Whats the most patrician way to record music?

however the strokes do it for that nice kind of "filter" effect you can hear on all of is this it

It probably is, mate. I work at a record store, and I've learned that all machines are pretty much the same. They all have an input and an output. It's all about finding the right cable or interface to connect one to another. You probably just need a USB audio interface.

It's actually really simple user. Google SMPTE timecode. It's a universal way tape machines are synced and the way George Martin got multiple 4 tracks together during Beatles recordings. >It's super simple to sync a reel to reel to a DAW. I'd recommend a 1/2" 8 track tascam deck. Google the different kinds and get a nice 8 channel mixer with 8 tape inputs and returns. Hook the outs on the tape machine I too the tape inputs on each channel and the outputs on the mixer to each Input on the deck. Get SMPTE working and your good to go

Use the tape outs of a mixer to bounce all tracks into your DAW via 4/8/16 Channel interface through the line inputs. It's really easy dude

I got a full 8 track reel to reel with mixer and stereo mixdown cassette deck for around 500$ dude. Considering some audio interfaces are double that and mine uses 1/4" tape which is still available cheap it's not that pricey if you figure out how to do it cheaply and research. Pic related is my deck. Dudes dad put it in a closet and it records great. 200$

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It's not snake oil retard it's literally natural saturation because tape has a ceiling and a distortion/compression characteristic plug ins and DAWs simply don't. You obviously never had a real analog setup besides a cassette multi-track and even those are near impossible to emulate in DAWs no matter how many plug ins or filters you apply. Cope harder

ok well i make releases that have as many channels as i want, made in 4 hours with professional standards - with virtually no noise floor and is EXACTLY how i want it to be, from beginning to end - with no reliance on the (fake) magic of tape.
personally my soundcard is around 700$, its very high quality but lacks I/O's if i were to want to record more than 16 tracks at once, which unless i'm tracking an orchestra isnt going to come up.

im not trying to shit on tape because i love them for sound design, i like to slam drum buses into them, they have some qualities when they sum tracks together - but for mixing and mastering - there is a massive reason why they dont get used anymore, its because they arnt very good. its an ugly truth. maybe not very good is an unfair way to put it, but everytihng they do can be done in digital.

one thing i should say is that i actually intend to buy a tape machine very soon, but not for the tape - i will be running my stems through the circuitry and resampling/layering them under original signals, all about building tones so i do "get it", but its a bit of bullshit also imo

Tape machines maintained with noise reduction have a small noise floor too. most of my recordings I made using Dolby C or dbx on one of my few tape machines have sometimes been even quieter than your average USB audio interface because of things like USB noise

Also Craig Anderson wrote this book in the early days of home recording one and all they really was to use we're reel-to-reels and small mixers so this book will be very valuable to if you want to get into that style of home recording.

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>impossible to emulate in DAWs no matter how many plug ins or filters you apply
why do you think this?
>tape machines have sometimes been even quieter than your average USB audio interface because of things like USB noise
i dont think there is any way you prove this to me, but i'd be interested in being proved wrong.

about 5 years ago i had a scarlett 2i2 and the noise on that thing past middleish gain was horrendous so i want to believe you, but even that thing has less noise than most tapes
i mean shit nigga noise is an intrisic part of tape, one of the reasons it sounds that way is because of the noise profile

>a ceiling and a distortion/compression characteristic plug ins and DAWs simply don't
also every emulation in the world has these things
what about UAD's stuff? truly faithful recreations of vintage gear.
theres a metric fuck ton of different tapes and tape machines, which one do you mean - they all have their own traits? or is it just all of them with their totally different profiles that sound amazing? because that is some bullshit lmao

Noise on tape is a side effect of using low-quality low bias tapes running it very slow tape speeds and things like consumer cassette decks. Semi professional and professional reel to reel decks run it at least 15 IPS 230 IPS and higher quality recording tape than your standard ferric oxide type 1 $2 cassette you can buy at a Walmart. they also employs noise reduction systems it's make the noise for virtually inaudible. even cassette multitrack herbs that are good ones run at a faster tape speed the normal cassettes and using Dolby or dbx noise reduction can be very very quiet if maintained and you use appropriate recording levels. I think you're complaining your average shity car stereo cassette deck for professional recordings. speaking from experience even semi-professional tape recording equipment used it home properly can be very noiseless if you know what you're doing and you use quality tape and take care of your machine and clean the heads and make sure the pinch roller in the capstans aren't all gunked up. the stigma that tape has for being shity and noisy and sounding muffled and garbage comes from people that never actually clean their fucking decks and took care of things. if you like people saying that we shouldn't drive cars that use oil and gasoline because when you drive them without taking care of them or replacing the oil or maintaining them they sit out after 10000 miles and burn up. That's not how machines work. I will say it is getting more difficult to find hate machines with hats that are worn out but if you look hard enough you can find them. and if you get your levels in your signal to noise ratio right your recordings will be very very clean.

