Darryl Ruiz: Im 70 and I still have the lyrics memorized spent a few weeks at the funny farm with trees and flowers and chirping bird's with basket weavers who sit and ๐ ....
......
Happy Hibiscus๐บ: jerry, come and take me away๐๐๐๐
Red Vynil: They weren't claps, they were thigh slaps. Older tape recorders had pitch control. Quite often, a little knob where, if it was pushed down, you could turn it as much as you want and it wouldn't make any difference but, if you pulled it up, you could turn it one way to make the tape speed up and the other way to make it slow down. No matter where you set the knob while up, as soon as you push it back down, the tape machine runs at normal speed again. In my door? What does that mean? Yeah, I thought it was a dog, too but I just heard him say it was a girl that left him. A few years before that, he went through a terrible divorce so, that's probably got something to do with it. The way I would do it today is to record the backing tracks, then go back to the start of that recording and add the vocal while listening to the backing and then when it comes to chorusland, start slowing the tape down gradually while matching your vocal rhythm with the fluctuating backing track. On playback at normal speed, the backing stays static but the vocals speed up in the chorus. Either add the effects during the vocal recording or afterwards. Mix lightly and serve in a tall glass of ice.
Audio Masterclass replies to Red Vynil:I don't know every tape recorder but I do know that the Revox PR99 had variable speed, 'varispeed' but only via an accessory and the range was far too limited for this kind of effect. I made my own varispeed box without the limiting resistors and achieved a much wider range. Earlier tape recorders, I think the Revox B77 and A77 were similar. In the Studer range, the A80 had varispeed built in but again only a narrow range. The B62 and A62 didn't have it built in and I can't remember an accessory being available. Likewise the Revox G36. Legend has it however that in the earlier days of tape recording, variable speed could be achieved by having an oscillator and a power amplifier powerful enough to act as the mains supply for the capstan motor of the tape machine. The capstan motor would lock to that and the frequency could be varied from the normal 50 Hz or 60 Hz. As far as I know and I may be wrong, the rest of the machine could be run from the normal mains. A number of commenters have said along the lines of 'oh, it's just the varispeed control'. In this era no, it was more complicated than that, and much more of an achievement. Maybe a comment reader who has a longer memory than me can fill in the details.
Red Vynil replies to Red Vynil:@Audio Masterclass If I remember correctly, nearly every open reel deck I've ever used (at least 13) had Varispeed on it. Even my little portable General Electric 3" deck back in the late `60's. I just bought a Teac 10X-R (not sure that's the number but it's a 10" deck that plays and records both directions and can play & record both sides non-stop or repeatedly.) And I have a Tascam 2-track 10" mastering deck with Varispeed and even the Tascam Porta-Studio I bought about 15 years ago has Varispeed. Most cassette decks don't have that. I never knew what the ranges were but I think I experimented on at least one where, if I recorded at slow speed with the Vari turned up as high as it would go and then played back at high speed with Vari as slow as it'd go, it almost played back at the same speed it was recorded at. Maybe it's not like that on all decks but, at least with the Porta-Studio, I was able to record a 78 from a turntable that only plays at 33 and 45 with the pitch turned up on that to a certain point, onto the Porta-Studio with the Vari turned down to a certain point and, when I played the tape back at normal speed I had correct pitch and speed. I just listened to several interviews of Jerry but none asked him how he changed the pitch on that. Early this year, I found his phone number and was planning to call him up to ask a few things but, a day or two after I found his number, he died! It's certainly not the first time that was done on a record or the last. During the psych era, there were a number of records that messed with the pitch and loads of other aspects of recording. You COULD do the vocal first and then add the backing but, you wouldn't be able to guarantee keeping the tempo the same throughout and, as Jerry said, the drummer he used was a terrible drummer so, I wouldn't count on him being able to match the tempo on the Vari part. It'd just be much harder to do it that way.
