MFL: Talk more about recording Dreamers on a Tascam 388. Who got their hands on the piece of equipment and what does it have to offer that cannot be contributed by other recording equipment?
J: We got it from the classifieds as an “as is” listing where the guy said he hadn’t a clue if it actually worked. Once we heard that it powered on and had less than 20 hours on it we said fuck it and bought it. It was incredibly inexpensive being that it was sold “as is” and ended up being in immaculate shape, especially the tape heads. It’s a 1/4″ 8-track reel-to-reel with the mixing deck all on the same desk, which makes recording on it fairly simplistic to me as someone who grew up using 4-track cassette recorders.
N: These machines have sort of a cult thing right now, with good reason. Ty Segall has one… Tim Presley, and John Dwyer as well, as far as I know. Jon and I are both really interested in analog recording and the 388 is a cool affordable mid-fi option… Our 388 is really part of this record. If we had made it any other way it would sound completely different.
MFL: With Dreamers out in the music-sphere, are you all itching to write and record new music or are you still reveling in the glory of your release?
J: Can’t speak for the other guys but I could use a margarita with a couple extra floaters.
N: I’m not reveling. I’m trying to get back into the studio as soon as possible. The next record will start happening imminently.
MFL: Is there any one track on Dreamers you feel encapsulates the musical and ideological qualities of Aircrafting better than any other?
N: For me it’s “Dreamer’s Jam”, especially when we do it live because we can really open up the front section. On the recorded version we did some really cool stuff with my guitar going through a space echo and an echoplex, and right at the end of the opening solo there’s some cool sound-on-sound stuff you can hear faintly. I like the openness of it and the fact that we could never really recreate that. The sound-on-sound thing was what GBV would call a “happy accident.” And then on other songs Dan’s pedal steel parts really elevate the whole thing for me. I think that was really integral to the record becoming cohesive.
J: I’d agree. That song stemmed from DJ getting to practice early for once and having the time to play around and write the skeleton and by the time we all got there and plugged in we had the song written.