Many people have modified tube-based reel to reel tape recorders from the 50's and 60's into microphone preamps and guitar amps. (You can see a cameo by one of these Akai/Roberts decks in Apocalypse Now -- not sure which model that is.) Rod Childers at Beyond Sanity Productions provided exceptional instructions (his website appears to be dead now -- this site now hosts most/all of the info/files that were on the Beyond Sanity site). I did this for a Roberts 720A and an Akai M7. I made this page for anyone trying the mods on the same models, and to provide information on the subject in general, since the M7 is commonly modded, and the 720A is basically identical to the other commonly-modded models.
I offer a range of audio services, including recording, editing, restoration, mixing, mastering, production, composition, accompaniment, and session work; I'm available for hire for music production, theater, web, or other arenas. Below are some examples of music I have created. Feel free to contact me for more information. You can also visit my sing-songer page.
This is a quick montage of seven different clips demonstrating a range of styles: some atmospheric, some bouncy, some strange. The assortment includes mostly all-acoustic instrumentations. For more computery/dancey stuff, see Move to the City Mix and the Theater section.
Frost Flowers. The album features a lot of short tunes that could be used in a variety of contexts.A tune from a recent album of instrumental originals called
Frost Flowers. This one is a dreamy, cinematic, sad song.Another tune from the recent album of instrumental originals called
Noble Chiropractic contracted me to create a song that fit a specific set of precisely-timed cues in an associated video. A good example of something that stock music from the internet won't do for you. This rock flavored song starts slow and crescendos significantly.
soap-making tutorials on YouTube. This piece was designed to be catchy without being too obtrusive. Every minute or two there is a gently change of feel that helps extend the piece without being too repetitive.Brambleberry Soap needed a new piece of background music for their extensive offering of
A piece created as a demo for a TV show theme. Short and sweet. Mandolin, guitar, flutes, keyboard, bass, and cajón. The intention was to get to the point quickly, to maintain a relatively high energy, and to be catchy. I've used this piece for a lot of things... never hurts to have a 1:00 piece of music handy.
This frenetic jam starts off with the moan of a distant circular saw and launches into a tussle between guitar and whistle. No one has used this underneath anything yet, but I'd sure like to see it when they do.
The Trucks. Besides the original Trucks vocal track, it adds a bass line, beat, and a set of custom samples recorded by hitting everything in the kitchen with chopsticks. Despite the use of chopsticks, it did not win the remix contest. There's always next time.This is a remix of a song by
The idea here was to make a track as absolutely boring as possible with the goal of putting someone to sleep. No sharp edges, no interesting changes. Just smoothed-out, unabashed muzak. Sorry to say it didn't work for me, but maybe your experience will be different. Fades in slow, naturally.
comedy duo needed a few pieces of music for one of their shows. For the first two pieces in this montage, imagine a repetitive, soul-draining journey back and forth through space. The last one is the music that a burnt-out space-crane-stealing squatter rocks out to. Maybe you had to be there.A
Another piece for the same performance. This was the background after-show music. These kinds of tracks are easy to mix down to 20-minute long loops, to fill in that dead air when some technical glitch means a far longer transition than planned.
This piece was used as a demo for the pilot episode of a TV show. They didn't have the budget to use the original pop song that they choreographed a dance to (and used when filming), so they needed a custom-made song that matched the tempo and basic changes in feel without using any of the original music.
This was the transition music at the end of the space-crane sketch. There were actually three versions of one of the Space themes, each getting progressively faster, more urgent, and sinister.
I am available for work as a live mixing engineer or for on-site live recordings.
Leslie Helpert, with Cochran (McMillan?) on percussion, this was recorded live in a living room. Mic placement was done with sensitivity to aesthetic and psychic impact. Despite the more distant spacing, the result is clear, intimate, and balanced.Written and performed by
Gregory Alan Isakov, with Ramaya Soskin. This was recorded live at a house show. The audio underneath this unassuming YouTube video is mixed and mastered. I also did the live sound for this show. (Video by someone else.) Keep in mind that YouTube thrashes audio when videos are uploaded.Written and performed by
Sean Hayes, with James Riotto and Ezra Lipp. This was also recorded live at a house show that I also ran live sound for. Equipment was very limited for this recording (e.g. one mic for the drums), but it turned out well. I like the grainy quality of the super cheap video camera.Written and performed by