The Mystery Of The Tucker Convertible

30 thoughts on “The Mystery Of The Tucker Convertible”

1. 2 milluon

2. Love hear Wisconsin based stories

3. Tras el juicio y con su Empresa liquidada Tucker no renuncio al sueño de producir autos, busco un nuevo comienzo y llego al pais. En Rio de Janeiro intento establecer acuerdos con autoridades e indústriales para producir otro TUCKER seria convertible y llevaría el nombre de "Carioca" y llevaría mucho de la mecánica del Tucker, mientras tanto fue allí donde se le diagnostico el cáncer y regreso a su pais para ocuparse del tema, y ya no volver. Lo que la historia no conto es que en BRASIL conducía un Tucker, para atraer a los inversores. Y ante su apurado retorno a USA, el auto asi como sus proyectos quedaron en Brasil aguardando su retorno. Los años pasaron y todo se olvido, el auto acabo en un Museo junto a otros vehículos sin mucha notoriedad. Tras el film, en los años siguientes algunas personas se dieron cuenta que el auto era el mencionado en el film y hasta salió en la prensa pero pasaran muchos años mas, hasta el siglo21 donde el asunto cobro cierta notoriedad.
   
   https://www.facebook.com/media/set/?set=a.193792763969626.55917.133910336624536&paipv=0&eav=AfaKXh1pu7Z75dyUceHCldHJoVXf-iDr3tNB7TmD60iz-kRYYuwrnRh6DWQ644gU2G4&_rdr

4. What does Steve Letho think of it?

5. This car has an incredible story!

6. A lot goes into the sound of an automobile engine. I was raised in Detroit starting in the mid-1950s and throughout the 1960s.. I was very much into the Detroit Automotive Scene. As my dad was an, Advertiser. And had many car dealers. And we went to all of the auto shows. And some of the auto races. And one of his copywriters was the voice at one of the big Detroit Drag Ways. And he got me all of these subscriptions. To all of these American automotive magazines. When I was a kid growing up.

   The Tucker came and went. Before I was born. But I know as a kid. I did see a couple driving around. They were very distinctive with the 3 headlights. But then Studebaker also had a car with 3 headlights. And they look similar. But there were very few, Tucker''s.

   One day when I was about eight years old. I had just seen a movie. With Doug McClure, James Darren and Pamela Tiffin called,, The Lively Set. It featured a Fake, Turban Powered Car. That was in the movie. Similar to the Batman mobile. Of the same era. And I knew it was a fake.

   Until I was standing on the corner of 11 Mile Road and Woodward Avenue. Waiting to cross the street. On my way home from school. And I start hearing a jet airplane nearby.. I look up on this beautiful sunny day. I see no airplane? It's getting louder. It's getting closer. That's a jet engine I'm hearing. I see no airplane overhead? And then I step off the curb. And almost get hit by a car. It was the Chrysler Turban Car.. From the movie! And he turned right in front of me and headed westbound on 11 Mile Road. Oh my God! It's not a Fake! I thought I was going to be hit by a jet airplane on the street corner? I didn't see any plane? Because there wasn't any. It was the car! That nearly ran over my feet! Because I was stupid. And I stepped off the curb when I shouldn't have. Because I thought a jet airplane was going to hit me from somewhere? And it almost did. It almost rolled over my feet. I was completely dumbfounded! I was eight years old I think? And I had just seen the movie. As I knew the Batmobile was fake already. It was a Lincoln Futura concept car. I had already seen at the auto shows. And it had some butane torches built into the back. Because it was fake.. This Chrysler Turban Car was not Fake.

   And so I love the sound of engines. From the whisper quiet. To the ones belching flames from nitromethane gas. And open headers. That are deafening! Oh my God that's loud! Too loud for human hearing. To survive. So we didn't go often. But it was really fun. I met big daddy Don Garland's. Before he ever broke 200 mph. I met Shirley cha-cha Mull Downey. Before anybody knew who she was. I got to grow up with this.

   But then my daddy also played violin tracks for the folks at Motown Studios. And that's what I ended up doing. And working for an advertiser. Doing automotive commercial campaigns. On a national level. And it was all about cars. Back in the day. Because we created them.. We perfected them. We were Detroit.. When Detroit was King of the Cars, still. It was Awesome Times. And then the Explosion of Muscle Cars.

   I learned how to drive at a very early age. Daddy taught me when I was a little kid. He would seat me. On the bottom part of the steering wheel. And I would hold the upper top part. And he would make me think I'm driving down our street. When I was still a toddler.

   When I turned 14. I taught myself how to drive a 5 speed stick shift. On a Fiat 850 Spider 2 seat convertible runabout. When I went to install a car radio. For a friend of my mom's. As they went out shopping together. And left me at home with her car. To install her car radio.. Which I did. But then? I felt I needed to test the car radio fully. So I would have to drive the car around a little bit. In our neighborhood. And I did not know how to drive a stick shift. I did not know how to drive anything. But I knew what it was supposed to sound like. Switching between the gears. So I went based upon the sound. And there was that clutch thingy. And the brake pad. And the accelerator. And you have to use your left foot on the clutch. While taking your foot off the gas. To switch the gears. Then let out the clutch slowly. While adding gas. I knew what that was supposed to sound like.

   So I put the car in reverse. And backed out of the driveway. I got into 1st. And lightly added some gas and began, releasing the clutch slowly. As I started to move forward. And picking up speed. It was time to shift into 2nd. And remove my foot from the accelerator while depressing the clutch simultaneously. And switching gears. Then reapplying the gas lightly while releasing the clutch. And I'm driving down the street at 30 mph in 3rd gear now. And I'm not going to go any faster. That's good enough. The radio is working fine. And I drive the car the 6 blocks back home. And park at precisely in the driveway. Where it had been before. At a job well done! And now I know how to drive a 5 speed stick shift. I taught myself how to drive at 14 years of age. And did so, responsibly. Because I wanted to be an adult. And so you have to act like one also. And not be stupid. As kids are. And I knew that at 14.

