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Additions to TapeOp.com

When I was younger and flat broke, I was offered a place to stay in my friends' house. It was a room in an old, unfinished basement, and I thought it'd be nice to have some walls. Being without funds to hire anyone, I decided I could probably...
 
You might not know Brian Reitzell's name, but you probably know his work. As the music supervisor and composer for most of Sofia Coppola's films, he's worked with the French electronic duo Air on...
 
Chad Clark serves as one of the main engineers working at Inner Ear Studios in Arlington, VA, recording many of DC's finest acts, among them Dismemberment Plan, Burning Airlines, Calibos,...
 
This article ran a few years ago when Beauty Pill was in the throes of their public recording project called Immersive Ideal. After band leader Chad Clark [Tape Op #36] won...
From Our Archives
 
So, Fort George Brewery & Public House in Astoria, OR, made an actual Tape Op-branded craft beer. It's called Overdub IPA, and it looks like this: Here is what Fort George had to say about their creation: A good beer is like a good sound...
 
Phill Brown has had a 30 year long career as an engineer, something most of us are barely even capable of imagining. And not only has he been working for a long while, he's worked with some of the...
 
We just released the audiobook version of Phill Brown's amazing studio memoir -- Are We Still Rolling? -- which has stories about recording Hendrix, the Stones, Zeppelin, and countless other music icons. We've been releasing one story a day to...
 
We interviewed Phill Brown in issue number 12 of Tape Op. Over the years he's worked with some of the greatest artists ever, like Jimi Hendrix, Joe Cocker, Traffic, Spooky Tooth, Jeff Beck, Led...
 
We just released the audiobook version of Phill Brown's amazing studio memoir -- Are We Still Rolling? -- which has stories about recording Hendrix, the Stones, Zeppelin, and countless other music icons. This week, we'll be releasing one story a day...
 
We just released the audiobook version of Phill Brown's amazing studio memoir -- Are We Still Rolling? -- which has stories about recording Hendrix, the Stones, Zeppelin, and countless other music icons.  This week, we'll be releasing one story...
 
 
 

Welcome to the May/Jun 2015 issue of Tape Op!

I've long been a fan of film soundtracks. In fact I entered college under the pretense of a degree in filmmaking, but (despite obtaining a degree) that time soon transitioned into running lights for live bands, volunteering as a DJ/Music Director at the college radio station, as well as eventually playing in a band and making records. But, from a young age, I have always been enthralled by soundtracks and how they could immerse a viewer in a movie. Film music was a way to be exposed to new and interesting sounds. For instance, the "Lux Aeterna" choral music of György Ligeti, as well as excerpts from his "Atmosphères" as used in Stanley Kubrick's 2001: A Space Odyssey, didn't seem as odd when connected to visuals. Soundtracks featuring folk, jazz, and reggae turned me onto more genres than I'd ever heard on commercial radio. My journey with film soundtracks took on an added personal significance one day in 1997, not long after I opened Jackpot! Recording, when I found myself in a theater watching the end credits of Good Will Hunting as Elliott Smith's "Miss Misery," a song I had engineered and co-produced, boomed through the speakers. It was a special moment.

I hope our readers enjoy our talks this issue with John Rodd and Brian Reitzell, two guys working on film soundtracks in very different ways. Also check out my review of The Wrecking Crew — a film about the legendary L.A. musicians from the sixties. I'll see you at the movies. 

#107

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