Mentioned in this May 2018 *Sound on Sound* interview. > Born in Queens, New York in 1963 to Irish parents who returned to Dublin when he was 10, Kevin Shields first picked up a guitar in 1980 and began recording at home two years later, using a Yamaha CS-5 synth and Tascam 244 Portastudio. > “There were only a handful of them around in Ireland,” he says of the latter. “It ran at high speed and it had the two parametric EQs covering the whole frequency range, which was kind of something at the time. My approach was as much about using the tape machine and the synth as the guitar. Nothing was favoured at that point. I appeared to be a guitar player years later. But really, from the start, I was coming from a kind of post-punk-influenced era where it was quite normal for people to do anything. It was quite an experimental period. The idea that you couldn’t do anything didn’t occur to me.”more
Sean Booth talks about the first gear he and Rob Brown used in this November 1997 interview with Sound On Sound magazine. "The first stuff we had was a [Roland TR] 606, a [Casio] SK1 and SK5, then a Boss delay unit. Then we got our [Roland MC] 202, a Tascam 244 4-track and a Juno 106. It's grown so slowly that we're totally au fait with it all. But you can't forget, especially with the amount of software that we've got now, that it's very easy to get into a specific way of working and to forget what it's like to use an analogue synth, to have to deal with 40 controllers at once, for instance."more
Documented in this page from the website Tom Waits Library. > BF (1987): "Likening the sterile confines of the studio to an emergency ward, Waits seems intent on performing some very unorthodox operations. Take "Innocent When You Dream," which appears in two disguises on *Frank's Wild Years*. The "barroom version" puts across the melancholy melody (reminiscent of a mournful Irish drinking song) by way of pump organ, upright bass, violin and piano. A second version closes out side two, stripped down and scratched up enough to inspire visions of an ancient Victrola. Says Waits: "The '78 version' of that was originally recorded at home on a little cassette player ["the Tascam 244, the one with the clamshell holster"]. I sang into a seven-dollar microphone and saved the tape. Then I transferred that to 24-track and overdubbed Larry Taylor on upright, and then we mastered that. Texture is real important to me; it's like attaining grain or putting it a little out of focus. I don't like cleanliness. I like surface noise. It kind of becomes the glue of what you're doing sometimes."(Source: "Better Waits Than Ever" Music & Sound Output: Bill Forman. Vol. 7, No. 11. October, 1987) > BF (1987): "But don't expect '78 versions' of any of these new songs, for Waits' Tascarn four-track is gone, clamshell holster and all. "Stolen in New York," he shakes his head, suppressing a smile. "That's why I left - they beat me up." (Source: "Better Waits Than Ever" Music & Sound Output: Bill Forman. Vol. 7, No. 11. October, 1987)more
"Oh hell yeah. Come to daddy. ... I sat for hours, as a wee 14yr old lad, learning the art of multitrack recording on this thing. Made some really damn good sounding jams on it. Matter of fact, I'm Doing an entire record on it when I get it." Butch Walker talking about his Tascam 244 via Facebookmore
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