New Psych-Pop (all-analog)

Treat It - very sweet
I LOVE the intro guitar on Summer - reminds me of Bow st Runners
the stereo image is also very of the time too without being as daggy as early Beatles stereo.
Mellotron is the future path back to the past (I use cut & paste wav files from a variety if tape sets).
Good sounds combined with good songs - well done.
My analgue world is a pair of Yamaha MT100 4 track casettes and some outboard gear - all mid 80's so I miss the time frame by gear but not by ear.
I'm intrigued to read about your Nilsson cover.
Which album are the video tracks from. I went to your site but couldn't specificlly see the track names. I'm interested in your CDs & vinyl. Do you post to Australia?
 
What was the chorus instrument on 'White Man's Whim'? It sounds almost but not quite like a clarinet or something...
 
How do you like the M4000D? The concept seems great OT1H, but odd OTOH, the imperfections and mind boggling complexity of the Mellotron are what make it a Mellotron.

Interesting comments about vibe, and the La's Reminds me of Mazzy Star in 1991, got a tape from a buddy of mine told me it was "a guy from the Rain Parade" behind this band. Late 80s. probably recorded on tape, but it had a vibe too,
 
rayc said:
Treat It - very sweet
I LOVE the intro guitar on Summer - reminds me of Bow st Runners
the stereo image is also very of the time too without being as daggy as early Beatles stereo.
Mellotron is the future path back to the past (I use cut & paste wav files from a variety if tape sets).
Good sounds combined with good songs - well done.
My analgue world is a pair of Yamaha MT100 4 track casettes and some outboard gear - all mid 80's so I miss the time frame by gear but not by ear.
I'm intrigued to read about your Nilsson cover.
Which album are the video tracks from. I went to your site but couldn't specificlly see the track names. I'm interested in your CDs & vinyl. Do you post to Australia?
Click to expand...

THANKS for the feedback ... I will have to check out Bow St. Runners. You can get pretty good results with '80s gear I think (Daptone is a good example)!

Yeh we ship to Australia, though USPS has made the prices crazy for shipping vinyl (a 7 inch is $12.75!), but we can still ship the CDs for cheap because they're in mini-LP sleeves and can pass as a heavy letter.

The Nilsson cover is on the 7 inch (vinyl only release), the video tracks are from the new album, Oak of the Golden Dream, scheduled for release May 14.
 
Blue Jinn said:
How do you like the M4000D? The concept seems great OT1H, but odd OTOH, the imperfections and mind boggling complexity of the Mellotron are what make it a Mellotron.

Interesting comments about vibe, and the La's Reminds me of Mazzy Star in 1991, got a tape from a buddy of mine told me it was "a guy from the Rain Parade" behind this band. Late 80s. probably recorded on tape, but it had a vibe too,
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I think it's a good idea that was implemented well in this case. A stand-alone instrument is much more efficient for live performance and analog-based recording, and you have unique high-quality sounds that are not available elsewhere ... particularly the Chamberlin tapes, which are what we used mostly.
 
lonewhitefly said:
I think it's a good idea that was implemented well in this case. A stand-alone instrument is much more efficient for live performance and analog-based recording, and you have unique high-quality sounds that are not available elsewhere ... particularly the Chamberlin tapes, which are what we used mostly.
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Right on. Does it come with selectable "weighs too damn much" and "goes out of tune after 15 minutes" features? :-D

BTW Teac 5, what 1974-75? Not too far off, transformer coupled pre's and pretty decent power rails.
 
lonewhitefly said:
Yes, there is a big difference, but I have to say the results I got with the Teac were just as good ... you just work with what you have. The only thing is I always cut a ton of bass on the 80-8, then I ended up doing the same thing with the Ampex without realizing it, resulting in a slightly thinner sound than I wanted. So, still learning the Ampex. Still have the Teac -- it's a great deck, I would have no problem going back to it.
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Well I really dig your bass sound funky like that. Anywho I am going to cop that 7"
Yeah I am working the teac-80-8 just recorded a 12 piece Latin soul band in a small apartment in Brooklyn, raw as hell and loving it!

Long live Analog b.
 
lonewhitefly said:
In terms of the sonics, I think bouncing and using old (low-output) tape is a big part of the '60s sheen that most people using 'all vintage' seem to miss.
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I dunno whether you've ever heard any of Greg Watson's stuff. They were made in his bedroom on a TASCAM 424 or similar in the early 1990s. So yes, he did a lot of track bouncing, but I think what he really hit on the head was style of composition. The Farfisa helped too, though.