   And then it was age 15. That I would drive my mother's 1965 Corvair Monza. To a high school across town. She was donating it to. And she would be following me behind. When she got stuck at a red light. And I am now driving solo with traffic. At 15 years of age. And mom is way back there now. Just keep on the straight and narrow Remy. And had for that high school.

   I got to the high school before she did. I had practically driven across town without her. I felt very proud of myself. I did absolutely everything right. Turn signals and staying far enough back from other cars. So as to have no problems stopping. And I became an engineer.

   One can apply their engineering skills. Across many other scenarios. Because engineers approach everything a certain way. To make it better, faster, simpler, to do. And that's a wonderful challenge to undertake. It makes you really good and really competent.

   And it can all bounce back to automotive engineering as well. And how they so parallel each other. In getting that air to pass more freely. Going through the equipment. Whether it's air that's getting ignited. Or whether it's air that is, ignited in music.. It all has something to do with Internal Combustion. And it's Awesome!

   So love your channel here! You are the real deal. This is fake. These are Engineers.
   RemyRAD

7. Some of us like the way cars sound. Some of us just like, Sound. And the decisions I make are all, Sound. Whether it's an engine or rock 'n' roll.

   So? Yeah, sure, that's actually a, Tucker and here's why. In a similar, parallel.

   Back in 1979. I got hired as Quality Control Manager and Final Test Engineer and the overall, Technical Troubleshooter. For, at that time. One of the most Legendary of the, recording equipment, manufacturers. Building the famed, Scully, Record Cutting Lathes. That most of the American Record Labels, were all using. As if they were not using the latest Scully disc cutting lathes. They were using the more affordable, Presto, record cutting lathes.

   As at that time. The best record cutting lathes in the world were, Scully's. When the Presto Corporation was purchased by another, corporate firm. And they decided. They were no longer interested in making record cutting lathes and this tape recorder thingy. They had also started making with vacuum tube electronics. And was shut down. Never to make a record cutting lathe or tape recorder, ever again. As the Presto Corporation began making, professional and consumer, cooking utensils. Hairdryers and the like.

   Needless to say, Electrical Engineers no longer building vacuum tube stuff. Begin dabbling with, Germanium Transistor,, audio technologies.

   When Larry Scully and/or Jeff Scully, hired on some of those, now out of work, Presto, electrical engineers. Who designed a cover Radio Station Automation Playback, only, tape recorders. Using transistorized playback electronics. And a simple 3 motor, tape recorder transport.

   While the guys over at Ampex. As those, of those at Presto and Magnacord. That took up building tape recorders. By the early mid 1950s. Most still used vacuum tube electronics. But the newfangled guys from Presto. Were hired by, Scully. To produce the, 280 model, transistor enabled, Studio Tape Recorders.

   When around 1969. Larry and Jeff Scully sold the firm to, California-based, Dictaphone Corporation. That made voice recorders for CEOs of companies. Never having to be high fidelity. And sounded really crappy. Not for music recording applications. But Scully would, change all that.

   Yeah after, Les Ford got Ampex, to build him a 8 track/channel tape recorder. Using 1 inch wide, plastic recording tape. Coated with red barn paint. Because you could record upon red barn paint. Not any other colors. Because the red barn paint was colored with, iron oxides better known as rust from iron. Or meteorites.

   While Hamilton Broaches, an alcoholic buddy friend of Larry Scully's. Got a job from Larry Scully. Selling his new tape recorders. Since he couldn't hold a job with anyone else due to his alcoholism. Larry Scully made his friend a sales executive. Selling, Scully playback 270 series machines. And didn't know, they had already started producing the 280, series of Recorders. Using germanium transistor electronics. And beat Ampex to the punch. How's the new Scully 280 germanium transistor electronics. Sounded really Great. When created by the guys from Presto. Larry Scully had hired or was that Jeff? I forget?

   And so by 1978. Dictaphone had dropped but not really profitable, Scully Tape Recorder line of products. Since they had ceased manufacturing the Record Cutting Lathe. Starting in the early 1970s. When these famed, West German ones. Started coming to the USA. By the Neumann Company GmbH. Who were actually known most for his, Hitler Bottle Microphones. But really it wasn't that, either.

   No. While George Neumann made some lovely sounding microphones. That were, valve/vacuum tube, powered, microphones. It wasn't that contribution. That made George Neumann, financially successful. No. It wasn't microphones.

   No it was not the microphones George Neumann had created. It was that one special ingredient. They needed. For their ICBM, V-2, project. They realized. They would need a battery. To work in the vacuum of space.. And at that time. Lead acid batteries weren't going to work. They would simply evaporate. Instantly.

   And so for Hitler. George Neumann created the first,, rechargeable, chemical battery. Using nickel and cadmium. And created the first, rechargeable chemical battery that could be used in the vacuum of space. Without instantly evaporating.

   And so this is hardly known or taught. Even at the university level. For idiots who want to learn how to, plug in a microphone, adjust the volume control and hit the record button. And will pay tens of thousands of dollars. For that information. Because they are all hopelessly stupid.

   And so in 1979 I went to work for Scully. Purchased from Dictaphone Corp. by, AMPRO Broadcast Products Inc. Makers of a couple of shitty, Broadcast Console Mixers. And a NAB tape cartridge, recorder/player. Used mostly for, government weather forecast recorders/players. Designed to repeat weather announcements by the, National Oceanic and Atmospheric Organization NOAA. And was a decent build heavy duty little tape cartridge recorder/player. That decided to take on, Studio High Fidelity Scully Tape Recorders. And moved the company from Los Angeles to the upper Bucks County of, Philadelphia, Pennsylvania.

