This is the final result of the work-in-progress video I posted a day or so ago. The name is based on the BeatBuddy track that was used, “Swung Funk.” I changed the letters around just to make it unique.
This is a more interesting video for one of my better songs that I wrote and recorded in 2024. The song features Two analog synth sequencers “covalently bonded” (via midi) and living in perfect symbiosis with a BeatBuddy funk drum track and a Fender Strat drenched in an Oceans 12 dual reverb. Everything was recorded direct into a Behringer mixer.
Another instrumental song idea based on a sequenced Moog Spectravox and Moog Mavis with a bass lead provided by the Minimoog. I was testing the preset from the manual called, “Sawyer Bass.” Notice the Overload lamp coming on as the output signal is being routed back in via the External Input. It is internally wired that way when the Ext. Input rocker switch is on and there is nothing plugged into the Ext. Input jack. It is a form of overdrive distortion that folks discovered back in the day and Moog added the feature to the newer Model D’s.
A very chill piece, considering it has a Samba drum track. It features a Martin DC Aura on rhythm with a Moog Mavis analog synth providing an ethereal lead. A Rickenbacker 4003 provides the bass. Composed and recorded in one evening. Drums by BeatBuddy.
The title of this song comes from the fact that I used a tone on my Les Paul that was reminiscent of something between “American Woman” and “Outside Woman Blues.” Impromptu was added because, well, it isn’t a blues song and the leads were pretty much ad-lib.
A “feel good” instrumental with a driving bass line and several layers of Stratocaster, including a simulated vibraphone track. What’s not to like?
Can somebody please explain how this could happen? I could understand them accidentally putting two side one stamps in the press, but if they did that, the track bands should both be correct for side 1’s songs. But side 2 has has the correct track bands for side 2’s songs. It has the correct label for side 2 – but the audio content is from side 1! How did this happen, and is it worth anything? Feel free to comment (comments are disabled here – view video on YouTube to comment).
Here’s my theory: Columbia Records created a faulty lacquer for side 2 (when the actual audio was being cut into the lacquer by the cutting lathe). What gets me are the track bands. Google says they are manually created by the engineer to create the space between songs. The lacquer cutting is done in real-time as the audio is sent through the cutting amplifiers. Supposedly, the engineer listens for the end of a song a manually moves the cutting stylus over a bit to create the space between the songs. I don’t know…maybe Columbia Records had automated the creation of the track bands because they appear to be correct for the audio that should have been on side 2. In any case, the track bands on side 2 have audio cut into what should be the silent section between songs.
In the coin collecting field, such a manufacturing foul up of this magnitude would make the coins extremely valuable. I’m just wondering if the same is true in the vinyl collecting field. This is definitely a failure in the manufacturing and quality control processes at Columbia Records in the 70s. I wonder how many other ELP fans received one of these faulty records?