Most any 1/2" reel to reel at 15 IPS with recording levels past 3db will produce that sound. Tascam 38 Tascam 80-8 tascam 34/Tsr8, Otari Mk5050 the list goes on dude. 1" and 2" at 30 IPS will be much higher fidelity due to speed and track width but pushed will do similar things too. But 15 IPS 1/4"-1/2" reel to reel generally produces the best of those sounds. All commercial albums we're mixed down from 2" at 30 IPS to a 1/4" at 15 IPS for 40 years for a reason

you say you can emulate the tape qualities, then you say you are going to buy one for the qualities

the only times i have used tape were in university, we have very high quality, maintained vintage machines - my music has too high an RMS to even consider using tape, it just became counter productive.
my experience isnt from shitty tape, its from meetings with massive mastering agents who have explains why they stopped using tape 20 years ago.
>f you know what you're doing and you use quality tape and take care of your machine and clean the heads and make sure the pinch roller in the capstans aren't all gunked up.
this is the reason why, and digital sounds more transparent. do you spend (x) amount of time mixing and mastering, specifically putting your parts where they need to be, only to have it changed again by a tape? personally to me that is a terrible practise because the mix is already how i want it, there is nothing to be gained, just more unnecessary processing
>and if you get your levels in your signal to noise ratio right your recordings will be very very clean.
using my RME i will, without a shadow of a doubt, get cleaner recordings, no upkeep needed.

my mixes dont need some tape magic glue, they need a limiter - thats it, and if the limiter is being pushed then something is wrong. my music hits -7 LUFS without limiting because i mix properly with proper acoustics, tape is just for nostalgia.

Literally DAWlets are so fucking dumb. As if a static plug in emulating one type of analog phenomenon will sound like an actual piece of analog equipment doing variable things each time you use it. the fact that analog equipment doesn't behave in a predictable fashion all the time is the reason that. And plugins that claim they can emulate it fail. as far as I know it's very very very difficult to program a plug-in to behave randomly and haphazardly as a tape machine can in that way. all the plugins I've used the claim to be tape plugins generally produce the same effect throughout the entire track you can adjust it a little bit but it's not that good and it sounds nowhere near as good as the real thing

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>you say you can emulate the tape qualities, then you say you are going to buy one for the qualities
no i am going to buy one to run it through the circuitry, its just a trick i saw done by a friend of mine who releases amazing stuff. its got nothing to do with tape itself. the same could be achieved with delays and other outboard stuff if it has a full wet/dry function.
try Airwindows ToTape.
they certainly arnt anymore though, are they lol
>for 40 years for a reason
can you tell me the reason?

Basically I do all my mixing on the board and then I dump too stereo on a tascam 122mkii with all my effects being routed on the mixing board and my compressor and limiter being a hardware compressor going right into the to 2 track. Sometimes I use the compressor limiter as a insert too. I'm not really a analog fetishes when I was 13 my guitar instructor handed me a tascam 4-track cassette and sent me home to go record and that's basically how I learn to make music and as I've gotten older I've learned how to use DAWs as well. recently upgrade into an 8-track reel-to-reel set up I've never been happier with the results I'm getting. obviously if I was producing EDM or dance music I probably wouldn't want this set up at the type of music I produce in the type of instruments and hardware I choose to use for the music I create lends itself very greatly to using this type of setup.

Why do you want to run your stems through a tape machine circuitry? most reel to reel -dec don't have any preamps inside of them so I don't really understand what you would be doing besides just monitoring through the internal monitor that a reel-to-reel would have. the sound from a tape machine you'd be wanting would be coming from the mixers preamps you're using or microphone preamps you're using or the tape itself that's recording the audio. I don't know what your friend thinks he's doing unless he's running the stems through a 4-track cassette that does have a built-in preamp but besides that I'm kind of confused what you mean

wait a sec...is THIS the comfy synth thread??