   When all the machine''s from, Scully/AMPRO. All started blowing up and inflaming out. Yes, flaming out. Within about a week after purchasing and using. They would go up in flames. The 2 company, Electrical Engineers. Couldn't figure out why? Neither could any of the other, test technicians? And they had an international incident on their hands. With the South Korean Broadcast Network better known as MBC.. Had purchased 30 machines. Each one costing about as much as a brand-new Toyota Corolla. They all blew up!

   It was around that time I got the call. From the VP of Scully.. Telling me. They needed my help.. They want to hire me. What???

   Well they must've been very desperate. I knew I was.. Just trying to make my 2 new machines work properly! Which they did not do right out of the shipping crates. And I was like what the hell? Why aren't my 2 brand-new machines working correctly? What the hell man?

   I was on the phone to the factory every week! Do you know what this machine is doing? No you do not! Transistors in thermal runaway. Burning holes through your circuit boards. This is bullshit!

   (More à la carte audio in the following post)

8. So I agreed to go to work for them. Then to figure out what the electrical engineers could not figure out? I am not an electrical engineer. I am nothing more than a bona fide high school dropout. With a GED. And a couple of weeks of, technical training seminars.. From Ampex, 3M and MCI of Fort Lauderdale, Florida. I am a, know nothing. I ain't got no college. I didn't even have a high school diploma. I was a bona fide dropout. And wandered in one day. To take the GED test and aced it. Without studying for it. Which got me angry.

   Why would I get angry after passing my GED test at 18? When I realized. I could've passed it. After the 7th grade. I spent 4 additional struggling years. Until midway through my junior year to dropout. I could've accomplished, so much more. Had I just dropped out after the 7th grade at 14. But I struggled for 4 additional years. Trying to do with the right way. With these stupid teachers. That in the end. Really couldn't teach much of anything to anyone. As they were BOOBS! Ne'er-do-wells! They didn't know how to teach!

   So yeah I figured out the problem once they offered me a managerial position. Doing a job I've never done before in my life. Not being qualified to. And I would figure out all the problems, quickly. And pass that information on along to my assemblers. Do it this way not the other way.

   And so this high school dropout saved the company. I had to put a lot of my own time in. Assembling a machine from scratch. With rejected out of tolerance parts. At home in my living room. Building a machine up. From one wire and one part at a time. Until I could find. Why everything was going into thermal runaway? Ah Ha! I found it!

   Oh yes I did. And it was very funny. How this all came about… They had actually lost. A wiring loom harness template. Between Los Angeles and Philadelphia. It never made it to Philadelphia. They were using a previous version. For a different circuit board. Oh my God! What the FUCK?

   They were building the wiring loom harness incorrectly. It would work. It would pass spec… It would get too hot over time. And melt holes through circuit boards. As I was going through the multitude of different, wiring harness looms. For a series of different, transport control circuit boards. And oh whoops! Wrong circuit board!

   And these are the mistakes that, college graduate electrical engineers who have been working for years. Make simple stupid mistakes, themselves. And do not double check their double checking. As they were always theoretically right. But with the wrong wiring. And they could never realize that?

   And so I happen to know. There are at least 4 Scully tape recorders. That were better than the ones from the factory. But looks like they came from the factory. Because I was the factory. At the factory. And I built these up at home. From parts that were out of, critical technical specifications. I was to also later discover.

   That most of my technical assemblers and 1st Test Technicians. Didn't know how to read their, Micrometers, correctly. And would be off by up to 3 thousandths of an inch off. When it should have only been 1 at the most. And they did know how to use their testing and measuring device called a micrometer!

   So all of my technical school trained, 1st Test assemblers/technicians. Didn't know how to use their micrometer.. So I had to show them how to use their micrometer accurately.

   Which is really pretty funny. When I think about it. Because I had no idea. How to use a Micrometer, myself? I really never had cause to ever use one before? I didn't know anything about Micrometers? But I had to show my, assemblers/technicians/testers. How to use a micrometer they were not properly informed to in their technical school. Not that I had ever learned how? Except 10 minutes earlier. When I found all of these parts wobbling in place. Why are they wobbling? The spec says 1 over 1/1000 of an inch. And these appear to be about,, 3/1000 of an inch off. On my Micrometer Thingy. And that's not 1/1000. I could plainly read on my micrometer thingy. I was supplied with at Scully/AMPRO. When I was hired on. Oh? That's a micrometer is it? And you stick it around something like this? And it tells you how far off it is like this? And my trained technicians didn't know how to do that? Neither did I. But it only took me, 2 minutes to figure it out. And you are looking at little numbers that are not the right numbers. They are bigger numbers. That shouldn't be.

   And so I ended up being the Only Manager. My Technicians and Assemblers. Loved! They positively loved me. And would invite me to join them at Lunch. Daily. Why?

   Since I was in charge of the whole shebang. I told my guys. You can drink as much beer as you want at lunch. As long… As I'm not getting things out of spec. You can drink and smoke as much as you want to.

   And so. In the end… My directive from the boss was. THERE WILL BE NO COMPROMISED SCULLY'S BEING SHIPPED UNDER MY WATCH. And I made it So! And we would all virtually, slug down. A nice big picture of beer each. With our, Philly cheese steak submarine sandwiches… Before we would come back from lunch! My Technicians and Assemblers were very happy guys! Wanting to perform for Me!

