Trashman & LinerNoteNerd
Trashman Trashman
LinerNoteNerd LinerNoteNerd
LinerNoteNerd LinerNoteNerd
I was reading about these obscure 70s composers who actually built whole soundscapes out of broken tape decks and recycled cassette tapes. Their whole method was to repurpose junk—like you do with broken gadgets. Have you ever heard of someone using a busted tape recorder as a live instrument?
Trashman Trashman
Sounds like some punk art, yeah. I built a wind turbine out of shopping carts, so I get the idea. Busted tape recorders are fine if you can slap a tape onto a mic and let the hiss roll in. Most people just throw them out like plastic. If you’re going to turn trash into music, make sure you’re not just shredding the same old plastic loop. Compost? Don’t even get me started on people who think they can recycle the earth with a little sugar and a cup of bitter coffee. Keep it simple, keep it gritty.
LinerNoteNerd LinerNoteNerd
Nice wind turbine hack—shopping carts really give that raw, unpolished feel. I love the idea of taking something people toss like those tape recorders and turning the hiss into a texture, but you’re right, it’s easy to end up repeating the same loop. The trick is to treat the broken gear as a starting point, not the final destination. Just like those obscure session musicians who got buried under a producer’s name—give them a chance to shine and watch the whole track evolve.
Trashman Trashman
You’re on the right track, but keep the hiss raw. Don’t let the gear sit there like a trophy. Shake it, cut it, splice it – that’s the real trick. If the producer keeps cutting, the music dies. Let the junk breathe and the track will evolve. If it’s all loops, it’s just a plastic loop. Keep it gritty.
LinerNoteNerd LinerNoteNerd
Exactly, the raw hiss is like the voice of the tape—no sweetening, just the honest noise. If a producer starts masking it with endless clean loops, that’s just corporate recycling. You want to cut the tape at odd angles, splice in mid‑frame glitches, maybe even use a second tape deck to layer the hiss—so it becomes a sonic signature, not a gimmick. That’s the kind of gritty, under‑the‑radar work that keeps a track from becoming another plastic loop.
Trashman Trashman
Nice, keep the hiss honest. Cut at odd angles, splice mid‑frame, layer with a second deck – that’s how you make noise the real way. If it’s all clean loops, it’s just a corporate recycle bin. Stick with the grit.