The AE-240 Tape Library

Welcome to the analog time travel machine! 

Please follow these very basic class rules: 

  1. e-mail eddie after EVERY class.  Your feedback is impoortant to me no matter how closely we worked together during class.
  2. In the SUBJECT window, please put the specific class details, such as, 'week-1a, week-1b.'
  3. All ya have to do is write in the body of the email. Anything else is a bonus - If you want to show off your blog, that's cool, but please cut and paste the text into the body of each email. 
  4. You can send mp3s via email - anything larger goes to the cloud.
  5. I am happy to listen to and provide feedback for stuff you are doing outside of class.
You can listen to all of our analog recordings here.

The possibility of 'overdubbing' preceded analog tape - Les Paul bounced from disc-to-disc - but analog tape expanded the sonic possibilities and inspired a new generation of artists, recording engineers and producers.

Common Tape Machine Parts and functions
Courtesy of Ray Rayburn
Who is this guy?
Phono and Tape Basics
This class carries on the tradition of recording live, ensemble performances to get a feel for the direct-to-disc era.  We learn to edit tape and create effects like echo and flanging.  We both embrace the options of multittrack tape as well as learn to be creative within its limitations.  There's no pitch correction or grid editing except to 'do it over!!!
 Greatest Hits
Gear + Philosophy = Joy
 Patch Bay Layout
The Phonics of Mono
 Olde Studio Pix
Bass Management
for ALL formats
Class Materials
Art of Mixing
Analog Tape Machines


Analog Tape Machines


Tape Machines for this Century


Eddie's Tape Baking Article

Wendy's Tape Baking Article

** Please Note:  Each of the Tape Machines Articles have the same fundamentals, but each was written specifically for the time period.  As the articles evolved
Enjoy the sound samples!
2004 ~ 2007
2012 - 2013
I Don't Know Why
Fall 2004
Winter 2010
 Winter 2011
Winter 2014
For What It's Worth
Spring 2005
Spring 2009
Spring 2011
Spring 2012
Spring 2014
Change is Gonna Come
summer 2005
Early Fall'09
Early Fall 2010
Early Fall 2011
Summer 2006
Early Fall-2008
Fall 2009
Fall 2010
Fall 2011
Fall 2013
Fall 2014
Honey Pie
Summer 2007

My first IPR class was in the Fall of 2004,  the AE-282 'lecture' was an early morning class in Lecture Hall-1.  Anyone who has been in LH-1 wishes it was still a studio and it didn't take too long for me to realize that vision.  But there was  no equipment in the control room at that time, so we commandeered Studio-2 to make the lecture hands-on, because experience is what students need most.  To paraphrase, 'Lecturing about Audio is like Dancing about Architecture.' 

In Spring of 2005, we collected a few bits and pieces into the control room and added a six michrophone lines to the studio (LH-1).  Our first recording was a version of Buffalo Springfield's FOR WHAT IT'S WORTH.  The band was tracked live in LH-1 using a laptop, while the vocals were overdubbed in the control room.  In Summer 2005, our recording space expanded into the lounge area immediately outside LH-1 to capture live acoustic guitar and vocal, overdubbing drums in the rear of LH-1.  It's not perfect, but recording Sam Cooke's CHANGE IS GONNA COME opened up a new world - live reverb chambers were once essential to a studio's success and signature sound.

In the summer of 2006, IPR began to offer Summer Sessions, a two-week, 80-hour single class.  This time we recorded an entire Jazz Ensemble live.  Our very own Walter Chancellor played sax and Thomasina Petrus sangVIDEO CLIP

Up until 2005, Analog Recording was originally taught in Studio-7, where it provided an entry level experience with a Trident Series 80B analog console plus 2-track editing and multi-track mixing capabilities.   From there its evolution was considerably accelerated for the 2007 Summer Session.  Inspired by the release of the book RECORDING THE BEATLES, the Control Room of Lecture Hall-1 was filled with vintage gear - a 30-year-old 4-track tape machine, two vacuum tube mixers, vacuum tube signal processors and equalizers as well as vintage Altec 604 monitors driven by vaccum tube power amplifiers - the same monitoring rig at Abbey Road, where all of the Beatles recordings were made!  For this session, we simulataneously recorded both Analog and Digital.  Here is a crude video clip of the same band performing in the Green Room.

Since that time, AE-240 has been held exclusively in the Lecture Hall-1 control room and we have turned the classroom and the hallway upside down to accomodate various bands, from Rockabilly to Metal,  Psychedelic to Experimental.

4-track sheet
take sheet
24-track sheet
Ancient History
Eddie's Home Page