   And so. In the end…… I turned out. The Best Scully's ever Assembled! Since 1969. 10 years later in 1979. When I got my hands on them! And so did my technicians and assemblers. And I was not getting any more out of spec anything! As I only told them. As long as they could do the job for me. And they did! They made it So!

   And so actually in the end. Over 40 years later. On a Yahoo, user board. I had guys. Sending me pictures. Of my still working like new machines. 40 years later. And probably displaying. My Final Test Data Sheet. With my signature upon it. And my rubber stamp in the machines. I was just Blown Away by that! I was Victorious!

   (More à la carte engineering in following post)

9. But after nearly 2 years with Scully/AMPRO. The boss wanted me to start compromising the integrity of the machines. And I would not do it. I resigned. That's not what I was about! I was about Engineering Excellence. That was my directive. And then he didn't want me to. Because he didn't want to replace a defective audio transformer. As he had purchased a couple of hundred dollars of them! Chump change! They aren't any good anymore. Triad Transformer Corporation changed the way they were making our output transformer. That would no longer meet specifications. As it was always underrated. But exceeded its ratings. Now. Not anymore! The manufacturer reserves the right to make changes without notice! Is the disclaimer on every part! From every manufacturer. As I deemed it. This part could no longer now be used.. And there was a simple replacement. That he refused to purchase. And I had to resign. As I have my Integrity of Professionalism. And he obviously did not. Rafael Alexander Myers… I think he was a Jewish, Spaniard? He was an ass hole in the end. He didn't care about his product. Just another money grabber. And he had purchased this Legendary Recorder Manufacturer. They were my favorite Recorders to use, Professionally. My absolute favorites.. I couldn't believe. I was now working for the Scully Corporation. As their last, Quality Control Manager and Final Test Engineer and overall company technical troubleshooter. He didn't care..

   And so in the actual and of things. He went out of business. 3 months after I resigned. And the company was sold off to Sequoia Electronics of Boulder, Colorado. And they hired all of my technicians and assemblers. And they kept in touch with me.. To tell me. They never built a full machine ever again.. And only all the parts were sold off. And that was the end of Scully. By 1981. When I had then gone to work for,, RCA. To work for NBC-Radio in Washington DC. As one of their Top Reunion Audio Engineers. As RCA only hired the best engineers in the world. To work for NBC. When I was then transferred in 1984. From NBC's, rock 'n' roll radio FM entertainment division. Into NBC-TV News On-air Operations. Oh no! Please, no! I told them they do not want me in that position. That is not a position for me. I am a bona fide high school dropout. They said they didn't care. They said I was a good engineer. And they wanted me doing all of their Top News & Political Shows. Oh no? Please, no? But they insisted. It was a union gig. I didn't have any say. And my Engineering Managers all knew. I was like Scotty from Star Trek. Yes I was.

   You see one day. We had a terrible blizzard in Washington DC. It shut down the entire city. We were all stuck at the Broadcast Plant. Nobody coming in. Nobody leaving. Nobody could. We were all trapped! And then. My engineering managers tell me. They need to put the DC, Maryland and Virginia, Department of Transportations. On the Phone Live.

   I said okey-dokey. Am I getting that feed from Transmission? They said no. We don't have a telephone interface to do this? What!? This is NBC-TV! What are you telling me? We don't have any way to put them on the air on the phone. What!? You've got to be kidding me? No they were not.

   So I asked the Producer. When are we going on the air again? He said 10 minutes. 10 minutes!?!?

   So I darted out of the control room. I made my way to the Shop. I ransacked the Shop. For stuff! Then I started running to other offices and conference rooms. And I find a hands-free telephone gizmo. I ripped the wires out of the wall! And I make my way back to the studio.

   Where I then. With my Swiss Army knife in hand. I start cutting wires and stripping them with my teeth! As my engineering managers stood there and watched me. And I threw these parts together. Twisting wires with my fingertips. And in 10 minutes time. I place a switch in front of our News Anchors in the studio. And tell them. When we give you the queue. You hit this switch. They said okay. And I go back to the control room. And plug in my contraption. And we go on the air in 30 seconds.

   And so the director cues the news anchor in their earphone. And they hit the switch. And I have the DC, Maryland and Virginia Department of Transportation Officials. Live! On-air! On the phone! I'm Scotty from Star Trek! My engineering manager was blown away! He told me he had never seen anybody do anything like that before! I then said to him. I thought we were supposed to be the best engineers in the world? He said we are but. He had never seen anybody do what I had just done in 10 minutes time! And create a product that worked!

   I did stuff like that for NBC-TV for the next 20 years! And I ain't got no college diploma. No college courses. I have a GED! Oh wow! I'm an official Dummy! I got no college degree! I don't need one! I'm Scotty from Star Trek! Yahoo! Woo hoo! Yabaddabadoo! Yee ha!

   And so some of us just do. The job that needs to be done. At the moment it needs to be done. And I'm like Merlin. If I'm not Scotty? I'm a Magician! I make it happen. That's what engineers do! Or so I thought? Because I'm a dummy and naïve. I don't know any better? I didn't know? I shouldn't have been able to do what I did? But it needed to go on the air now. I didn't have any choice! I was given no choice.

   And lo and behold. A week later. A nice, $1500, Studer, Telephone Interface. Would then be installed in our NBC-TV Control rooms in Washington DC.

   And oh by the way. You might want to write the American Television Networks. And even the Canadian CBC the British BBC, Germany's Deutsche Welle, France's–24, Japan's NHK, Network Television News, operations.

   That I am the sole person. That in 1984. When television went Stereo for the first time. NBC would be the First Television News Network to go Stereo. I was the only one who was consulted by NBC Management. How we are to Engineer the News in Stereo? And I had to present a technical dissertation. Of approximately 20 minutes. To, approximately 60 of NBC's, top, news, political, audio engineers. How to engineer the news in stereo.

