>I think there is definatly something very profound about the analogue sound of
>real to real as opposed to ADAT. When you record digitally every millisecond
>of time is accounted for and everything inbetween doesn't exsist. When
>you use
>tape, there exsists another dimension of time. Inbetween each kick drum is
>some kind of space that often sounds like hiss or noise.
Interesting observation - but not exactly the case. Every millisecond of
time is accounted for with tape too - I guess you just mean that the nature
of the medium and dirty heads produce different sound on each playback. I
do think this "charm" depends on how you produce though, and is possible in
a digital environment. I love tape - but in a non-ideal digital recording
environment, even the purr and clicks of the recording hard disk can supply
some interesting noise to a mic. Anything is possible - in fact I think
most of the "clicky" and noisy music out today is produced on Macs with MSP
(note: am I the only one wondering where everyone was the first time around
with Basic Channel? A lot of Wire-types act like this type of techno is
new...)
I also think there is a certain beauty to incredibly precise, deliberately
clean music. This doesn't necessarily mean digitally recorded music. Tape
edits often sound tighter than hard disk edits. I recently had the honor
of talking to Anthony Shakir and found out one of my favorite moments in
older Detroit techno was done on purpose: the tiny bit of silence right
after the distorted bass on "Day of Reckoning" on his Metroplex EP.
Mistakes are cool - but achieving the same quality of suprise and
strangeness on purpose is even cooler, imo.
environ * 73 mandeville drive * wayne, NJ 07470-6566 * USA
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