my project, and at every one of those latter stages, non of them were willing to go above and beyond for the sake of the project. It was just a pay check for them and I couldn't afford to get it done right.
The thing that made me feel sick was when I compared my expensively made protools multitrack recording to my 1998 4 track creation. The 4 track demo was far superior in recording quality.
The lesson I learned is that creativity, and passion for a project is far more important to the outcome than the equipment and budget.
4tracks Rock!
I have this same model too and only got it back in 2011 or 2012 or so and it wasn't my first choice since i couldn't get any other portable multitrack recorder. I ended up absolutely falling in love with it. Not just for the sheer fun that recording to analog tape brings but especially because of the simplicity oh this machine. Actual mechanical keys and no clicky keys, an actual tape counter instead if an LED counter, standard 6,3mm jacks, DBX noise reduction and of course external FX options to mix in and even the ability to just record 2 Track mode (like a normal tape deck) and also use the benefit of the double tape speed. So i also sometimes use it to create Stereo Mixdown masters onto tape. I never "Bounced" recordings on this thing yet since i always kept it rather simple. I love that bluesy touch of this track you played. :) And yes the great thing about recording to tape and not being able to "edit out" an error is why we should definitely embrace little quirks like these. These things all deserve to be part of the recording and being part of the music because it is what adds the human aspect of it that breathes life. We have become too comfortable with editing out recordings to a point where we removed the life from it. You definitely gotta keep such things in the recording when noodling around.
See, there's a thing ... I want to hear the "self-indulgent ramblings"! And that 1985 smell, yes. This video is taking me back to the summer of 1982. Broken Arrow, Oklahoma. It was so blistering hot that I was not allowed to play outside for more than a week, and I did not have a helicopter mom. Cloistered in my air-conditioned bedroom, I whiled away the hours with an Atari 2600 and a boom box with twin tape decks, which I used to snag my favorite tracks off the airwaves. I had to pester my mother to buy me high bias cassettes. I had just discovered The Who, and can vividly remember the frustration of trying to get the whole of "Eminence Front" without the DJ cutting in before Pete Townshend had finished singing "Dress yourself to kill!" Still one of my favorite songs of all time...
@@LeanBearMusic Love this man, such a time, haunting and transportive. I love hearing stories like this. Golden memories like this and priceless. Matt, Thank you for this image!
Excellent information on this. Scratchy sliders and all. Your sound and jam is classic, while looking effortless as usual.
Thank you Josh, wishing you were here brother. I appreciate that a lot.
PLEASE do not use "DeOxit" on the faders. (I'm begging you). Please use Fader Lube.
I can't tell you how many Tascams and Yamahas I've repaired over the past few years that have completely eaten up their faders with DeOxit. You actually have to rebuild them if they get too far gone. Just use Fader Lube, and you'll be good to go.
Thank you so much for this. I will definitely reflect your suggestion in my future videos on the matter. You are 100 percent correct.
ah i wondered if that was a weird thing to do thsnks
Hi. Sounds like a live trio that just got together to jam something out in the pm before the club opens. Very cool. I hate recording in a DAW so this gives me an idea. Thanks.
So beautiful my friend, real music being played and recorded the real way to capture all tonal frequencies unlike digital.
I love your playing, you have just earnt a new subscriber, here’s me hanging around with you for sure 😁😁👍👍
It reminds me on the sound of Jan Akkerman and Thijs van Leer FOKUS 👍
I adore Focus. As a matter of fact I bought this Greco Black Beauty because it looks like Jan’s Gibson. Thank you for your comment.
I thought the same thing at 1st actually, and I just listened to In and Out of Focus and Moving Waves in their entirety earlier today!
Sounds a bit like Zappa. Sounds good!
Love Frank, yes!
If the idea was to sound warm and cozy you got it. I just miss some real drums.
I would totally love to get an acoustic kit in here again. Nothing like a real drum kit.