   And so while I described how to do it all in stereo. From both the street and the studio. I told them. We should NOT PRESENT THE NEWS IN STEREO. WE SHOULD NOT.

   And so at this companywide meeting. Where they had flown in. The other audio engineers from New York, Philadelphia, Chicago, Los Angeles, San Francisco, Houston. To the News Hub in Washington DC where I was employed. I had to make this presentation, technically. To our, 60 top audio engineers. To tell them we should not do the news in stereo. Because it will cause distractions. People will lose continuity. People will lose intelligibility and consonant's. They will miss hear,, words. It'll light up the switchboard. With angry viewers. And they agreed with me.

   And the most peculiar thing was. Since NBC was the First in 1984. All of the other American Television News Networks. Would follow my lead. As with the CBC, the BBC, Deutsche Welle, France-24 Japan NHK. All followed my lead.

   And so in the end. Four years later. You are still getting your, Network Television News in Mono. Except for the music. At the beginning and end of the show. And the Bumpers. Going into and out of the commercial breaks. The music is played in stereo. That's the only thing in stereo in the News. And I am the reason for that. The world over..

   And never in a million years! Did I ever expect. To have such a Sweeping Influence Technically. Upon Network Television News the world over. I mean who am I? But a pot smoking high school dropout? With only a GED. And I had a worldwide influence. Because I am a World Authority. Of Spoken Word Information Dissemination. And that's a little different than doing a rock 'n' roll vocal, drum sets and guitars. But it really isn't. Even though it is.

   As nobody really knows or understands how to present the Spoken Word. Really clearly. Upfront and in-your-face. So you do not miss a single word. We process, heavily. EQ, dynamic range, downward expansion. To make it sound natural. When there is nothing natural about the sound, at all! It's all electronically reproduced. There is nothing natural about that process. But we try to make it Sound Natural. Coming out of your shitty little speakers and earbuds. It's all a sham! That it sounds natural to you. Because it isn't. There's nothing natural about it.. It's heavily processed. Heavily fried. To make it sound of wonderfully natural! When it's not. And that's just the Mark of Excellent Audio Engineering.

   (More à la carte engineering in following post)

10. So whether you are doing spoken word or rock 'n' roll vocals? I really handle it all the same way. I'm not really doing anything different. But TV news audio engineers didn't know how to do that? They just plug in a microphone and turn up the volume control. They don't know what it's supposed to sound like. Only that the meter should move. And it does. So it must be okay? No it is not. It sounds like mud half the time. And you can hardly understand some of the words they are saying? Because I'm no longer doing it. I retired 20 years ago. And you can hear the difference today. It's all over the place. It's a muddled sounding mess. Because everybody wants Natural Sound. They think that means not doing, NUTHIN', to the sound. But that's not what that means. That's garbage beginner entry-level clueless audio engineering. That think they are getting natural sound by not doing anything to it. And that's, no, No and NO! You've got to process the dynamics of spoken word audio. Because the human voice. Has a broader dynamic range. Than, Any Musical Instrument Ever. And it has to be reduced, crunched, properly. To enhance those, consonant''s. Not lose them! And that's what dynamics limiting and compression does for the audio. But then all of the noise and the bad acoustics rush up. And those have to be eliminated by a Fast acting Downward Expander. After the dynamic range limiting is done. And this is where everybody drops the ball. And you hear big echoing rooms. That sound like shit.. They are so echoy. Ugh! No!

    And a downward expander cleans all of that up and tightens all of that up. And gets rid of the booming echoy sound! That obscures the intelligibility.. With all that reverb.. Which sounds like crap in a small room! Sounds like crap in a big room! Sounds like crap that way! And so we have to expand it out very quickly. And it's gone! It's clean! It's articulate sounding! And this is the way spoken word must be presented! As you basically process it like a rock 'n' roll vocal! And it will cut through! All of the mud the noise and the grunge in the background. To ensure nobody misinterprets the message.

    And it's the same for song lyrics. I want you to hear all of the words clearly. And so that eliminates Death Metal and boys barking like dogs. There is no information being disseminated, there. It's just barking boys like dogs. And they are trying to bark out. Their, vocal cords. For reasons unknown? Throw them a Milk Bone. As it will also clean their teeth as they crunch on them. Because I don't think they brush? They want Death Metal Breath! And most assuredly they have it. And I only record those occasionally. But I want you to hear the words. I make them spit their words out clearly. It's very funny. They have a lot of fun doing that with me. Because I pitch them up. I pitch them down. I make them almost sound mature! It's amazing! When you can sort of hear their stupid words. And what are they precisely saying? Gobbledygook! That's what. It's garbage! But they are having fun and paying me. And they walk away with a different sounding product. That's unique and unusual. That you can hear the words to. I make certain of that.

    With one death metal bands I did a few years back. It was very funny. The guy that had the deepest voice. I had doing a low guttural sound. But then he wanted to do a scream. And when he screamed. He sounded like a 14-year-old girl getting violently raped. It was an unbelievable sound! And it freaked the rest of the band members out! And they told me not to use that much. So I shoved it up high in the mix! And you are hearing a 14-year-old girl getting violently raped. By a man in his late 20s! And they absolutely Freaked! Nobody knew how he could do this? He had the deepest voice. It was really Weird! And so it really made the tune Peak! With a screaming teenage girl getting raped! That was a 28-year-old guy! It was very funny. Extremely funny. You will never hear a Death Metal Song like this. As it really is overly abusive sounding. And freaks everybody out.