Art turner: Jerry died in the hospital I work at; in the kitchen. Even delivered his dinner once. Wish I'd taken time to talk to him
Lee M Day: Ride that little red tricycle to the stars ! rest in peace Jerry
Scott Allen: As a kid I would drive my parents crazy with this song.
David O'Banion: And if you like This classic, you might want to also look up Napoleon's "I Live In A Split-Level Head".
Chris Harris: I'm laughing because Little Alter Boy was my first thought for how I'd go about trying to replicate the effect.
Gary Dugan Music replies to Gary Dugan Music:@Audio Masterclass Love it! Thanks!
CubeAce UK: I am slowly working my way through your back catalogue of videos. Most informative ๐๐ป. I don't know about the 60s but by the 70s, Turnkey in the UK was producing Revox machines with various adaptions and alterations including 4 track, a top flat deck with clean head protrusion and fixed editing block as well as variable speed control for the B77 series. We used the variable speed control mainly to correct old 78 rpm recordings which were not always strictly 78rpm and for tape stereo phase effects which if wearing headphones felt like your head was being squeezed and let go. The latter I've never heard close to being as good in the digital domain. I'm not even sure how many tracks would have been available for the song in question to bounce to or whether it was bounced from one machine to another. Either way I always thought of it as a masterclass.
James Carter: Often heard on the 'Dr. Demento Show' here in the States, in addition to some of his other material like "Split-Level Head", which is less technically-impressive and a bit sloppier but still fun, and only a couple of minutes long so just by the time you're saying "ok I get it", it's already fading out.
Philip Hubbard: Samuel lost my respect after hearing his song Rape.
Chaotic System: You forgot to mention the acid :D
pitaponpon 2010*: Bro I didn't find this out until today!
Igor Beuk: I use Resampling techniques and this is 100% no Done by design but rather like child playing and experimenting, something that Artist should be humble enough to allow them selfs such workflow. From Tapes to vinyl i realized that Digital solutions are offering much more and this effect will have to be made in limited environment because without boundary's where everything is possible it's more likely to get something new unpredictable ( ABBA and Reverb solution - tube Reverb) . I am thinking about Music then i design what i imagined but i allow happy accidents to happen and it's usually my way of constructing Audio speed affecting pitch like vinyl, pure Resampling pitch and different Variations of sample start and direction of replay and all in one solution would be Granular Sinthezis, Reverb can affect pitch by setting Room size and Tape can be slowed down like it was said in the video but overall Reverb glued Vocal thers no doubt and it was time when Producer exploring how to achieve Reverb effect and if it was Tube with speaker on one side and Mic on the other side recording already recorded sound alterd via Tape to be honest Tape stretching and multitude attempts for achieving desired result. You are welcome. Quality Channel among infinite see of half usable content. Thank you for your Content and Effort because it's real gem for who understands and can accept the truth. Time Capsule definitely
Igor Beuk: You are old enough to remember when New Wave came long before Berlin wall xame down there was Jugoslavija and Music ahead anything that exists back then but even now . This reminds me of Bands and strange Music projects i was listening as a kid, unusual phrases and way of vocal expression. My point is that it's not all about English language and i already see limitation when i want to meet someone who doesn't speak English and often expression can't be translated from other languages to English which i must use but when it comes to Art limitation is coming as main obstacle and that's why music without words is universal language. Who ever have needs to express in Music have no excuse to get stuck with Band but to look for crew and in the meantime do what can be done
Bobandy: You look like Paul McCartney
Audio Masterclass replies to Bobandy:Yeah yeah yeah. DM
baritonfelix: For those who have been struggling to just "look it up "(as I have), the song quoted at the start is "Prisencolinensinainciusol " by Adriano Celentano.
Audio Masterclass replies to baritonfelix:I probably should have said that. DM
David Mellor is CEO and Course Director of Audio Masterclass. David has designed courses in audio education and training since 1986 and is the publisher and principal writer of Adventures In Audio.
......
Happy Hibiscus๐บ: jerry, come and take me away๐๐๐๐
Red Vynil: They weren't claps, they were thigh slaps.
