Return of the Tascam DP-006
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- Опубликовано: 12 сен 2024
- After a few months with the Model 12, I felt it was time to reconnect with the multitracker that started it all (for me): the Tascam DP-006. I had no idea what I was getting into.
Alternative titles included "The Ultimate Budget Recording Rig," "Don't Be a Wimp, and "We're Not Worthy!"
Find my music at: jordanseal.ban...
#dawless #recording #tascam #portastudio #songwriter #newsong #originalmusic #newmusic #recordingtechniques #songwriting #budget #minimalism
Great skit, great video. More longer form videos please!
Excellent work, great to see you squeezing the creative possibilities out of the basic stuff you had laying around - nice shirt too :)
I had a guy give me a great illustration regarding arrangements and mixing. He said think of your song like a Christmas tree, the star at the top is the lead vocal. At the bottom of the Christmas tree is the larger pieces, that take up Sonic space like bass and certain percussion. The more you move up the Christmas tree the last Sonic space they take. But it's important you fill in the whole tree till you get to the lead vocal. I don't know, I thought it was pretty cool illustration. I always enjoy these breakdowns, Jordan and they're raw vulnerable stuff you put in these to show that it's human.
I've been recording a song with one of these and its been a heck of a time. I think I learned a lot of lessons and when this is done I'll have one heck of a track.
The limitations make you think and plan ahead and you can’t edit/‘fix it in the mix” - you need to feed it great content - and I like the imperfections it does not hide 🧜♂️
Dude, this is an amazing video! Love your channel. Thank you! And this song is awesome. Keep going.
Thanks! I'm glad you found me!
I have a DP-006, it’s great for demoing new ideas.
Something to experiment with for double tracking vocals (if you haven’t tried this already):
Try and get your parts as close as possible but use very different mics - they’ll add some interesting colour of their own.
You can also reverse your cuts and boosts when you EQ (ie: boost on the left what you cut on the right and vice versa). This isn’t an option on the 6 though, I guess
Thanks for the journey 🤘🏻
Thanks for this! I'd thought about the EQ trick, but I've never tried it... now it's on the list for my next project involving a reasonable amount of gear haha.
Really enjoy these nuts and bolts videos, whenever I settle down with my DP008 I remind myself I have more computing power at my fingertips than the men who walked on the moon and twice as many tracks as The Beatles did for Revolver and Pepper (granted, no Geoff Emerick or George Martin on hand...).
Still, we persevere to create something that didn't exist hours or days before, for whatever ends.
Great stuff, Jordan! 🙂👍
There's video (somewhere) of Giles Martin messing with the multitrack of Tomorrow Never Knows... and even when I see it, it's hard to believe they did it all on 4 tracks. That stuff inspires me, every time.
soz dude i don't get it - how can i not twiddle knobs?? i see a knob, i twiddle it - i see no knob, i cease to exist
I'm normally pretty cautious, but when I'm using gear, I turn into the character in every cartoon who walks into TOP SECRET DANGEROUS ROOM and starts pushing buttons.
@@JordanSeal 😆 same
This long form of songwriting breakdown is really really interesting. I would love more of this format!! Hope your other older gear pay you a visit aswell 😄
LOL you read my mind. I'm trying to devise a reason for the DP006 and Model 12 to go on a date.
Hope this does well Jordan 👍
Loved the song, can’t believe how good you got that to sound with that machine, great work
I have its slightly bigger brother the DP-08. I have the model 12 now but I can’t bear to sell it.
Can’t wait to sit down with a coffee and notebook later today for this one
The Master of Yapping
Nice fender greta I have one as well
Great amps. I probably use it on every project... at least, every project that doesn't involve these kinds of weird self-imposed constraints.
Those moments where you have parts sounding thin and want to beef up others made me reflect on density of parts and layering aswell. Informative stuff 👍
I'm glad! For me, almost every sound seems too fat or too thin. I'm trying to learn how to get it right at the source, but it's difficult and mysterious. Lots of trial and error...