    After all they wanted Death Metal. So I gave it to them. In more ways than one. And they left all giddy. I am really very Proud of that Abomination! It's Brutal! It goes beyond Death Metal! It sounds like some teenage girl is getting violently raped! It's a bloodcurdling scream! From what sounds like a teenage girl. But as a guy who is 28. It was very funny. You'll never hear anything like this. I can't even remember how I posted it? I think I did it on Drop Box? I don't remember? I just uploaded them so they can download them. And so it was likely Drop Box I was using? I can't find it? I'll have to post it again. Likely this time on Sound Cloud may be YouTube? One of those. It's a fun listen.

    I've done hundreds of recordings for hundreds of bands just in Austin, alone. In recent years. And I handed out over 500 recordings like this to the bands. In an 11 month, series of rock shows. Up until the Pandemic. Which shut everything down permanently.

    And so this was all for, pitching the Austin Radio Stations. It was a Proof of Concept I Produced. By, Parking my Recording Studio. Behind this Austin nightclub performance venue. And wiring the place for sound. With my Recording Truck. Nearly a Football Field away from the nightclub. In the backyard of the nightclub. Where I also set up. A pair of JBL Studio Monitor Speakers. On my Power lift Tailgate.. So the people in the backyard. Could hear the band inside. And these mixes. All done live for FM. They are not perfect. They are highly technically compromised. Some guys even plugged in their own lead vocal microphone digital processing thingy. And turned it up, too high. So after the 2nd Band played. I changed my microphone input assignments. So I always had a clear vocal microphone with no processing! I would have a pair of feeds from the lead vocal microphone. One clean. One with their gizmo. So I could then mix and balance them together. Because Christian Bland sounded like he was underwater for his entire set! Ugh! It's overly affected. It sounds purely electronic. Because it is.. I can understand a thing he is saying? It is mostly unintelligible. He thinks his affect makes his performance.. It doesn't. That's little kid stuff. And it's a cool band. But the vocal sound sucked! I mean whatever it was?

    TThe other 12 cuts are much better. And I have approximately, 480 more to post. Most of which no longer exist. They all died with the virus. Even if they are still alive… The bands are no longer. They all disbanded and dispersed. It was the end of an era. Of Live Performance by actual Musicians, Singers and Performers. There is no computer stuff used here. This is all real! This is all Live!

    Most of the others subsequent cuts. All sound like these Network Television Specials. For a reason. That's what I did for NBC for a couple of decades. And then I purchased a couple of the control rooms I used to use. When they went off-line and were decommissioned. They were auctioned off. I won the bids on 2 NBC Control Rooms.

    And so what you are listening to hear is actually associated with the Movie by Dave Grohl. Called Sound City. It was all about the British Neve, Audio Console. This is an NBC Custom Special that cost, $9000 more! Than the one in the movie. It's better than the one, in the movie. Or at least that's what Rupert Neve. Told me many times through the years of our deep involved conversations. Before his passing a few years back.

    And that's why a lot of this sounds the way it does. It's my engineering you see. Not so much of the Neve console. Everything I do sounds like this.. Regardless of gear. I just happen to know what I'm doing. As I'm up there with guys like, George Massenburg, Bob Clearmountain, CLA, Bruce Swedien and even Geoff Emerick. My heroes. One I met when I was 15. When he was 23. The other I worked with. At one of the most Legendary Hit Studios in NYC with Bob Clearmountain. And I learned a few things. As a Maintenance Engineer. Going into the control room when Bob was having a problem with the Neve console. No Bob you got to press that button. He was embarrassed. As he's one of the best engineers in the world. And he learned his chops from Michael DeLugg. Who I also assisted. On a couple of occasions. And I learn real fast.

    (More à la carte engineering in following post)

11. So considering everything is wrong technically with these recordings. They still sound pretty Bitchin'! And I do this with no microphone checks. No sound checks. The van just starts playing their first song. And I shove up a mix like this. Not perfect but fun. Not technically accurate. But technically exciting. That's my job. Not technical blah blah. I don't give a damn about fat relay. The equipment will function just fine. I can do anything with it. It doesn't matter how cheap or how expensive the gear was. From Neve and API Consoles. To that of, $325, Behringer, 6 input mixer PA's. I still come away with Bitchin', sounding recordings. It's all in the Technique one uses. Not the gear! Though I have my favorite gear I love. If I don't have it? I really don't care. I'll use whatever is available. Whatever is presented before me. To use.

    Bob Clearmountain and the other guys are a bit more picky. As they can afford to be. But I'm an actual Broadcaster. Much in the same as Bruce Swedien was. My background is more like his. Not so much like George Massenburg and Bob Clearmountain. While I love working in the studio. And I'm very good at it. My forte' is Live Recording and Mixing for Broadcast. Which is a much different style. Than that of Studio Productions. Where everything can be perfect. This is where everything is Not Perfect! Far from it. I've got all the instruments leaking and bleeding into all of the microphones. Mostly drums in vocal microphones. Because they stand in front of the drummers. Ugh! That's a bitch to contend with! All the bleed completely screws your mix!