Older tape recorders had pitch control. Quite often, a little knob where, if it was pushed down, you could turn it as much as you want and it wouldn't make any difference but, if you pulled it up, you could turn it one way to make the tape speed up and the other way to make it slow down. No matter where you set the knob while up, as soon as you push it back down, the tape machine runs at normal speed again.
In my door? What does that mean?
Yeah, I thought it was a dog, too but I just heard him say it was a girl that left him. A few years before that, he went through a terrible divorce so, that's probably got something to do with it.
The way I would do it today is to record the backing tracks, then go back to the start of that recording and add the vocal while listening to the backing and then when it comes to chorusland, start slowing the tape down gradually while matching your vocal rhythm with the fluctuating backing track. On playback at normal speed, the backing stays static but the vocals speed up in the chorus. Either add the effects during the vocal recording or afterwards. Mix lightly and serve in a tall glass of ice.
Audio Masterclass replies to Red Vynil: I don't know every tape recorder but I do know that the Revox PR99 had variable speed, 'varispeed' but only via an accessory and the range was far too limited for this kind of effect. I made my own varispeed box without the limiting resistors and achieved a much wider range. Earlier tape recorders, I think the Revox B77 and A77 were similar. In the Studer range, the A80 had varispeed built in but again only a narrow range. The B62 and A62 didn't have it built in and I can't remember an accessory being available. Likewise the Revox G36. Legend has it however that in the earlier days of tape recording, variable speed could be achieved by having an oscillator and a power amplifier powerful enough to act as the mains supply for the capstan motor of the tape machine. The capstan motor would lock to that and the frequency could be varied from the normal 50 Hz or 60 Hz. As far as I know and I may be wrong, the rest of the machine could be run from the normal mains. A number of commenters have said along the lines of 'oh, it's just the varispeed control'. In this era no, it was more complicated than that, and much more of an achievement. Maybe a comment reader who has a longer memory than me can fill in the details.
Red Vynil replies to Red Vynil: @Audio Masterclass If I remember correctly, nearly every open reel deck I've ever used (at least 13) had Varispeed on it. Even my little portable General Electric 3" deck back in the late `60's. I just bought a Teac 10X-R (not sure that's the number but it's a 10" deck that plays and records both directions and can play & record both sides non-stop or repeatedly.) And I have a Tascam 2-track 10" mastering deck with Varispeed and even the Tascam Porta-Studio I bought about 15 years ago has Varispeed. Most cassette decks don't have that. I never knew what the ranges were but I think I experimented on at least one where, if I recorded at slow speed with the Vari turned up as high as it would go and then played back at high speed with Vari as slow as it'd go, it almost played back at the same speed it was recorded at. Maybe it's not like that on all decks but, at least with the Porta-Studio, I was able to record a 78 from a turntable that only plays at 33 and 45 with the pitch turned up on that to a certain point, onto the Porta-Studio with the Vari turned down to a certain point and, when I played the tape back at normal speed I had correct pitch and speed.
I just listened to several interviews of Jerry but none asked him how he changed the pitch on that. Early this year, I found his phone number and was planning to call him up to ask a few things but, a day or two after I found his number, he died!
It's certainly not the first time that was done on a record or the last. During the psych era, there were a number of records that messed with the pitch and loads of other aspects of recording. You COULD do the vocal first and then add the backing but, you wouldn't be able to guarantee keeping the tempo the same throughout and, as Jerry said, the drummer he used was a terrible drummer so, I wouldn't count on him being able to match the tempo on the Vari part. It'd just be much harder to do it that way.
Art turner: Jerry died in the hospital I work at; in the kitchen. Even delivered his dinner once. Wish I'd taken time to talk to him
Lee M Day: Ride that little red tricycle to the stars ! rest in peace Jerry
Scott Allen: As a kid I would drive my parents crazy with this song.
