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Comment by TheOtherHobbes | Hacker News Reader

Half of wow and flutter. The tape speed wasn't perfectly constant, so the pitch wobbled.

Wow was slow speed variations (under 4Hz). Flutter was quicker warbles.

Both were caused mechanically. The rubber wheel - pinch roller - that moved the tape might not be perfectly circular, the motor that pulled the reels might be uneven, and the tape case sometimes pressed on the tape reels causing variable friction.

Analog media really were a bit crap. I get the creative distortion idea, but even so - ewww. I'm so happy these kinds of imperfections are optional now, and not baked into music distribution systems as an expected flaw.

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> Analog media really were a bit crap. I get the creative distortion idea, but even so - ewww.

On digital music production some randomisation (sometimes called swing in sequencers) is often added so the notes aren't played exactly at the right time.

Perfection often sounds a bit dull the same way seeing a perfectly symmetrical human face feels weird.

You might be confusing swing with humanization.

Off topic, but only a couple of years ago the 3d printer community re-discovered these same kinds of flaws in the extruder gears that result in visible ripples in prints. When you put a gear on a stepper motor, and set it with a set screw, you’re pretty much always off center slightly.

> I'm so happy these kinds of imperfections are optional now, and not baked into music distribution systems as an expected flaw.

99.9% of the stuff on the music distribution systems we have now is lossily compressed with perceptual coding. That introduces a shitload more artifacts than any analogue wobble.

(I wonder if people 50 years from now will have special algorithms to introduce that coveted "authentic mp3 artifact vibe of the vintage 2010's".)

If anyone wants a natural example of what tape can sound like, here's an interesting album on Spotify: Alice Atieno by Collela Mazee – https://open.spotify.com/album/6j72tDGcz97abyKDOP3aWp

Kenyan benga music from the early '80s or so. It's got every type of tape artifact. It's horrible, haha. There are even tracks where the tape head seems to be picking up the other side of the cassette in reverse.

It's not supposed to sound like that. Just a result of stewardship and rightsholders and incentives. Someone somewhere has a cassette tape and digitizes it. And uploads it to Spotify. Then it's forever.

(Frankly, I think it's gorgeous. The combination of the music and the recording is accidentally something really special. Laid-back but gently enthusiastic and warm 4/4 music, bright bur melancholy. Sounds like the Mega-Man 1 soundtrack played by a live band? And a really, really good band. And then it's all tragically messed up by the gears of history. Fluttering, swaying underwater. And… it's all so pretentious when I type it out… but it just… there's something about it. It's pretty great music for programming, haha.)

I wouldn't call the pro reel-to-reels crap. The imperfections were barely noticeable. Besides, there were other pros to the analogue days, like records having their actual own sound with human imperfections in-tact (unless you had a tonne of money and could afford to spend hours slicing tape). I despise how perfect and same-y everything sounds over the past 20 years. Of course I understand that this is all very subjective, but there just isn't as much access to more raw sounding records as, even very talented musicians who are probably capable of getting great takes which still quantize everything.

But ya ya, old man yells at clouds, I know.

I still record to tape, it's a lot of fun (cassette tape)! There are a bunch of problems to solve that take away from "just being creative" but I don't mind it. Part of that is that it's a forcing factor to improve musicianship because punching in on those consumer four-track machines doesn't really work (even though they have the capability).

> Analog media really were a bit crap.

True but I find it strange how many of my favourite recording were made with this "crap" analogue equipment (well before I was born) and how many modern "perfect" recording sound terrible to me.

To me the sound of even subtle autotune is "eww". I can't stand the over compressed, "sugary" sound of current pop music. It's just not for me.

Perfection is Herbie Hancock's Head Hunters where his analogue synth goes out of tune and he brings it back without loosing the groove. The recording is better for that detail IMHO.

I never listen to Nevermind or Collected Ambient Works 1 and think, that would be better if it was recorded with a DAW.

Horses for courses I guess.

Over compression is horrible, but unrelated to this.

I grew up with cassettes, but was happy to switch to CDs when I was around 18. The better the recording and playback, the closer it is to what the artist intended, and to how it would sound if the artist was playing right in front of you (if they don't use autotune or compression).

It's a fact that people get accustomed to the distortions in music playback, in the old days it was the noise of vinyl, which got better later, then cassettes, then heavily compressed MP3s. People should aim for the best possible audio quality and get rid of their preference for distortion.

> the closer it is to what the artist intended, and to how it would sound if the artist was playing right in front of you

This doesn't really bear any relationship to what happens in recording studios.

Almost no "recordings" are a recreation of a single live event. Producers choose microphones, consoles, compressors, limiters, equalisers and FX because of the way they colour sound.

It's a completely artistic set of choices.

When someone like Dave Grohl chooses a studio with a Neve and a 2" multitrack he's not doing it because he wants more fidelity. Again, recording to a DAW would not necessarily improve the end product.

You mention over compression of MP3s, well people have also used bit crushing as an effect for a long time too.

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