    So you really just have to let the music lock the mix in for you. And then you, roll with it. Because you're not going to change anything after they start playing. It's whatever you get. It's however the microphones are placed. And they are all cheap microphones. Drum overheads and room microphones are, 40-year-old, AA battery required, made in Taiwan, mostly of plastic, Radio Shaft, PZM microphones! And they sound fucking fabulous! When you clip off the 1/4 inch,, tip/leave, mono unbalanced, guitar like connector. And you strip back the vinyl sheath. To discover. A copper ground wire. Along with a red wire and a white wire. It already has a Balanced Output! And you just solder on a, 3 pin, XLR connector. Under those microphones. No DI box necessary! And you are good to go! With microphone lines longer than, 1000 feet! With a $30 Taiwanese radio shaft microphone! It's very funny. I've got eight of those still. And a few of the Original Crown American-made high priced ones. They all sound the same! They all use the same Taiwanese microphone element. It's true it's real. It only cost $0.98 US. The microphone element. It's very funny. They put the same ones in the over $300 each American versions. It's extremely funny. You might get a good one? You might get a not so good one? Out of the 10 I purchased in 1984. At the cost of approximately $300 for all 10. It turned out. 2 sounded subpar. Since I'd already modified the connectors. They could not be returned. So I gave them to a friend. Who love them. And still uses them to this day. They just didn't match my other eight. And I wanted all matching ones. So that was great! I still use them after 40 years. They no longer match each other though. They have all aged differently. I don't care! They still work great! They do what I need them to do the way I need them to pick up sound. They are unique. You don't use them like other microphones. As I simply have them duct taped. To the ceiling tiles. Above the drum set. And on left and right walls. On either side of the band. And all the microphones I have placed on a Splitter. Going to my recording truck and to their house PA system. And you will hear some of the ambience of the PA system. You will hear the crowd in the background. Mulling around between songs.

    The entire band is on a very small tight, 8' x 10' stage. 2 inches off the floor. With two by fours. In a club that accommodated a couple hundred people. Sometimes. The audience would sit on the floor with their legs crossed.. Other times they were standing around and grooving. It was Unique! And they could all visit the recording studio in the backyard! As I left my door wide open for everybody. It kind of became part of the nightclub experience. They all wanted to check out the recording truck. Because the mixes were playing out the speakers on the back of the truck. To the backyard. Where people could mull about and have conversation. And who were also listening to these mixes live. Off the back of my truck into the backyard of the nightclub. And they just had to check out the control room in the truck! It was wild! I would have between eight and 10 people on board! While mixing this all live. And a barrage of questions. What's that microphone do? What's this thing sound like? How do you do that? While I mixing live. Nothing bothers me. I love to perform for an audience. And tours that would come through, NBC and VOA where I used to work.

    Occasionally I would sit a child down in my chair. Behind the audio console. And make the move a fader on my queue. And they were part of that Taped Production. And the guys from the control room would all yell at me. Hey Remy! You know we are A union Operation? And I would yell back, SHUT UP! And laugh hysterically. Like a crazy person! With a kid sitting in my chair. Behind the audio console. I would corrupt for the rest of their lives! Most of them now working in the industry themselves. I corrupted them so terribly.

    I had a lot of fun doing this for over 50 years. And sharing it with everybody. Because it's fun to do. It enlightens other people and enhances their lives through music. When you just do it. And not worry about all the technical gobbledygook. I don't worry about any of that. It's all, Autonomic for me. I can do it in my sleep. And I frequently have. As I have not been fully conscious for a lot of these productions. Why should I? It's only rock 'n' roll! And you can't be 100% sober for this. It won't come out right! It'll come out all fizzy and nasty sounding. You don't want that.

    And so it does not matter really the quality of equipment you use. As long as it will pass audio. Relatively unscathed. And you can use it. It'll work. You can get a good mix. On virtually anything today. It has gotten so much better over the past 40 years. You need not worry about any technical specifications anymore. They all meet and/or exceed minimum standards. So you can't lose. Unless you're just a crappy engineer?

    (More à la carte engineering in following post)

12. What young engineers don't learn right off. It will not be technically up to snuff. You won't be able to do anything about that. Don't even try. It will all end in disaster. You just take what you get. And you roll it and you pat it and you market with a B. For baby and me. And the band. And I am going to present them. As they are presented to me. To the best of my abilities. By pushing up a mix in 60 seconds or less. And just rolling with it. Because I can't really change anything. I have to take what I get. And turn it into something listenable. That's 100% technically Flawed! Oh well! It's the way I roll.

    And doing it this way. Strangely enough. I made history doing so. And have garnered numerous major music award nominations. With these crappy mixes. So I think it's very funny. As I was nominated under Best Engineered Categories. This is not my best engineering LOL. This is just my fun engineering. This is my Haphazard Engineering. This is what rock 'n' roll is all about! It's not supposed to be Perfect! It's just supposed to be a Musical Menagerie of an Experience! And nothing more! It has nothing to do with technical blah blah! You just make it sound Exciting and Fun! Because it's not going to be perfect.

    I mean oh sure. Sometimes everything locks in just right! And you can hear it. There's not much I have to do. And when you realize. I got most of these vocals. Off of a $40, 6 input, Behringer microphone mixer. Until weeks later. When I would get rid of that for the nightclub. And they would get a Midas Venice PA board. I would wire in. And tweak the entire PA System by ear. Because that's what I do. The way I do it. I don't need test equipment. I know what I'm hearing. And there is a fundamental flaw in 99% of all PA systems. I discovered back in 1978. That I correct for. Nobody knows what I'm doing? They only know the sound gets really good. They don't know why? Because when they connect it themselves. It never sounds the same way? They don't understand what's going on. And they have college degrees in this trade. They don't know anything. They have never really learned, anything. They just repeat the words they hear everybody else saying. They don't know what they are listening to? I discovered back in 1978.

    You see I'm one of those Fixers. Of Recording Studios. Of Broadcast Centers. I make everything sound great. For everybody. So they can hear what they are doing properly.

    I will also point out here. In these rock 'n' roll FM recordings I did for the nightclub. Really for me. There is dynamic Range whatsoever to speak of. It is all heavily Crunched and Limited Compressed, Gated and Expanded. On virtually every input. Of, 16-24 average inputs. On a local 3 or 4 piece band. Sometimes there was as many as eight on stage. All in everybody's laps.. There is No separation on Anything! And that's almost impossible to mix. So I let their music tell me how it wants to be mixed. With all the bleed and no separation between anything. It's just a rocky balance with everything!