22:32 - You may well have tried this before, but if not, take one side of the earphones / headphones off your ear slightly (e.g. your right ear) - so that you can hear your own natural voice more easily, rather than your voice monitored through the cans. Adjust it so that, if you want or need it, you can actually still hear some of your vocal in your right ear. Pan the original vocal that you're tracking up, all the way over to the left and adjust it to the level that you would typically place it in a conventional sort of mix. I'm not sure why this works, but it often does. I think it MAY be something to do with the fact that you're hearing your voice very, very slightly quicker (and more naturally) than through the headphones - and this allows you to pitch/time to the original vocal you're tracking up a bit better.
Awesome idea... and something I could use with any device, including this one. Thanks!
Gosh! That DP sure is hard on you… 💭👀
Those vocals definitely have a touch of Bowie to them. Excellent job.
I hadn't thought of that, but you're right: he was a master of the "separated by an octave" vocals! The kids and I enjoyed the Ziggy album this morning, during breakfast... what a legend.
Nice work! Overall I think you're pretty hard on yourself. That's OK though because it's your standards that lead to your success. That comes through in this recording after all the limitations.
Regarding double tracking vocals; not to be simplistic but it's just practice. In school I sang in chorus and vocal ensemble (smaller group). What I carry with me from that are the hours and days spent singing the same part over and over the same way as directed by the conductor. To double track vocals you have to develop the skill of singing a line the same way every time.
For someone who doesn't have that choral background, I would suggest playing the melody on an instrument , piano, guitar, whatever, and sing along to the instrument, trying to duplicate the rhythm and melody. This mimics what the conductor would do in chorus to demonstrate a part. They would play the notes on piano and sing the part, then we would sing the part back as they played the notes on the piano. Once we got it right, that's the way we would sing it every time.
Double tracking is all about precision. You will get variations naturally, but you shoot for precision. That's what gives that thick (choral) sound without it sounding sloppy.
Long comment, I know, but you asked for vocal double tracking tips. That's my best shot. Hope it helps. Thank you for the video.
Long comment, and well worth it! These are great tips. I have no formal or practical training as a singer... and I'm sure it would help tremendously. But until someone invents a time machine, I think your tips are my best bet.
I've been thinking about this - and in particular the points made by the demon voice 666 guy. His argument often boils down to this: The 006 is enough....IF YOU COULD ONLY PLAN AHEAD, rationally and carefully. And I totally agree with the demon. However, I also massively disagreed with him. Firstly, I agree that four tracks should kind of be enough. George Martin blah blah, The Beatles yadder yadder. But where I start to diverge is with this idea of planning.
Throughout my interminable centuries of recording to four, eight, sixteen and twenty-four tracks (but okay, yeah, primarily four lol), the one thing I've noticed time and again is that the best things that often happen are unplanned. I'm not gonna go with that Eno shite of honour thy mistake as hidden blabber blab, and the Oblique Strategy cards crap, etc. etc.
However, too much planning can definitely be a hindrance to fun recording. I used to not only write at the mic, but riff at the uhm cassette. I brough finished songs to the four track - lyrics ready, chords sequences perfected, solos practiced. But I'd always leave a generous chunk of time to see what came along on the day. Could I just conjure up something "on" "the" "fly"?? Dare I simply say hey, everyone, start on E - the scale is the minor one. Let's see what happens.
I can't tell you how many times those ideas / songs / recordings bested the stuff that was planned well in advance. I wanna say it was at least 50/50. And in fact my 75/25 favouring the spur-of-the-moment stuff. And NB that spur of the moment idea could take any one of several forms: A simple acoustic song a drunk sailor could busk; a krautrock jam that started nowhere and ended up back there after seven minutes; a Stooges garage rock riff; an indie pop verse/chorus thing; an dark ambient instrumental. Whatever. So basically, I think demon guy is kind of a tool. That said, I still vote for bear bones rigs, minimal set-ups and ghetto assed gear.
Paul Rudd look alike