Dude, super cool and sounds fantastic. I have not tried this yet. HoboRec has though! Great video too. Some have commented here that I have done this in a video, but I have not. This is a different effect. The trickiest part to this is getting the sound into the hose. The garden hose could be $10 but the gear it takes to play a sound into it could add up quickly if using the gear shown here. I'd imagine you could use a funnel and use a 4 or 6 inch speaker, and that way you don't have to use the Talk Box.
I wonder if you can get interesting tonal variations using larger gauge hoses and/or metal hoses. Just noticed some stainless steel garden hoses on amazon.
I'd have loved to hear some feedback going through this thing. Instant space weirdness. And what if the hoses were moving somehow? It could get cool really fast with the phase cancellation and whatnot.
How about just inserting a regular digital delay at 100% wet right before this on a send and keeping the hose reasonably short. Would allow you to easily dial in the correct length. Although, obviously, the coloring of the sound would be less pronounced though a shorter hose. But I feel that might be desired in a lot of cases.
metal tubing or pipe would work. with coils you would have to use a piezo contact pickup. that could sound interesting, probably really wild uncontrolled sound. jangly.
We thought speaking tubes might be a problem if they weren't brass like on old ships. PVC worked great when we did a three story house. Diameter might make a difference. My first try is going to be a speaker in a 8" by twenty foot pipe. 17 milliseconds will be a tight slap but I hope to get full tone.
The 1950s company that did this originally, created it for fake stereo. They used metal tubing bent and it has a smooth and better Fidelity sound to it.
watch some of my vids, well listen to my vids lol i promise sounds that are recorded as good as you will ever hear, you can come tell me in a twat if im wrong
And to think I went and miked up my vox in my bathroom 5 feet away to get a nice slap back wash when I should have sang through a hose instead...obviously I've failed my hipster obtuse creativity test
Bullshit to me, if you care about the sound it makes just use a shorter hose and then dial in how much delay you want by moving around the delay track... I can barely see a point in this when done live, in studio it has no real purpose to achieve that time displacement in that way because the time displacemant has no inherent sound! If you care about the timbre it gives, fine, but no point in thinking about feets of cable to achieve a particular ms value, just find the sound you like by whatever means you like and then displace the track in the DAW.
Man for the time and expense of the hose, talk box, extra preamp and all the other gear used, I'm hoping I'm getting more out of it than this. It sounds great on her vocal (and really cool production BTW), however a slapback is so simple to dial up with any delay plugin...whatever "uniqueness" you think you're getting is really going to be forgotten by the time the mix engineer gets this.
I've got one of these permanently set up in my studio, so it is as easy to pull up as a plugin, but instead it's in my patch bay of my mixer. I think it's a bit funkier then a plugin or even a analog slap pedal, it has some nice inconsistencies. I use a solid state amp that is permanently on this, and so not an expensive tube amp.
"whatever "uniqueness" you think you're getting is really going to be forgotten by the time the mix engineer gets this." You could literally say this about almost every piece of gear in the signal chain. I'm guessing you have more than one delay plug-in? Why? Do they really sound THAT different? Do they really sound THAT unique? This is another tool at your disposal, and it's going to have a unique flavor from the get-go without having to do anything to it.
I actually ask myself that question every time I get an urge to buy new gear or a plugin. We're won over by sales pitches with great sounding demos, but often we could pull off the same thing with what we have already. But the cost of entry to this effect here is way higher than most plugins, especially when looking at all the fiddling you'll need to do to get it working and sounding right.
@@chadjohnson-authormusician8072 I just use it because I like it, and I get clients in my studio that booked me because I'm know for having that "uniqueness". So yeah, everybody should do whatever they want and whatever works for them.
This is a Sylvia Massy technique that Creative Soundlab ripped off (uncredited) and now you're doing it too. This isn't something you thought of or something "in the ether". This is very specifically one of her "adventure recording" techniques. At least give credit where credit is due. I love Reverb and even this series, but passing off someone else's work as your own is about the least "experimental" thing I can think of.
Dude.... no. Sylvia Massy did not come up with this technique, not by a long shot. It was originally done by Bill Putnam and Duane Cooper, which they made commercially available in 1970, as the "Cooper Time Cube". Sylvia might have been 3 years old at the time. This video credits the correct people/product with the idea.
San Francisco - Ryan took the effort to tell he got inspired by Sylvia in his video, which for me led to buying her book. That's what giving credit to someone's idea can do.
There's always someone that did it before. Eddie Van Halen invented tapping! "No he didn't ... Steve Hackett did in 1971!" "No he didn't! Harvey Mandel did it in 1968!" "So what ... Barney Kessel did it before all those guys!" "Oh yeah? Well Roy Smeck was tapping on his ukulele in 1932!" etc., etc., etc. And the Cooper Time Cube did this decades before Massy did.
One of the main points was to get a unique sound. You can't do that as easily if you're using a plug-in that millions of other people use. That's one of the main things that gave studios their own unique sound back in the 60s and 70s; they used custom-made reverb chambers, custom-made equipment, etc. And it's a huge reason why you can hear the difference between a record produced by Stax compared to one produced by Atlantic, etc. Aside from that, though ... what the hell? If it doesn't work for you, then move on. If it works for someone else, then they should use it.