The reason is the natural compression and stereo effect those mixdown decks create. It glues your multitrack mix together in an awesome way

yes please dump the images of the 3 synths that get shilled there now

i appreciate that post nigga u keep doing you
but for me, and for the vast majority of mastering studios around the world in 2019, tape is no longer relevant. i could use a mb compressor and some non linear distortion (envelope follower/generator sorta stuff) to recreate the sound, might be finnicky but it can be done easily
if people wanna talk about non linearaities and inconsistencies then i invite you to explore pure data and max 4 live and then come and tell me you cant make these things in a year or two.
i already said i dont need magic glue to make my mixes slap
also, >natural compression
lol what does that even mean? it means compression. compression is all you mean, and that is absolutely not what tape does anyways, its saturation, it is distortion, compression is a form of distortion but not the other way around (unless u wanna get really chin strokey with it)
my full boomer is gunna come out for this reply, but you gotta hear it to know it. it sounds HORRIBLE on its own, but you layer it in quietly and you got some crunchy beef.
> I don't know what your friend thinks he's doing unless he's running the stems through a 4-track cassette that does have a built-in preamp but besides that I'm kind of confused what you mean
he has worked in the studio for the past 10 years he knows what hes doing he spends every single day recording bands. i dont really care what its doing because it sounds great.
the best synth is the one you know the best

That's awesome he works at a studio and I'm aware most studios shy away from full analog setups but plenty of artists currently use similar workflows to what I use and get there stuff mastered and release their albums that are received well. It's a pro of living in 2019 where if I wanna approach my music in that way I can and if you want to in another way you can. Tape is curating as we speak so I currently horde as many as I can and try to keep all the machines I can get my hands on and as good a shape as I can because I really do love working that way. I said if is by no means a professional set up and it wasn't a professional set up when all this stuff was new in the late 80s when it came out. but in my opinion it creates a better sounding mix for the type of music I make than just your standard DAW multitrack mix. Eventually I won't be able to do this anymore so I'mma do it as much as I can until all these tapes fall apart and I'm left using new type 1 tapes on the last working 4 track in existence like some Amish LARPER at a museum. but in my estimate I have about another 10 to maybe twenty years at most to do it this way before all this stuff falls apart so I'm going to use most that time to my advantage. after I use this fostex 8-track and record it into the ground I'm probably going to upgrade to an otari 8-track or maybe a half inch 16 track if I can find one in good condition that's working. I just wish half inch tape wasn't so much more expensive than quarter-inch tape but oh well. I'm having fun and making the music I want to so whatever. and best case scenario in 20 years if all my machines are still working I'll sell them to some fucking hipster during the fourth tape resurgence of 2030

And yes the compression isn't Magic but it's enjoyable and a cool perk of recording that way. I'm just a dude with a little pro-sumer 1985-90 type home studio having fun dude not Steve albini on his studio forums trying to shit down all digital recordings. I still use the advantages my DAW (reason 10) has to add final touches to all my mixes when I dump them. It's awesome living now with all these options. I rather be doing this now then in 1988 when this machine was built but ease of replacement parts would have been nice. But I can buy broken parts decks for a reason!

unironically if you're making good music/mixes its because you're good at making mixes and music - its not the gear man
>I still use the advantages my DAW (reason 10) has to add final touches to all my mixes when I dump them
i would totally say to do this the other way around, final touches come from tape but also - ykno, you cant record twice and if u like the process or the sound or whatever then who am i to tell you otherwise. tape is a weird realm but when actual musiclets come through with statements like "its better" or "you cant recreate it in digital" it just makes me roll my eyes because they clearly make bad tunes desu
i mean if u want compression that enjoyable then you could use a metric fuckton of different pieces for that its got nothing to do with tape.

lol at your life my dude

whys that?

Yea I play all my instruments and overdub all my own stuff on these multitrack machines because they were designed for it. I don't like tracking on reason because of decision paralysis and too many ways to cheat and cut and paste my tracks vs. Having to play them all the way through. I'm a better musician bc that's how I had to make my songs since I was 13 and I think people who record digitally then dump to tape for it's effect are honestly the actual retards in this discussion. I'm simply using the equipment exactly as it was designed for and enjoying the results then using some mastering capabilities of my DAW bc I'm good on paying some soda breath gumshoe uni graduate charging 150$ an HR just to make my music loud for zoomers iPhone Spotify streams. Fuck all that I can do it myself. I might even just get a hardware mastering strip and completely eliminate the need for Reason for anything but transfers when I'm using my analog setup who knows. Poorfags and FL beatmaking brainlets will always give me shit but IDC because I Don't concern myself with drag and dropping "musicians" with all these opinions on shit they barely have ever tried.