The Orange Alabaster Mushroom - Another Place - YouTube

EDIT: And an interesting technique he used on the first 6 tracks of 'Space and Time' was to mix the record with the pitch control turned all the way up, hence the weird vocals and the fact that the tabs don't match the recordings.
 
Blue Jinn said:
Right on. Does it come with selectable "weighs too damn much" and "goes out of tune after 15 minutes" features? :-D

BTW Teac 5, what 1974-75? Not too far off, transformer coupled pre's and pretty decent power rails.
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yeh I think mine is one of the early ones, '75-ish. I've tried to 'upgrade' with other boards over the last few years, some costing 10 times more than the lowly Teac 5, but this one give me the vibe I want better than anything else I've tried. Once I find an old Westrex or rotary-type '60s board, that'll probably hit the spot. Or maybe one of those early Soundcrafts (Series 1 or Series 2).
 
LToro said:
Well I really dig your bass sound funky like that. Anywho I am going to cop that 7"
Yeah I am working the teac-80-8 just recorded a 12 piece Latin soul band in a small apartment in Brooklyn, raw as hell and loving it!

Long live Analog b.
Click to expand...

sounds good man, post your stuff if you have it available.
 
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jpmorris said:
I dunno whether you've ever heard any of Greg Watson's stuff. They were made in his bedroom on a TASCAM 424 or similar in the early 1990s. So yes, he did a lot of track bouncing, but I think what he really hit on the head was style of composition. The Farfisa helped too, though.

The Orange Alabaster Mushroom - Another Place - YouTube

EDIT: And an interesting technique he used on the first 6 tracks of 'Space and Time' was to mix the record with the pitch control turned all the way up, hence the weird vocals and the fact that the tabs don't match the recordings.
Click to expand...

sounds cool, almost has a Ween vibe (probably from the cassette sound).

I feel the song, performance, instruments, etc. have to be right, otherwise there is nothing to 'capture' in the first place. Beyond that, I think the production or 'vision' of the final product is the most important element ... the equipment comes into play here, that is, you select the equipment available to you that can help you fulfill the vision most appropriately.
 
Here are a couple tracks that were done w/ the Teac 80-8 if you want to compare ... most everything else was essentially the same, except they were mixed to the Ampex 440 mono deck:



 
lonewhitefly said:
I think the '60s vibe is probably more technique than equipment ... that said, having the right equipment makes it easier to get in the ballpark without thinking about it too much. I figure if you go all the way in terms of equipment, down to the tape itself, then any shortcomings are due to technique
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That's an interesting point. Do you think you could have gotten moreorless the same results using a DAW ? This isn't to start an argument {I'm weary today. I've my big fall out for the day with a bus driver}, I'm genuinely interested in recording and I like the sounds people get. I personally think sound is a unique combination of what you play, how you play and what you record it on, plus the levels, the way one mixes, what one mixes through etc......
 
grimtraveller said:
That's an interesting point. Do you think you could have gotten moreorless the same results using a DAW ? This isn't to start an argument {I'm weary today. I've my big fall out for the day with a bus driver}, I'm genuinely interested in recording and I like the sounds people get. I personally think sound is a unique combination of what you play, how you play and what you record it on, plus the levels, the way one mixes, what one mixes through etc......
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Personally, I would not have been able to do it on a computer ... because I have little experience with them, and don't really know how to work it to my advantage. I also have no interfaces or software for recording (except Audacity). Ultimately, I don't think it would come out the same ... might be better, might be worse. The workflow is different, as every aspect of analog is something of a 'performance' (hands on faders, etc.). The sound itself is different ... specific tape machines, tape types, etc.
 
lonewhitefly said:
Personally, I would not have been able to do it on a computer ... because I have little experience with them, and don't really know how to work it to my advantage. I also have no interfaces or software for recording (except Audacity). Ultimately, I don't think it would come out the same ... might be better, might be worse. The workflow is different, as every aspect of analog is something of a 'performance' (hands on faders, etc.). The sound itself is different ... specific tape machines, tape types, etc.
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I think you can get the sound inside the box. At least it works for Rafael Saadig and Tchad Blake (Black Keys), Lo primo etc. I mean Sharon Jones do sound nicer! No question about it. But I am with lonewhitefly, arrangement first than instrument, and last biut not least tape baby. Some People sound like motley Crüe or Tower of Power, yet they feel a tape machine is going to made them sound like Black Sabbath or James Brown and that's crazy :D
 
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