Nice! Reminds me of Pink Floyd. :D I actually sold my Hammond L-122 after FINALLY having found a PERFECT sampled Hammond L-102 (essentially the same organ). I wanted to get rid of my Hammond ten years ago, but the only plugin I could find was a free L-122 plugin and even though I'm sure it's useful to someone, it didn't sound like an actual L-122 at all. Last year, I found a library someone made and it's for free, so I downloaded it, played a chord on my keyboard controller and my jaw dropped onto the floor, haha. "There it is!!" So, I got rid of that massive and heavy machine but kept the Leslie. Even though IK Multimedia's Leslie's damn good, it's still lacking something in my opinion, so what I do now is: I send the L-102 plugin to my Leslie and record it back into my DAW. It's just perfect. :D Oh, I also kept the L-122's spring reverb which someone converted into a little reverb box for me. The plugin does have reverb in built but once again, a digital spring reverb doesn't quite cut it (yet!) and as far as I'm concerned, it's a huge part of the overall Hammond sound as well. The sample library itself...... I can't hear any difference between my (ex)organ and the sampled L-102. He sampled everything. Every drawbar, the percussion, the bass pedals. I think it's on Pianobook.
Would be awesome if you could disclose where we one can download said free L-122 sample library. Cheers!
Wow, kudos to you for some outstanding performance skills there on multiple instruments. I really enjoyed that.
C60 type11 because in slitting the edges cut smooth and under a microscope you can see why.
Good luck finding one.
That's cool man. What are you using fo your guitar tone? It's all very warm.
Thank you. It’s all coming from the Mooer GE-300, incredible unit.
@@soundacresstudio brilliant! may I ask which generation? it seems like this piece has had some various versions.
@@petehopkinsmusic Sorry for the delay, I didn't get this notification. Its Generation 1 :)
@@soundacresstudio NO worries ! thanks for following through!
Very pleasant 👍
I appreciate that thank you!
Dope.
what camera are you using? are you shooting raw
@@travisraab Thanks for your question. I shoot with a Sony FX30, standard HD with Mitakon 35mm f~0.95
Did you make mistakes? What is that perhaps apocryphal quote about playing a wrong note? Not a sin unless it's played without passion? Ah, just looked it up. “To play a wrong note is insignificant; to play without passion is inexcusable.” -- Ludwig van Beethoven. I have a deep capacity to appreciate good fuck-ups. Especially since I'm using drum loops these days, I leave the serviceable ones be. I have recordings to share with you from that temple, full of fuck-ups that had to be left in because there were no rehearsals for those two weekend sessions, and no song got more than three takes. Everything was going through a 16-track console to DAT. For years in the aftermath, there were some tracks that I couldn't listen to, because despite the engineer's reassurances, I couldn't abide the mistakes. (Universal was OK with them, but not I.) Anyway, as those recordings have aged, I've made peace with them. I'm still too bashful about the record to remaster and re-release it, though I think it's something I should do before passing on. Anyway, here I am rambling as usual. I enjoyed this video as much as I did the focus on Hammond and Leslie, even more so. It now has me dealing with an urge to go online and scope out four-tracks. But no, not now ... but someday ... maybe once I've subdued current bugbears and ticked that Sho-Bud pedal steel off my bucket list. You are very good with video; the visual texture perfectly matches the sound. I've got more to add, but the missus is calling me into the kitchen.
@@LeanBearMusic Absolutely man I listen to so many rock albums and I do try and pick them apart technically but emotionally I can never find fault with them, if I like it then then I just don’t notice anything wrong and I can’t not love what I hear. Matt if you’re willing to share these recordings I’d love to listen.
Just be careful with these contactspray solutions.. you may permanently damage the coal contacts of these sliders with this stuff.
Use 60 minutes tape instead of 120. 120 is the worst. Unless that is the goal
The reason I like 120 minute tapes is becuase when recording in 9.5 speed (high dubbing) it provides more time.