>then dump to tape for it's effect are honestly the actual retards in this discussion
this is how the music industry works my firned its not retarded they just simply arnt subject to
>decision paralysis and too many ways to cheat and cut and paste my tracks
they just make a good mix because they know how to make a good mix and not get stuck on stupid stuff.
>mastering capabilities of my DAW
like a limiter?
>just to make my music loud for zoomers iPhone Spotify streams
you mean those platforms that normalize their loudness standard and punish people who are making loud music? those platforms who'se loudness standards are around -13 LUFS?
>Poorfags and FL beatmaking brainlets will always give me shit but IDC because I Don't concern myself with drag and dropping "musicians" with all these opinions on shit they barely have ever tried.
besides the fact that i have experience and have already told you that, as does every mastering or mixing agent that used to use it and has since moved on because of the litany of reasons that are undeniably true - you have eventually finally told me why you think the way you do
>ways to cheat
you talk about poorfags but have issues with charging for mastering even though you dont seem to know about normalization standards?
also, drag and dropping musicians? you have problems with MIDI triggers as well? what about sidechain signals? what about return and send paths? are these also cheating?

I'm not on trial here for my knowledge and projecting all the shit I know about mixing like you are dude and was simply stating my position and wether you think it was all directed at you is on you. And no not just a limiter. There's other tools for mastering besides a limiter but I'm sure you already know that because your friend works at a studio and you have said "just make good mixes" 3 times already as if that means anything to me through this thread besides "get good like me hurr Durr" I was being as nice as possible but fuck off back to /prod/ where you belong

youre quite full of shit

Patrician ways are for when you've got the time and money to do so. for all those who want to get their name and songs out. just record. record on tape cassette. on logic, audacity, ableton, whatever... IT DOESNT MATTER. make GOOD songs. and people will look past your limitations and see your worth as an artist and songwriter....

That being said, theres no real reason to use analogue recordings unless for lofi sound or analogue distortion tones, or unless you plan on releasing your music onto vinyl

I already stated my workflow and as far as sequencing goes, writing in midi with piano roll and dragging vane dropping samples on a grid is incredibly void of creativity verses actually performing your damn track. I work with lots of synths too and I'm aware of the uses of midi although most my shit used CV/gate and I don't feel like modding my stuff bc again I rather just play it in to my tracks. I'll probably get a nice old Korg or Roland CV/gate sequencer and have a lot of fun doing that. Have fun with your computer stuff though sure all the time you've spent watching mixing tutorials really made your compositions more interesting

Basically this. It's all preference and what music genre your going for and the audience you want.

well you talked about cheating when its obviously the standard in the industry. cmon tell me, is using external sidechains and send channels cheating?
yes it is just a limiter. if you're using other stuff on the master then you could achieve that on the channels.
>because your friend works at a studio
i know that because i make and release music every day for the past 7 years, my friend working in a studio taught me parallel processing tricks directly involving hard circuits, in particular tape circuits.
making a good mix means that you dont have to process the mixbus heavily. if you cant comprehend that and are trying to polish turds with tape then you're just gunna have a magnetic poop stain
>wether you think it was all directed at you is on you
you reply to me and expect me not to think its directed at me?
you're not gunna tell me why are you?
accurate
some unorthodox ITB mastering can make vinyl releases tho
i record everything live into audio channels i dont arrange using MIDI but nicely done assuming things i never said

...

7 years? Wow I bet you couldn't write a 4/4 pop with 4 instruments to save your life if I took your mouse away from you faggot. Eat my fucking ass

if you made that bet you would end up losing a lot of money.
nicely done tho, just sidestep everything i said because you think those that use a computer to supplement their talent are talentless even though its the industry standard and thats by far the best way to work
let me know how that record contract turns out faggot im sure sony will love your wanky music through a lackluster tape machine.

also, its nice to see how people devolve into being a massive cunt when they are presented with something that questions their philosophy
it must really fucking sting to be making bad tracks still, how long have you been doing it, 20 - 30 years? better buy some moar tape bro

well to be fair you were being a cunt from the get go

you dont get anywhere in life by being a little bitch

Nah I'm 21 and independent and focus on my craft and future and not how many cocks I have to suck as a studio intern to pay off my useless music production degree I learned nothing with but how to use the phrase "industry standard" whenever I'm challenged. Get that industry dick out of your ass boomer you probably live in an apartment still you fucking loser hahaha aren't you too old to be on here?

