Hi. Tape Op is made possible by our advertisers.

Please support them by clicking on their ads.

<     Issue #100     >

 
 
 
 

Hi. Tape Op
is made
possible
by our advertisers.

Please support them by clicking on their ads.

 

Additions to TapeOp.com

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 Portland made an actual Tape Op-branded craft beer. It's called Overdub IPA, and it looks like this: It's difficult (in our opinion) to imagine a world quite yet where there are too many recording...
 
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...
 
Jon Brion is well known as a session musician, record producer, solo artist and now, with the work he did for Magnolia, a scorer of films. In his world, all of this is equally important and...
 
Here is Arturia's affordable and highly desirable analog synth, the MicroBrute. The little brother to their MiniBrute synth, the monophonic MicroBrute has a new modulation matrix with control-voltage...
 
 
 

Welcome to the Mar/Apr 2014 issue of Tape Op!

This issue marks the occasion of our 100th issue of Tape Op. As I sat on my front steps 18 years ago, spray painting photocopied magazine covers by hand, I never would've imagined that my crazy little idea would ever have carried on this long, found so many readers, or become such a huge part of my life. Over the years Tape Op has certainly changed. What started as a magazine mostly focused on creating and tracking what would become known as "indie rock" (hey, that was the world I mucked about in!), has become a forum about working with every style of music, from any era. While early issues featured ads from small record labels and independent book stores, the last 15 years have seen advertising for every kind of recording product one could imagine; even including Pabst Blue Ribbon beer, at one point.

But while there have been changes, I feel that the core values of this magazine remain the same, even if they're not always visible on the surface. Creativity, passion, beauty, excitement, and honesty remain an important backbone for what we discuss and promote in these pages. Pushing the art of recording forward, while always respecting the artist and the music, is key as well. Almost everyone involved in Tape Op records music, and most of us at the professional level. When we interview a recordist it is as a peer, not simply as a journalist or a fan (though we can wear those hats too). I think these things are just the tip of the iceberg as to what makes Tape Op different, as well as what draws our readers to the magazine.

For this issue I trawled through 100 old copies of this mag and found 100 corresponding quotes - one from each issue. I've always seen Tape Op as an extension of my own growth and learning when it comes to recording music, and many of these quotes are ones that have resonated with me for years. John La Grou, owner of Millennia Media and a fine recordist himself, has written up a piece for us on his thoughts about the future of music production - you may be surprised (or distraught) to learn where he thinks it is heading. Gerald Seligman of The National Recording Preservation Foundation discusses preserving historical recordings. Barry Cleveland illustrates many of Joe Meek's innovations in the studio.

There's far more about the future and the past of recording in this issue, so get to it. And get ready for another 100 issues of Tape Op!

Enjoy!

Larry Crane, Editor

PS: Many thanks and a raised glass of wine to my partner/publisher/friend John Baccigaluppi. Without him Tape Op probably would have disappeared into a fog of credit card debt and exhaustion 14 years ago. He believed in my vision, and took it up a big notch overnight. He is the backbone that lets this magazine flourish, and I don't think it could be what it is without his hard work and input. Also I owe a HUGE thanks to the many contributors and "staff" over the years. Many of you are my close friends and have helped guide the magazine. You know who you are. Thank you.  

#100

Hi. Tape Op is only made possible by our advertisers.

Please support them by clicking on their ads.