2006/07/27, 12:27:30, UTC

 Tijuana Taxi

Composed by Ervan Coleman. Analogue synth version transcribed by Henry J. Walmsley. Soundstage positions and track details in approximate order of recording. Trumpet 1_1: dry -20, reverb acw panning via auto rotate approx 1Hz. Trumpet 1_2: dry +15 ditto. Trumpet 2_1: dry +15 reverb as above. Trumpet 2_2: dry -15 ditto. Bass Guitar: dry +45, reverb -135 quite subtle. Xylophone 1: dry -60, reverb -120. Xylophone 2: dry -60, reverb -120. Bass Drum: dry +60 SuperVerb(tm) +120. Cymbal: ditto with reverb on tank B. Side Snare: dry +75, reverb +105. Maracas: dry +75, reverb -105. Plucked Guitar : dry -45, reverb -135. Trombone 1: dry +85, reverb -105. Trombone 2: dry +105, reverb -85. I decided that the main trumpet parts needed a bounce with more reverb on and so I made separate new tracks with reverb on. Trumpet 1_1 SuperVerb +150. Trumpet 1_2 SuperVerb -150. Trumpet 2_1 Super_Verb +150. Trumpet 2_2 Super_Verb -150. Also similar for the Xylophone. Xylophone 1 and 2 reverb parts at -60. Audio Samples - The Interesting Bit. Never wanting to be accused of being too studio bound and just working a fader to create a pass-poor panning effect, I decided to do some authentic drivebys in the trusty Peugeot 205 recorded with the cheap soundfield. This was duly done, having checked out the frequency of the horn beforehand and calculating the required speed to drive at such that the resulting Doppler shift would give us the first two main notes at the correct pitch. So, far too early one morning with the soundfield mic element Blu-Tacked into the top of a borrowed traffic cone, our hardy recording engineer went out to a hopefully quiet location near Farnborough to dump the DAT recorder and mic box out of the inclement drizzle under said cone and to drive past it like a loon with horn sounding several times at exactly 69mph in order to get a decent 'take'. This he did successfully and disappeared off quick, as there was more traffic around at 05:30 than expected. Fortunately while recording these takes a couple of cars and a motorbike drove past which also finds a place at the end of the tune. The initial drive away from positioning the mic is at the start of the tune. The mic was positioned underneath a concrete bridge which gives a nice natural reverb. A bit more UHJ recording on DAT inside the car the next day to get door effects and static horn sounds finished off the real life Ambisonic sound grabs that were needed to take the all-electronic sound curse off the tune. This version of Tijuana Taxi is one of the pieces on my CD-R Turned-On Tijuana which is available in the USA from http://www.electro-music.com/catalog/ or directly from myself at this address: http://homepage.ntlworld.com/henry01/ambitunes/ambitunes_records.htm
  Map    Rushmoor, England, United Kingdom

Source type: Hybrid
Ambisonic order: H (3 ch) 1st order horizontal
Recording device: stereo DAT, synth, Terratec 8X8
Microphone name: cheap soundfield
Array type: tetrahedral
Capsule type: Panasonic $2
Calibration method: thrown together

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