As if I give a fuck about signing away my life to some record company when the internet had made them and studios completely useless. Wow you really are a fucking boomer aren't you that's a YIKES from me bruh.

Your on Yea Forums arguing with some kid who just likes making his tunes on some old homestudio equipment and feeling the need to quiz him and check him over meaningless semantic mixing bullshit. You are obviously salty about something you failed at dude

ive been informed not to reveal personal details so i deleted my post but whatever
you're all gunna make it.
im done here hope you get over the tape addiction and start writing music that doesnt rely on it.

This entire post is filled with lies and false hoods. It's all good dude. You can carry my amps on stage for me in 5 years and talk to girls backstage about the tape compression conspiracy you busted here tonight. Im done with you. If you don't wanna talk about tape stuff go shit up /prod/ and get out of what was actually starting out as a useful thread for newbies interested in analog recording with your useless diatribes. Your the epitome of a pseud. I'm just having fun doing what I want. You can't stand that because your a soulless drone of useless knowledge that means fuck all when it comes to actually making a good song. A good tune recorded on a book box is still better then all the side chained tuned Kick fucking hyper polished garbage you think is so great. Your a joke and in done with your LARPING. The virtual non existent barrier to entry to get music out to audience now is the reason people like you are irrelevant these days. I can make my music anyway I want and put it up on the internet anyway I want and and it reaches the audience then will like it no matter what and I could give a flying fuck if Sony signs me or not. Because I already have a real career the pays me fine and there's no money in music unless you want to be a celebrity first and musician second. Go get fucked in a dumpster

What a back peddling pussy

i bet your tunes are gay as hell

this user knows, there's also boxes that do MIDI timecode which basically records the MIDI clock as audio which you can then use to slave your DAW

I bet you watch Andrew haung every night before bed

Yea I wanted to talk more about it but I got stuck with this dude's autistic meltdown over tape compression in s fucking tape thread

its not back peddeling i just shouldnt share information about myself on Yea Forums its that simple
>You can carry my amps on stage for me in 5 years
>I could give a flying fuck if Sony signs me or not
nice
>tape compression conspiracy
nice yep thats what was discussed right?
>actually making a good song.
ill make you a song right now in one hour that will probably blow your wank out of the water.
>A good tune recorded on a book box is still better then all the side chained tuned Kick fucking hyper polished garbage you think is so great
a good tune is a good tune regardless of the method.
dont know who that is
its not a tape thread it was a thread about most patrician way to record music and the answer to that is a digital file. you can wank off about your pretentious tape all you want doesnt change the reality

It’s not my fault your music relys on tape

geta load of his asshole

Digital is played out and creates Mediocre artists and trends in 2019

My music relys on me. Your music relys on your DAW bc you probably automate your garbage beats while scouring Tumblr for anime gifs to post it on SoundCloud

ignore him, there's always some sperg who has to be the most enlightened know it all on this anonymous ethiopian shrimping forum sperging about how digital > analog and software > hardware. we get it bud you're better than us now fuck off

>Spends whole thread sucking his own dick over his studio experience and his mastering techniques and LUFS as if any of it matters when all music is normalized anyway in streaming.
>Calls tapebro pretentious who is just doing what we likes
YIKES

Seriously like should I explain all the details to you about the levels I run on my board and synthesis I use in my songs or just give you some advice to get you started if your interested in tape. Like dudes like this need to get laid more

>more
user I...

Found one of these in great shape cheap ..I already have two tascam 4 tracks but that Dolby C probably will be way better then shitty ass dbx which I'd hard to decide if decks go. Should I?

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Kek your right unless sucking record executive cock for a non paid studio internship of cleaning toilets for actual engineers is sex

>Digital is played out and creates Mediocre artists and trends in 2019
>trends in 2019
even though its been a digital age in music since the 80s? what is ssl? what is duality systems? hmmmmmmm its almost as if recordings have been done for like 100 (+/-) years and 30% (+/-) of that has been digital? yeah thats a recent trend right.
>we get it bud you're better than us now fuck off
i only said anything along those lines when im getting my character attacked instead of my words, and some faggot wants to talk about it being "cheating" to use techniques that are prominent, then wont even respond to the question of whether returns and paralell processing is cheating? what about beat detective? what about phase realignment that supplements an artist on a budget, is that cheating?
>you probably automate your garbage beats
lmfaoooooooooo you hating on automation!?!??!?!?! what about recording fader movements?????? what about changing your effects level for different phrases of a song????
jesus fucking christ
"tapebro" went much further than to just do what he likes even though i literally posted
>i appreciate that post nigga u keep doing you
ye g better tell me to get laid because im discussing music practise on a music board in a thread about recording mediums where i list a massive amount of reasons why digital is the answer but the "tape bro"'s replies are about a literal misunderstanding of fundamentals of recording.

you doing alright user?