I think you're all missing the point, and I love all those old recordings, my personal studio is fully equipped with classic class a mic pre's comps etc. But just remember the gear at Stax was state of the art when they where recording those records, I've also had the privilege of recording at Abbey Road in studio 2, Guess what? All state of the art gear in the control room, Neve VR 77 with flying faders, studio one, 84 input SSL with two 24 channel side cars, and yes a lot of the old gear is still available upon request. My point is it is not the gear but the creativity of the person using it, so it's very possible to get the same results using unique and custom combinations of plug ins right in the box that will sound just as unique as the big hose experiment.
Awesome to see more like this on UA-cam. Creative recording is so much more fun than ITB mix tutorials.
Dude, super cool and sounds fantastic. I have not tried this yet. HoboRec has though! Great video too. Some have commented here that I have done this in a video, but I have not. This is a different effect. The trickiest part to this is getting the sound into the hose. The garden hose could be $10 but the gear it takes to play a sound into it could add up quickly if using the gear shown here. I'd imagine you could use a funnel and use a 4 or 6 inch speaker, and that way you don't have to use the Talk Box.
Creative Sound Lab, thanks! You make things easier as usual 👍👍👍
You can use a cheap driver for a horn and tubing from the hardware store instead of a talk box. Parts Express has under $15 dollar drivers.
Hey Ryan! Thanks for the shout out!
The problem, Ryan, is unlike you, they didn't credit Sylvia Massy.
@@samfrancisco6108 Again ... they credited the Cooper Time Cube, which predates Mrs. Massy's use by over 15 years.
5:01 Singers head: ➡⬅➡⬅➡⬅➡➡
Incredible mix, song and SINGER!
I love this series!
Awesome singer and cool song/production!
Great tip and great voice.
Singer is FIRE!!
I wonder if you can get interesting tonal variations using larger gauge hoses and/or metal hoses. Just noticed some stainless steel garden hoses on amazon.
I'd have loved to hear some feedback going through this thing. Instant space weirdness. And what if the hoses were moving somehow? It could get cool really fast with the phase cancellation and whatnot.
Damn that gear is amazing
Why does her voice in the begining sound like jan from the office
YAY, that's actually really cool!!!!
Sylvia Massey talked about this at NAMM 2018... pretty cool to see/hear it in use.
© Ryan @ Creative Sound Labs
Well, he says that he has it from Sylvia Massy, so nope.
@sylvia massy
Very cool!
How about just inserting a regular digital delay at 100% wet right before this on a send and keeping the hose reasonably short. Would allow you to easily dial in the correct length. Although, obviously, the coloring of the sound would be less pronounced though a shorter hose. But I feel that might be desired in a lot of cases.
Would metal coils work also? I assume higher frequencies would transfer more easily. Interesting, keep this series going!
metal tubing or pipe would work. with coils you would have to use a piezo contact pickup. that could sound interesting, probably really wild uncontrolled sound. jangly.
We thought speaking tubes might be a problem if they weren't brass like on old ships. PVC worked great when we did a three story house. Diameter might make a difference. My first try is going to be a speaker in a 8" by twenty foot pipe. 17 milliseconds will be a tight slap but I hope to get full tone.
The 1950s company that did this originally, created it for fake stereo. They used metal tubing bent and it has a smooth and better Fidelity sound to it.
I need to try that, just because. Thank you.
underrated video for sure
Check out Creative Sound Labs' films about garden hose reverbs. There are at least a few
It's important to have the performer pass a golf ball through the garden hose before recording to make sure the path is clear.
You guys should get Nicolas Collins to do some experimental sound videos.
This video makes me realize how little I know about recording
Me too, in fact a lot of thing, is/was made like this experimetations and/or accident
watch some of my vids, well listen to my vids lol
i promise sounds that are recorded as good as you will ever hear,
you can come tell me in a twat if im wrong
I read somewhere Chet Atkins did that on a few song
That sounds ridiculously amazing! Thx for sharing.
Sylvia Massey!
Cooper Time Cube! (1971)
And to think I went and miked up my vox in my bathroom 5 feet away to get a nice slap back wash when I should have sang through a hose instead...obviously I've failed my hipster obtuse creativity test
1.13 feet per millisecond of delay
imagine if you used a flanger or the garden hose mic
...now send 25 % of the delayed signal back though from an aux 😎
Bullshit to me, if you care about the sound it makes just use a shorter hose and then dial in how much delay you want by moving around the delay track... I can barely see a point in this when done live, in studio it has no real purpose to achieve that time displacement in that way because the time displacemant has no inherent sound! If you care about the timbre it gives, fine, but no point in thinking about feets of cable to achieve a particular ms value, just find the sound you like by whatever means you like and then displace the track in the DAW.
They make delay and reverb pedals now...
lol
DIY
yeah indeed, maybe the recording technique is experimental but the sounds it creates aren't.
this is false. they DO NOT make delay and reverb pedals now...