    At this is a great example. Using nothing but very cheap average microphones. Some actually from Radio Shaft that cost $30.. Like the drum overheads. They sound great! And room microphones, never sounding tubby. Like they would normally. You don't get that horrid sound with PZM microphones on your walls and ceiling tiles. They are amazing microphone technologies to use. They are not like any other microphones. So people shy away from them. Because they are weird microphones. And a couple of these cuts I only used, Radio Shaft PZM microphones on the instruments. SM-58's on the vocals. And I just do it for a laugh. Recording a band with 8 old Radio Shaft, Taiwanese made AA battery required $0.98, electret condenser capsule. Piece of crap microphones. Just to prove a point. You can use any microphone the picks up sound.

    One recording that does not appear here. Was one I had a nasty argument with the lead guy of the band. Who was a nasty FUCK to me. Got me so angry. In one, 10 second move. I grabbed all my microphones off all the instruments. And I threw them down on the floor. In front of the band. In a big pile. And I stormed off!

    When I got back into my Recording Truck. My crew had heard the whole thing! And they all said to me… I guess we are not rolling on that band tonight? I said, Roll the machine! And I began recording. I sat down behind the console. And I push up the faders. Of the respected instruments they were once on. Now sitting in a pile. In front of the band on the floor. And I push up this crazy mix! Nobody could believe what they are hearing! How is this possible? It sounds fucking great! They don't understand how this is happening? So they all go running into the club.

    They came out a little later. All very giddy and laughing. They said yeah. All the microphones are lying on the floor in a big ball in front of the band.. Remy got this crazy mix. They didn't understand how? None of the microphones are on any of the instruments! But it sounds like they are?

    So at the end of the set. I hit the burn button. An outcomes a CD. I walk into the club. And I hand it to the lead guy. And I tell him. Don't you ever talk to me like that again! And I leave and go back to the truck.

    A couple of weeks later. The guys band is booked back in. And he comes over to my recording truck. He said I don't know how you did what you did? The recording sounded great. I'm really sorry I talked to you that way. The sounds incredible. I don't know how you did it? And we became friends after that. We had no problems after that. That's how you do it. When you are truly good at what you are doing. Nothing can stop me. I may Broadcast Engineer. There is the difference. Because it has to go On Air. The satellite is switching over to me. It's no time for experimentation. You have to perform. For the entire world is listening. So the vocals are always the most important thing. And I do a lot to make them be heard clearly. With the guitars and the drums blaring into the vocal microphones. You can't get a good sound that way. And I don't. I just get something that sounds exciting and fun. Because I can't make anything right. I just have to use what I am given. Sometimes that is next to nothing. Like a broken 30-year-old PV, PA board. Everybody wonders how I get a good recording out of that?

    So if you have a cheap piece of equipment and it sounds nasty? You can't fix that. But you have to use that. So? You take the Nasty Sound. At you make it more Nasty. You feature the Nasty. Because you can't fix the Nasty. So you use it! To your benefit. Because you can't fix it. And that's a very different style of Audio Engineering. And sometimes you have to skew the sound of the entire recording. To fit with that Nasty. And you have to tailor the entire mix around the nasty sound. Because you can't fix it. You just have to use it.

    And I just love a Challenge. It makes me even better. Each and every time. You can hear it.
    RemyRAD

13. If this is not Tucker #57, where is Tucker #57?

14. Preston Trucker was 100% into safety, agree. A convertible in those days, common folks. He was a showman, maybe a convertible for the draw. Auto companies use concept cars all the time just for that purpose…

15. The big 3 wanted Tucker removed and they got the Government to do it

16. TUCKER had a convertible built,#57, so says history,lol

17. GREAT STORY!

18. Great story told by a great story teller. THANKS!

19. I believe!

20. According to the federal HESCHLAVVO law, it is already forbidden in Switzerland to drive combustion engines on mountain passes from 2025. In France, the SCHLABOUBVE regulates that fossil vehicles that produce fine dust are prohibited in all cities from 2025. The BABVVO in Germany will bann exhaust gas pollution from 2027 and that is what will happen in entire EU also bann of all tires and brakes because of fine dust!!!!

21. I don't care what the "experts" or anyone else thinks, its cool. "Experts" are less than a penny per K nowadays so I believe the employees. ITS REAL!!

22. Finally a real car story.

23. If the people that work for Tucker say it's a Tucker, it's a Tucker, who has more credibility the people at work for Tucker were the people that did not work for Tucker..
    For all those that said it's not a Tucker you need to get over yourself.

24. Mr. B. Here ! 🍩☕️👀😎👍. Yes he gets railroaded, don’t forget the Big 3 !

25. It's very real Tucker they should know this because Tucker had it made but could not finish it because the government shut him down

26. OK how many tucker where and how many still exist I highly doubt someone would cut the top of car off being so rare even George Barris wouldn't do it so it has to be real and who else would do a prototype most all cars are documented

27. its funny to see a few comments below with someone claiming to be another person commenting, i test some of the trolls by clicking on their name and looking at the content of their channel, one guy claiming to be the other person has nothing but videos of fat people and goofy shit on his, another says this channel has no content. sort of sums it up sometimes

28. 🥱

29. It's an engineering mule for a convertible. They weren't worried that 60 years later there would be a controversy about what it is or isn't. They were taking a chassis and figuring out how to make a convertible version of the car to sell for the company. All manufacturers have oddball prototypes like that.

30. It is a Tucker…

Comments are closed.