Reel to real

In addition to considering the fragmentation of media and listening by incorporating disk player into the sound scape I’m also considering the possibility of real time overdub recording. I imagine it like this: a participant can pick up the tape machine and record speech or record they’re mix of the sound scape as they walk… the next person could record overtop (like the original multitrack) and the first recording would recede. in the end you would have one multi layered recording which maps out the sound scape in it’s acoustic environment as well as the experience of the viewer and which is controlled by the viewer not the artist.
this has technical difficulties… it is quiet hard to do this without a multitrack and I’m not sure it is possible on a handheld tape recorder. It also lead me to question my interest in analog (is it purely romanticism? is that enough?) but in the end of an investigation I don’t think this kind of recording would work on a digital software. It could be a project for another piece… i am perhaps trying to squeeze everything into one. this kind of recording interests me.
I would also like to experiment with physically distorting CD and seeing if the CD player will read it… how does that work? I know people play around with film in that way but I don’t know how the CD works.
The Digital Divide:
a work mentioned in the essay The Digital Divide
Disarming The Erasing Head For Overdubbing

Has anybody disarmed the erasing head on an RTR as a means to overdub additional takes without resorting to track bouncing and generation loss from sub mixing.

In the digital domain I frequently just layer things like doubling or tripling voices without consigning each to a separate track. Its easy to do when in the groove.

Wikipedia:
I’m considering incorporating a switch that will disarm the erasing head on a quad RTR while doing live overdub layering.

Reel-to-reel/open-reel audio tape recording is the form of magnetic tape audio recording in which the recording medium is held on a reel, rather than being securely contained within a cassette. In use, the supply reel or feed reelcontaining the tape is mounted on a spindle; the end of the tape is manually pulled out of the reel, threaded through mechanical guides and a tape head assembly, and attached by friction to the hub of a second, initially empty takeup reel.

Reel-to-reel systems use a tape that is 14 inches (6.35 mm) in width and normally moves at 7.5 or 3.75 inches (19 or 9.5 cm) per second. This compares to 0.15 inches (3.81 mm) wide and 1.875 inches (4.75 cm) per second for a cassette (although some open reel machines support other speeds as per section below). By writing out the same audio signal across more tape, reel-to-reel systems offer much higher fidelity, at the cost of much larger tapes. In spite of the larger tapes, less convenient use and generally higher cost media, reel-to-reel systems remained popular in audiophile settings into the 1980s.

Reel-to-reel tape was also used in early tape drives for data storage on mainframe computers, video tape recorder(VTR) machines, and high quality analog audio recorders, which have been in use from the early 1940s, up until the present. StuderStellavox and Denon still produced reel to reel tape recorders in the 1990s, but currently only Nagra,[1]Otari,[2] and Mechlabor[3] continue to manufacture analog reel-to-reel recorders.

recorded on reel to reel, all the parts played backwards except the guitar solo is played forward. a very simple method to make a song experimental. somehow music is more musical when it is less accessible, when it requires listening, when it challenges you to listen in depth. listening is an ever expanding state. the more you listen the more there is to be discovered. deep listening unlocks music.

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Reel to real

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