LBA Magnetic Archives Vol 1. - sample library.
Description
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LBA Magnetic Archives Volume 1.
The files in this pack are 48kHz, 32bit WAV files. They only became this after their sounds were fully conjured in the analog realm.
Recorded and Mixed fully analog by Lightning Boy Audio at LBA Studios in North Collins, New York, USA.
Acoustic Performances by Paul Raymond. Tape Performances by Mike Congilosi II.
Engineered by Mike Congilosi II. Assistant Engineer, Paul Raymond.
Mastered by none. June 2023.
Recorded live and in stereo with a pair of AKG C414B XLII microphones into a pair of Lightning Boy Audio Super Storm 500 series mic preamps and straight into an Otari MTR-12 2-track 1/4" tape machine recording. We recorded onto "Recording the Masters SM911 1/4" tape at 30IPS.
The files in this pack are 48kHz, 32bit WAV files. They only became this after their sounds were
fully conjured in the analog realm.
Recorded and Mixed fully analog by Lightning Boy Audio at LBA Studios in North Collins, New York, USA.
Acoustic Performances by Paul Raymond. Tape Performances by Mike Congilosi II.
Engineered by Mike Congilosi II. Assistant Engineer, Paul Raymond.
Mastered by none. June 2023.
Recorded live and in stereo with a pair of AKG C414B XLII microphones into a pair of Lightning
Boy Audio Super Storm 500 series mic preamps and straight into an Otari MTR-12 2-track 1/4" tape
machine recording. We recorded onto "Recording the Masters SM911 1/4" tape at 30IPS.
From tape, the signal passed through a variety of analog signal processors (outlined below) to
shape the raw sounds into more percussive, drum like sounds. The tape machine was the biggest
factor in shaping the sounds. In most cases, the sounds were slowed down to 1/2 speed, or in
the case of the kick drum, it was slowed down to about 1/15 speed manually. That is, the tape was
moved across the playback head by hand. The high hats were created by speeding the tape up to
over 36IPS. In all cases, except with the FX, an analog gate was used with a transient designer
to shape the waveforms. A stereo (SSL-style) buss compressor was used on the kick, snare and toms.
A super rare and esoteric vacuum tube powered Fairchild stereo high frequency limiter was used on
all but the FX folder. In fact the only thing the FX folder has in terms of analog processing are
the mics, preamps, and the analog tape. The tape was highly manipulated by hand for the audio in
the FX folder, which give these simple objects a sound that is genuinely intriquing.
The audio in this sample pack was initially created by human interactions with physical objects.
The objects were as follows:
-A thin sheet of alumimum (5"x7") that gets shaken.
-a BIC lighter igniting
-a small cylindrical plastic container with a plastic cap that "pops" off (4.5"L x 0.8125" Dia).
-an air nozzle connected to an air compressor.
Snare:
The snare sounds were created by recording an air compressor. Those recordings were slowed down to
15IPS and sent through the Transient Designer, Aphex 622 Gate, Fairchild 602, Elysia XFilter,
Overstayer VCA Compressor, and finally LBA's Flux Bender Passive Equalizer.
Kick:
The kicks came from a small plastic tube. The recordings were manually slowed down to roughly 2IPS
and sent through the Transient Designer, Aphex 622 Gate, Fairchild 602, Elysia XFilter, Overstayer
VCA Compressor, and LBA's Flux Bender Passive Equalizer.
Toms:
The toms were created using the same tube as the kicks. These samples were manually warped on the
tape machine to be varying pitches due to the different playback speeds. The signal chain included
the Transient Designer, Aphex 622 Gate, Fairchild 602, Elysia XFilter, Overstayer VCA Compressor,
and LBA's Flux Bender Passive Equalizer.
Hats:
All of the hihat sounds came from a lighter. The original tape recordings were sped up to 36.69IPS
and sent through the Aphex 622 Gate, Transient Designer, Elysia XFilter, Fairchild 602, and LBA's
Flux Bender Passive Equalizer.
FX:
The sound effects came from a compressed air nozzle and a sheet of aluminum. The original recordings were manually played back
forwards as well as in reverse at varying speeds.