Or you can get a free IR of a garden hose to create this effect. ;)
Man, just imagine when technology has caught up to a point where you could do something like this but in a computer :)
you look exactly like Ringo Starr
Woah...
How dare you make this without even mentioning Sylvia Massey!
Maybe because they credited the Cooper Time Cube, which predates Sylvia Massy by a good bit. (It's from 1971.) There's always a bigger fish.
Man for the time and expense of the hose, talk box, extra preamp and all the other gear used, I'm hoping I'm getting more out of it than this. It sounds great on her vocal (and really cool production BTW), however a slapback is so simple to dial up with any delay plugin...whatever "uniqueness" you think you're getting is really going to be forgotten by the time the mix engineer gets this.
You’re no fun
I've got one of these permanently set up in my studio, so it is as easy to pull up as a plugin, but instead it's in my patch bay of my mixer. I think it's a bit funkier then a plugin or even a analog slap pedal, it has some nice inconsistencies.
I use a solid state amp that is permanently on this, and so not an expensive tube amp.
"whatever "uniqueness" you think you're getting is really going to be forgotten by the time the mix engineer gets this."
You could literally say this about almost every piece of gear in the signal chain. I'm guessing you have more than one delay plug-in? Why? Do they really sound THAT different? Do they really sound THAT unique? This is another tool at your disposal, and it's going to have a unique flavor from the get-go without having to do anything to it.
I actually ask myself that question every time I get an urge to buy new gear or a plugin. We're won over by sales pitches with great sounding demos, but often we could pull off the same thing with what we have already. But the cost of entry to this effect here is way higher than most plugins, especially when looking at all the fiddling you'll need to do to get it working and sounding right.
@@chadjohnson-authormusician8072 I just use it because I like it, and I get clients in my studio that booked me because I'm know for having that "uniqueness". So yeah, everybody should do whatever they want and whatever works for them.
Keep talking in the video as if the garden hose is all you need, don't know tons of people rocking a heil talk box.
trina's son?
This is a Sylvia Massy technique that Creative Soundlab ripped off (uncredited) and now you're doing it too. This isn't something you thought of or something "in the ether". This is very specifically one of her "adventure recording" techniques. At least give credit where credit is due. I love Reverb and even this series, but passing off someone else's work as your own is about the least "experimental" thing I can think of.
I confirmed that Creative Sound Lab did credit Sylvia Massy. So it's really only this video that's the problem.
The technique is from the Cooper Time Cube, which they gave credit to.
Dude.... no. Sylvia Massy did not come up with this technique, not by a long shot. It was originally done by Bill Putnam and Duane Cooper, which they made commercially available in 1970, as the "Cooper Time Cube". Sylvia might have been 3 years old at the time. This video credits the correct people/product with the idea.
"cheap garden hose" whats the point if you need to spend tens of thousands on gear to make it work
Not really, you just need any amp, a hose and a talkbox
Does not sound viable, I'll keep my yamaha e1005
Where her eye brows?
You guys copied this concept from Creative Soundlab? If so, give the guy some credit!
Creative Soundlab ripped it off from Sylvia Massy. Look it up.
+toefes I went straight to the comments wondering if someone else said this.
Well the Cooper Time Cube pretty much did this ages ago. They just made a product out of it. Massey has likely never had anything completely original.
San Francisco - Ryan took the effort to tell he got inspired by Sylvia in his video, which for me led to buying her book. That's what giving credit to someone's idea can do.
There's always someone that did it before. Eddie Van Halen invented tapping! "No he didn't ... Steve Hackett did in 1971!" "No he didn't! Harvey Mandel did it in 1968!" "So what ... Barney Kessel did it before all those guys!" "Oh yeah? Well Roy Smeck was tapping on his ukulele in 1932!" etc., etc., etc. And the Cooper Time Cube did this decades before Massy did.
For the love of God just use a plug-in. Talk about using a 100 foot crane to scratch your back.
I think the point of the video went way over your head :)
Yeah, I'm pretty sure it didn't
One of the main points was to get a unique sound. You can't do that as easily if you're using a plug-in that millions of other people use. That's one of the main things that gave studios their own unique sound back in the 60s and 70s; they used custom-made reverb chambers, custom-made equipment, etc. And it's a huge reason why you can hear the difference between a record produced by Stax compared to one produced by Atlantic, etc.
Aside from that, though ... what the hell? If it doesn't work for you, then move on. If it works for someone else, then they should use it.
I think you're all missing the point, and I love all those old recordings, my personal studio is fully equipped with classic class a mic pre's comps etc. But just remember the gear at Stax was state of the art when they where recording those records, I've also had the privilege of recording at Abbey Road in studio 2, Guess what? All state of the art gear in the control room, Neve VR 77 with flying faders, studio one, 84 input SSL with two 24 channel side cars, and yes a lot of the old gear is still available upon request. My point is it is not the gear but the creativity of the person using it, so it's very possible to get the same results using unique and custom combinations of plug ins right in the box that will sound just as unique as the big hose experiment.
it’s just a bit of fun dude, chill