Tag Archives: Tascam DA-88

Missing Pieces.

2000 Years to Christmas

Well, then, where the hell is it? I left it right here. Jesus mother of pearl, everything grows legs around here, the moment you turn your back. I’m living in a den of thieves! An abandoned Cheney Hammer Mill full of thieves!

Oh, hi. Just getting down to our yearly inventory of band equipment; a kind of rejuvenating exercise that keeps us prepped for any performance or recording opportunities that may come our way at random. Are we getting offers? Well …. not as such. in fact, big fat nothing. That phone hasn’t rung in weeks. Sure, that may be down to the fact that I unplugged it from the wall, but hell …. all that was calling us was creditors, looking for cash. Stupid creditors! They should have known better than to lend money to us. We’re just not trustworthy. (Especially that man-sized tuber. He has deep roots in the Genovese crime family. Um … actually, we’re only certain that he has deep roots – it was our assumption that they at some point touch something associated with the Genovese crime family.)

Anyway, our inventory turned up some missing items. Somebody walked off with my stomp-box phaser, for instance. If I still played a Fender Rhodes and needed a cheap organ sound, I would be using that thing. Of course, there are several missing cords and at least one mic stand. Also, our DA-88 8-track digital tape recorder apparently had its insides hollowed out and is now a mere shell of itself. If you stick a Hi-8 tape into its tape-hole, the only sound you will hear will be that of the cassette dropping uselessly to the floor plate inside the unit. You’ve heard of people breaking into houses and stealing all of the copper pipes and wires? Yeah … I think they broke into our 8-track machine. And they stole all eight tracks.

Hey! That's my jumbo country western guitar!

See, here’s the thing about living in a squat house: you’ve got zero security and absolutely no right to complain. I mean, what are we going to do … call the cops? They’ll just laugh at us, then take us down to the station where they can laugh at their own convenience. Now, I would like to think that these actions demonstrate the authorities’ well-concealed determination to house the houseless – a jail cell is, in a certain sense, a roof over your head, right? But that’s Panglossian nonsense. In any case (and I recognize that I’ve wandered a bit), every November we discover that things have gone missing, grown little legs and walked away. What can I say? We haven’t had a steady guitar player for many years, and yet stuff still continues to walk out of here. (Yeah, that was an unfair slam on guitar players. Mea culpa.)

Word to our readers: if you go to a garage sale in this area and you see deeply discounted used band equipment (including my goddamn guitar tuner), call our dumb asses.

Light on.

Okay, commence recording. The light is on, folks. No, not THAT light! That’s the freaking microwave! That just means your burrito is cooked. I mean the production light. Jesus.

Oh, hi. Yeah … we’re working on some more music, but it’s not obvious what exactly we’re working on. Is it an album? An EP? A single? Some throwaway tunes for the podcast? Anyone’s guess. All I know is that the light goes on and I start playing. When it goes out, I stop. Sometimes it flickers on and off, and that makes my job a bit harder. I see that and I drop in a lot of eighth-note rests – it can sound kind of funky if you close your eyes (and your ears, too).

We’ve made something of a habit of recording over the decades. Given that we’re not a performing band at this point, at least not in the conventional sense, recordings pretty much amount to our “performances”. But recording has been a bit of an obsession over the years, from Matt’s reel-to-reel and cassette tapes, to 4-track cassette, to recording in various studios, to acquiring an 8-track Tascam DA-88 deck, then a 16/24-track Roland VS2480 workstation, and now a Cubase system. Hey … we’re archivists. Why fight it?

Is the light on? As part of our THIS IS BIG GREEN February podcast, I included a couple of old numbers drawn from demos. One of those was digitized straight from a standard audio cassette, simply because we never owned the original media it was on – a 2500-ft reel of half-inch audio tape from 1986, probably now nothing more than cinders. The 1981 recording (Silent as a Stone) was taken from a reel-to-reel stereo dub – you can hear the tape (or my playback machine) failing at the end. That song came from a session where we recorded four songs, including one of mine and one of Matt’s. The 1986 version of “Slipping and Sliding” was recorded on an 8-track reel-to-reel machine as part of a 4-song demo; that I only have an audio cassette of.

