Transfer From Tape BACKWARDS For Bigger Punch!
- mechanicalmastering
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Transfer From Tape BACKWARDS For Bigger Punch!
I just heard about this old trick that engineers used to do when doing tape xfers, (2-track to 2-track, multitrack to digital, 2-track to digital, etc.),,, try transfering in reverse! The attack of all elements will be significantly increased and pronounced because the source you're xfering to will process an initial decay that builds towards the aftermentioned attack, verses having to scramble to process the complexity of an immediate attack with a decay afterwards. Cool trick, huh?
- Brett Siler
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In the book Mixing With Your Mind the author talks about mixing songs with the tape backwards. He said since you are hearing the attack of the instruments totally different your mix result could surprise you, in a good way. I have yet to try this yet though, I should give it a shot on a rainy day.
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- mechanicalmastering
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I've always wanted to experiment with that. I feel strongly that, if one would lock the sync/clock/whatever in just right, you could get some seriously Hifi stuff going on. Hmmm.Try also --- transferring at half speed! Works especially well with "found" tapes of church Christmas recitals...not that I would know!
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Trade-offs. Tape and heads being band limited in any case, half-speed transfer can get more detail resolution in the mids and highs... but a likelihood of losing approximately the lowest octave in the low end. Depends on what's important in the program material.mechanicalmastering wrote:I've always wanted to experiment with that. I feel strongly that, if one would lock the sync/clock/whatever in just right, you could get some seriously Hifi stuff going on. Hmmm.Try also --- transferring at half speed! Works especially well with "found" tapes of church Christmas recitals...not that I would know!
That's why some people prefer lower tape speeds for low-intensive rock music. This being distinct from transfer tricks and considerations above, but food for thought: when I'm passing digital tracks out to tape and back to round and saturate them a bit, generally lower tape speeds are cooler for bass and kick and toms and snare, higher tape speeds for overheads and keys and strings and jangle guitars...
This thread definitely gets me thinking about transferring stuff to tape and back, backwards and forwards both, lining those up and seeing what the differential is. Particularly in the transients.
- Electro-Voice 664
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Here's a tune I mixed in reverse
http://stuporhero.com/track/wicked
There weren't any tape machines involved though
http://stuporhero.com/track/wicked
There weren't any tape machines involved though
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Bizarre.Electro-Voice 664 wrote:Here's a tune I mixed in reverse
http://stuporhero.com/track/wicked
There weren't any tape machines involved though
Isn't the point above to mix backward, and then flip the thing back forward?
- Electro-Voice 664
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Yes it is. However, like as mentioned in "Mixing With Your Mind" I had a mix for the song while playing forward, and ended up mixing it quite differently when we decided to throw it into reverse.... just didn't flip it againdrumsound wrote:Isn't the point above to mix backward, and then flip the thing back forward?
"Play ethnicky jazz to parade your snazz. On your five grand stereo."
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would you set compressor attack and release times playing it forward then eq and level in reverse or what? The thought of mixing in reverse gives me a head ache. But so does mixing normally sometimes. I enjoy tracking way more, but anyway, ya.... mixing in reverse: how would delay or reverb or gates or compressors or anything that depends on time work with everything swelling in constantly? Doesn't seem practical. Transferring might be a different story I suppose.
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