Cope harder production major someday you will pay off all that money you wasted

why would you assume im not?

How about you post some of the stuff you worked on user? That other guy was kind just being an asshole you seen me really knowledgeable about recording and production I'd love to hear all the stop you're talking about at work in a song

not gunna adress anything i've said still?
i paid off my degree in one lump sum. i have no debt, which is the reason why i can dedicate my time nearly entirely to producing music. i am truly blessed and i appreciate it every single day.
ill make you a track right now and post it in an hour, just like i did in /prod/. give me your conditions.

You keep talking about sonic automation and I'm referring to compositional automation that makes performers lazy and music uninspired IE not playing your parts not writing them and just dragging instruments Into midi channels. I really could care less about those mixing situations you presented because I commit to good sounds before I press record brainlet. If your spending more time on everything you listed instead of song structure. Basic levels and solid EQ/Compression and final mixdown your not doing much but stroking your /prod/ cock

do it with a girl named Patricia xD

Could you write and record a ii,v,I in any key you choose with some basic drums? Maybe some electronic bass or bass guitar. A nice rhythmic electric guitar part using some basic chord voicings like Maj6 and some minor7 and maybe an 11th chord on the ii chord? and some lead from a synthesizer or guitar. And add some brass underneath from like an analog patch or an FM synth. With a solo on keys or guitar or even synth just following the chord changes? That would be sick maybe have a turn around after the chorus to resolve back to the root of the track?

>I'm referring to compositional automation
i dont know what this means, unless you mean dragging and dropping audio around the structure? a lot of music is defined by that, i mean what if im making metal tracks and layering guitars? you couldnt do that enough times on tape because you'd get ridiculous noise compared to doing that in a daw, unless thats what you want in which case then fair enough.
you're gunna tell me how tape can be less noisey than 32bit float by configuring and maintaining it properly, right?
>I commit to good sounds before I press record brainlet
I already told you that I also record to live audio channels.
>If your spending more time on everything you listed instead of song structure
these things are just an instinct, besides the fact these are simple things to do - they arnt at all relevant to the topic at hand.
i have read books on classical composition, i write on paper often before i write in the DAW. i play the piano before most writing session.
>Basic levels and solid EQ/Compression and final mixdown your not doing much but stroking your /prod/ cock
they are doing a lot more than stroking my /prod/ cock. they are creating radio ready tracks.
i dont play guitar but ill try.
thanks this is gunna be a lot of fun, im always looking for tasks to help myself improve.

A 16/24 track reel to reel could later metal guitars with no noise easily even if you bounced tracks it would still be plenty enough track width to keep the noise floor low retard you know metal loves tape right?

Ew who gives a fuck about radio ready music on here dude. No wonder your so fucking pedantic about everything and keep mentioning record deals and shit. Your whole mindset is old and I'm the one recording on old equipment but even I know you can make it on the radio from a bedroom

Cool user I'm excited to hear what you come up with!

>radio ready tracks.
wew lad I’m really laughing at your life tbdesu

>noise floor low retard you know metal loves tape right
you gunna do that for like 15 layers? if thats what you want then fair enough, but thats not what is the best practise, yes the best practise is the one that makes the best record. its not the harmonic falloff and filtering of tape.
>who gives a fuck about radio ready music on here dude
i do
>mindset is old
no my mindset is entirely modern i am telling you digital is the best.
>I know you can make it on the radio from a bedroom
yes i have been saying that all along and that has nothing to do with tape.
im glad i gave you some lols what else do we come here for
lol me too, im secretly squeaky bumholing hoping it doesnt suck dicks but we'll see

peace out fags

gee non you sound like the kinda guy who’s gonna be so innovative!

u dont know shit about me
except that that i'm a massive faggot who posts essays on Yea Forums
and edits posts

Are the /prod/ general threads full of anons like this asshat?

Single track tape. Go hard or go home. None of that rerecording shit. You play it right or you do it again.