r/offmychest • u/lyrical-lyra • 15h ago
I spent four years idolizing an experimental tape-loop artist, but 72 hours assisting him in his studio completely killed the magic
When I was in a university studying audio tech, there was an ambient/tape-loop producer whose records literally got me through every brutal burnout. Let’s call him 'K.'
His whole persona was built around almost monastic analog purity. He didn't use social media at all, he only released on limited-run cassette, did not have internet (as much as I know) and his few interviews spoke about 'preserving the tactile fragility of electromagnetic tape' or something like 'surrendering to tape hiss as a meditation on impermanence.' Well, wording is a bit pretentious, but the sound is quite contrary. So I owned all five of his vinyl pressings. I bought a very used 1983 Marantz deck specifically because he mentioned using one in a 2017 interview.
And last month, through a mutual friend at a modular synth collective, I got asked to be his studio assistant for a three-day recording residency in an industrial loft outside Leipzig. Conveniently enough, I was not far away from Germany at that period, before leaving for southern France. So, I was extra excited, I didn't sleep well for couple of nights
The reality was a complete train crash, or car crash, or a shipwreck, i did not figure out how to call this, yet
K is not a monk of sound, at all.. the man is deeply entitled, and essentially chain-smoking 45-year-old, also known as ‘scoof’, and he likely have not serviced a piece of gear in a decade
Therefore within two hours of arriving, I realized he barely understood basic gain staging. Half his 'legendary vintage saturation' was just digital clipping from a cheap USB interface running into the red. When a reel-to-reel deck started chewing tape, no adjusting of tension arms followed, he instead kicked the casing and ordered me to go buy him specific Turkish cigarettes (as if i do not have better things to do there? Sorry)
Worse, on day two, he pulled up a folder on a beaten-up MacBook labeled 'Royalty_Free_Textures_2018.' He dragged pre-made Splice pads onto a DAW timeline (remember, an intire image of him was made as someone who opposes all of the digital paradigm), then outed them through an off-the-shelf distortion pedal, recorded thirty seconds oncassette, said: 'That’s the opening track for the new vinyl. Label wants it by Friday.'
When I very sweetly-gently asked if we were going to build the tape loop from the modular patches we spent three hours tuning, he laughed and said: 'Audiophiles buy the aesthetic on the sleeve notes, Lyra. Trust me nobody can tell what’s real once you slap 40% reverb on it, sad but true’
On day 3 of all that, he demanded I stay until 4:00 AM to clean the studio floor and assemble 50 cassette j-cards by hand while he went to dinner with the gallery curator. He didn't offer to cover my train ticket back to Berlin, even though we likely discussed a bit different conditions before.
I took the 6:00 AM regional train home yesterday, unusually, with my headphones off. For the last 4 years or so, even since my teen years in Vilnius, I looked at this man's catalog as proof that slow and meticulous craft still had a sacred place in modern music. Imagine how seeing him and such kind of lazy opportunism dressed up in boutique marketing hit harder than I expected. I get why people dislike ai music (or ‘music’), but this I did dislike even more.
Now literally packing up his records to donate to a thrift store this afternoon. This man’s music doesn't sound mystical anymore; i would always remember that someone cutting corners on a dirty sofa, bruh