So here we are again, toiling away on audio artifacts that someone will happen upon years from now and scratch their heads over. Which is pretty much how we find listeners. It’s a process that works on geological time, basically, like making feldspar. (Hmmmm … good idea for an album title. Feldspar … )

Technophobia.

Not running again, eh? Try knocking it upside the head again. Harder. HARDER! Oh, wait … you knocked its head off. That’s probably too hard. Oh well….

Hey, welcome to the house of Big Green – that abandoned hammer mill we call home, because all of the groups live together. Just trying to get down to recording some new material, old material … whatever! If we can just get our technology to work for five minutes. (Actually, three and a half minutes would do, since this is pop music.) Seriously, we’ve got some old gear, folks. It’s almost as old as our asses. I’m not even talking tape recorders …. I’m talking wire recorders. I’m talking those wax record cutting machines they used when John-boy was being interviewed by a radio station on The Waltons after he got swindled by the vanity press dude. (Oh, you thought I forgot, didn’t you? Mr. TV Swindler!)

Ahem. Anyhow, we really are running on three cylinders down in Big Green’s clubhouse recording studio in the basement of the Cheney Hammer Mill. The eight-track DTRS machine we used to record 2000 Years To Christmas is a paperweight. The 16/24 track hard disc workstation we used to record International House and Cowboy Scat: Songs in the Key of Rick is 17 years old and ready for that farm upstate. We’re taping together our headphones and coaxing our pre-amps not to self-destruct. It’s a sad state of affairs, to say the least. Our neighbors keep saying, do a GoFundMe campaign or something, but hell …. that would require the invention of the personal computer. Our gear tells me it’s still 1982.

It was new when I bought it.Marvin (my personal robot assistant) is probably the most sophisticated piece of technology we have at our disposal. In fact, that’s exactly what he is –  a re-purposed garbage disposal. I’m told that our mad science advisor, Mitch Macaphee, added some arms and legs and popped a refurbished Commodore 64 computer in his noggin, then it was off to the races with him. We could probably use HIM as an audio recorder almost as easily as we manage with our antiquated Roland VS-2480, but it would require some modifications, and damn it, we’re Luddites. We just flip the switch and a light goes on – the rest is magic.

So, hey … we’ll get those songs committed to .wav somehow, never fear. Just don’t ask me how they got there afterwards.

Thingmaker.

Well, there’s absolutely no doubt about it. A song is a thing. I think we can all agree on that. And I can also say, without fear of contradiction, that every song, no matter how insipid, is about some thing. That’s a no-brainer.

With that in mind, what’s the best way to make an album based on the melodramatic story arc of what can be described as a spacebound horse opera? Simple – break out the thingmaker! What is that, a hot plate, right? Anybody out there on the internets old enough to remember thingmakers? Sure … you plug the thing in, heat it up, pour goop into a mold, cook the mold on the hot plate, then chew on the plastic junk you create or electrocute yourself by pouring the cooling reservoir water on the thingmaker. Great fun.

Anyway … what we do is not that dissimilar from playing with a thingmaker. Let’s say that our overactive idiotic imaginations are the “goop”, if you will. I suppose the “mold” is the usual genres we work within, mostly rock, some bogus country, some other weird stuff we can’t define. Then of course, there’s the thingmaker itself, our superannuated recording system – a Roland VS-2480 deck we bought fifteen years ago to replace my now shipwrecked Tascam DTRS DA-88 deck. And let’s face it, that sucker is not that far removed from a thingmaker.

Great production valuesWe’ve started to use Cubase a bit over the last two years, just out of necessity, but we’re kind of locked into the thingmaker, despite the fact that it’s got a beastly 486 processor and a primitive proprietary “closed” operating system – and I do mean closed! There’s literally one way to get data out of that thing other than via analog audio outputs, and that’s through the coaxial digital outputs. There is no system that currently supports Roland’s (again) proprietary R-Bus data ports. The only other bus is SCSI, which of course is toast. The CD burner doesn’t work. The optical audio outs don’t appear to work either. Thingmaker.

Hey … that’s what Big Green is all about, right? Making something from nothing. With nothing. And for nothing. It’s what we do.