Post Your Analog Recordings Here...

pdmillar said:
Wow! Your recording and mix sounds great. Sounds like we both go for the exact same drum aesthetic.

Also, that's a stunningly good super 8mm transfer. I shot a lot of stuff for my music videos on S8. I rigged my own telecine by designing a circuit to phase-lock the projector motor to my video camera's output (giving an exact 19.98fps transfer without any frame blending or flicker,) but of course the image quality is only as good as the video camera (principally deficient in dynamic range). This was back when I had no money and infinite time...
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Hey thanks for the kind words. RE the drums, I'm sorta forced into a drum booth era thing due to low ceilings, but I do happen to prefer deader drums most of the time.
Wow amazing vids! That home telecine of yours works great too IMO. I don't see any parallax distortion. Are you shooting the gate of the projector somehow? The PLL seems to work perfectly too--no flicker. (I actually posted 'linear narrative' a while back on this thread as an example of a cool analog vid to match the texture of the tape-y music--I happened upon your stuff from your Farfisa tone generator oscilloscope vid).
For the dynamic range, I think it's actually quite good but I wonder if there was some way of doing an HDR automation based on three passes at different exposures? Maybe convert to image sequence or something? (edit: I guess this explains why multi-pass wouldn't work). My home telecine experiments were mostly 'off-the-wall' types with brutal parallax. I don't have the right lens to photograph the gate.
I get mine transferred by Frame Discreet in Toronto. Really nice people. Non-DIY definitely adds up $ so we need to be stingy with film (didn't laugh=good enough take!). I'd love to get a diy telecine happening at some point.
Here are a couple unedited stills to give you an idea:
cop wakes up messy 1.Still001.jpgjanestill1.jpg (sorry they're so massive, can't figure out how to scale). The crooked cop one is from a vid I'm helping my friends Sheer Agony with right now. They're also MS16 people.
 
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ethyrvalve said:
RE the drums, I'm sorta forced into a drum booth era thing due to low ceilings, but I do happen to prefer deader drums most of the time.
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Same situation here, I have a tiny spare bedroom (something like 10x10 feet, seriously) that I simply made as dead as possible with foam and other objects. This seems to work great and I have no intention of changing it, being so militantly opposed to room mics (I Hate The 90s™)

ethyrvalve said:
I don't see any parallax distortion. Are you shooting the gate of the projector somehow?
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There is some small but hardly noticeable amount. The projector was roughly 5 ft from a piece of letter size card stock, the image was adjusted to just cover this area, and the camera was placed as close as possible to the projector lens (in the horizontal plane). Some vignetting occurred, which I corrected out by subtracting an image of the card illuminated with no film in the gate from the captured footage. At one point I attempted to use a condenser lens from an overhead projector to capture an aerial image (many people have described this in other forums), but the given optical parameters did not permit me to capture the entire frame, and there were serious chromatic aberrations outside of the immediate center that were much more irritating than any of the flaws caused by shooting the projected image off the card.

ethyrvalve said:
For the dynamic range, I think it's actually quite good but I wonder if there was some way of doing an HDR automation based on three passes at different exposures?
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I considered this but I have not really attempted it. There were multiple passes of the film captured with the video camera at different values of manual exposure, and the best one was selected scene-by-scene. (Leaving it on auto exposure looked completely horrible.) Some experimentation would be needed to determine the best way to "stack" the multiple captures, and I would hazard a guess that the DV camera's gamma correction would make it difficult to achieve a linear gray scale. I would need to shoot a test film with gray scales on it in order to determine if what I was doing was empirically correct.

Framediscreet definitely has the best looking 8mm transfers I've ever seen - and from reading his website I can see that he has carefully considered all of the factors in a quality transfer that everyone else seems to gloss over. I'd like to use them but it probably costs $20 to mail a spool of 8mm film to Canada at this point.
 
Chip Whitley said:
My band is about to have it's second album released, the whole thing was recorded and mixed on a 388. Two songs are available to preview:

https://soundcloud.com/easyriderrecords/slow-season-sixty-eight

Slow Season - Endless Mountain | Mountains | RidingEasy Records - YouTube

Now we've got two MS-16's I just bought and are going to start on the third record this winter, excited.
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Holy crap... that sounds great! I love how you nailed the Bonham sound... I hear a little Chris Cornell in the vocals too. Excellent stuff.
 
We finally finished recording our album and will release it during spring.
This is one of the tracks, speedy psychedelia with loads of percussion. The album won't be mastered as heavy as this one, heavy mastering just kindda makes sense for YouTube with playlists and stuff.
Apologies for the vocal; drowned it in reverb as well as I could :D

https://www.youtube.com/watch?v=jVHeJAT3wlk
 
This is one of my earlier attempts, recorded and mixed on a Tascam 488 in the early part of this century. It's called Kewilyé.
This one, Bath days, was the last thing I ever recorded on my faithful old 8 track portastudio. It's very sparse and basic, for me.
 
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