David O'Banion: And if you like This classic, you might want to also look up Napoleon's "I Live In A Split-Level Head".
Chris Harris: I'm laughing because Little Alter Boy was my first thought for how I'd go about trying to replicate the effect.
Ian L.: Vocal processor with formant shift. ๐
drifter7458: And the flip was the same in reverse
Gary Dugan Music: Elton John did a song in the same vein as "Prisencolinensinainciusol" called "Solar Prestige a Gammon": https://www.youtube.com/watch?v=TBXtYY0Jf0U
Audio Masterclass replies to Gary Dugan Music: And there is 'Freezin' Cold in 89 Twoso' https://www.youtube.com/watch?v=8wr0QIXaoSY
Gary Dugan Music replies to Gary Dugan Music: @Audio Masterclass Love it! Thanks!
CubeAce UK: I am slowly working my way through your back catalogue of videos. Most informative ๐๐ป. I don't know about the 60s but by the 70s, Turnkey in the UK was producing Revox machines with various adaptions and alterations including 4 track, a top flat deck with clean head protrusion and fixed editing block as well as variable speed control for the B77 series. We used the variable speed control mainly to correct old 78 rpm recordings which were not always strictly 78rpm and for tape stereo phase effects which if wearing headphones felt like your head was being squeezed and let go. The latter I've never heard close to being as good in the digital domain. I'm not even sure how many tracks would have been available for the song in question to bounce to or whether it was bounced from one machine to another. Either way I always thought of it as a masterclass.
James Carter: Often heard on the 'Dr. Demento Show' here in the States, in addition to some of his other material like "Split-Level Head", which is less technically-impressive and a bit sloppier but still fun, and only a couple of minutes long so just by the time you're saying "ok I get it", it's already fading out.
Philip Hubbard: Samuel lost my respect after hearing his song Rape.
Chaotic System: You forgot to mention the acid :D
pitaponpon 2010*: Bro I didn't find this out until today!
Igor Beuk: I use Resampling techniques and this is 100% no Done by design but rather like child playing and experimenting, something that Artist should be humble enough to allow them selfs such workflow. From Tapes to vinyl i realized that Digital solutions are offering much more and this effect will have to be made in limited environment because without boundary's where everything is possible it's more likely to get something new unpredictable ( ABBA and Reverb solution - tube Reverb) . I am thinking about Music then i design what i imagined but i allow happy accidents to happen and it's usually my way of constructing Audio speed affecting pitch like vinyl, pure Resampling pitch and different Variations of sample start and direction of replay and all in one solution would be Granular Sinthezis, Reverb can affect pitch by setting Room size and Tape can be slowed down like it was said in the video but overall Reverb glued Vocal thers no doubt and it was time when Producer exploring how to achieve Reverb effect and if it was Tube with speaker on one side and Mic on the other side recording already recorded sound alterd via Tape to be honest Tape stretching and multitude attempts for achieving desired result. You are welcome. Quality Channel among infinite see of half usable content. Thank you for your Content and Effort because it's real gem for who understands and can accept the truth. Time Capsule definitely
Igor Beuk: You are old enough to remember when New Wave came long before Berlin wall xame down there was Jugoslavija and Music ahead anything that exists back then but even now . This reminds me of Bands and strange Music projects i was listening as a kid, unusual phrases and way of vocal expression. My point is that it's not all about English language and i already see limitation when i want to meet someone who doesn't speak English and often expression can't be translated from other languages to English which i must use but when it comes to Art limitation is coming as main obstacle and that's why music without words is universal language. Who ever have needs to express in Music have no excuse to get stuck with Band but to look for crew and in the meantime do what can be done
Bobandy: You look like Paul McCartney
Audio Masterclass replies to Bobandy: Yeah yeah yeah. DM
baritonfelix: For those who have been struggling to just "look it up "(as I have), the song quoted at the start is "Prisencolinensinainciusol " by Adriano Celentano.
Audio Masterclass replies to baritonfelix: I probably should have said that. DM