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Additions to TapeOp.com

Veteran Bay Area recording engineer John Cuniberti has been professionally making records since the late 70's. Aside from the feature interview we did with him back in 2006, we also asked him if he could distill the essentials of what he learned...
 
Everyone has been talking about Dave Grohl's new documentary Sound City a lot lately. That's cool; it's a fun romp of a movie, even if Dave can't decide whether he's making a film about a Neve console, a dying studio, a rock star jam session or an...
 
With news of Neil Young pushing to get studio quality audio out to the consumer, it occurred to me that it would be good to get some perspective on how we go about comparing audio quality.  One of the most problematic issues surrounding audio...
 
Our friends at Disc Makers just put out a free guide that succinctly lays out how to make the most of a social media presence as a musician and/or record maker. Obviously social media is a hot button topic right now, but we like this particular guide...
 
With news of Neil Young pushing to get studio quality audio out to the consumer, it occurred to me that it would be good to get some perspective on how we go about comparing audio quality.  One of the most problematic issues surrounding audio...
 
Creating Community - A Regional Audio Industry Gathering On Saturday March 5, Recording Arts & Technology (RAT) @ Cuyahoga Community College will host a Regional Audio Recording Industry Gathering and Open House from 4-10pm at the new...
 
Yesterday, electronic musician, producer, educator, and all around tech-forward-woman-in-audio, Erin Barra, is releasing "Dear John," the single from her upcoming EP, Undefined. Barra, however, is taking a much more literal approach to the term -...
 
In a fascinating and really open Facebook debate initiated by fellow producer, cycling enthuiasist, and coffee-drinking pal, Eric Ambel (www.ericambel.com), I was alerted to what was finally a clear insight into how and why Spotify could possibly...
 
In a fascinating and really open Facebook debate initiated by fellow producer, cycling enthuiasist, and coffee-drinking pal, Eric Ambel (www.ericambel.com), I was alerted to what was finally a clear insight into how and why Spotify could possibly...
 
As we exit the era of digital audio data compression and begin the ascent into higher sample rates for consumer consumption (via multiple platforms, though most popularly Neil Young's PONO system), we are finding ourselves as a community of...
 
I'm about to write something that at first will seem like another gray-beard waxing nostalgic for a by-gone analog era. But, stick with me, because I think the tables are turning to where going analog might be as forward-thinking as it gets. Let's...
 
Everyone has been talking about Dave Grohl's new documentary Sound City a lot lately. That's cool; it's a fun romp of a movie, even if Dave can't decide whether he's making a film about a Neve console, a dying studio, a rock star jam session or an...
 
Subconscious Auditory Effects (SAE) is a term I have cobbled together to encapsulate a broad range of phenomena in this barely-studied field of inquiry.  An SAE is any measurable effect on a person caused by a sound, or change in sound, that is...
 
Over the last few years we've seen an explosion of online music services. Pandora, iTunes, Spotify, Rhapsody, Soundcloud and dozens of other platforms are touted as groundbreaking ways to deliver music to listeners. But this success is on the...
 
Dear Tape Op Reader, We wanted to let you, the folks we make this magazine for, aware of a fundamental change in our business.  Short version: We are cutting our ad rates nearly in half. Why? Here's the long version: Tape Op is an...
 
As recording continues to become a predominantly freelance profession and as more artists decide to operate without the aid of record labels, setting our various agreements into writing is even more important. These days there are fewer standard...
 
After reading Larry's "Eliminate Variables" End Rant from last issue, I was compelled to write a response. Don't get me wrong, I agree completely with everything he said; so before you read any further, revisit the back page of issue #92. I...
 
So for quite a while now we've been trying to figure out how to best bring the full Tape Op print magazine into the digital era, and we've think we've settled on some sort of mobile app..but we'd really like your input before committing to one...
 
"...from what I have seen, the industry is fatally flawed. Everyone seems to want something for nothing and few are willing to pay for what something is actually worth. Plus, there are thousands of graduates flooding recording studios each year...
 
A reader just informed me that APPLE's recent Logic Pro X includes "Drummer", a virtual drummer plug-in. One of the virtual drummers is named "aidan", who apparently cannot find the CAPS key on his virtual MacBook. In Aidan's "Portland Kit" we...
 
A reader just informed me that APPLE's recent Logic Pro X includes "Drummer", a virtual drummer plug-in. One of the virtual drummers is named "aidan", who apparently cannot find the CAPS key on his virtual MacBook. In Aidan's "Portland Kit" we...
 
    Issue 99 of Tape Op is now available! In this issue we have: - Brad Wood on the Idful Music Corporation and making Liz Phair's Exile In Guysville - Tim Palmer on coming up as an engineer in late 70's London scene and the mixing...
 
Dear Tape Op Reader, We wanted to let you, the folks we make this magazine for, aware of a fundamental change in our business.  Short version: We are cutting our ad rates nearly in half. Why? Here's the long version: Tape Op is an...
 
I don't want to explore this concept with as many words as I might for a Tape Op "End Rant", but I had to dump this shit out of my mind immediately. Someone dropped me a line recently; "I'd like you to hear this record I worked on. We didn't use EQ,...
 
Years ago John Fischbach, a well-established and respected producer/engineer, came to my studio to record an album that our mutual friend, Luther Russell, was producing. [See Tape Op #21.] In those days my studio, Jackpot! Recording, was a diamond...
 
This is a fascinating article about a brand new study in human auditory perception that is showing that there have been "naive" applications of mathematical formulas onto our understanding of human auditory perception. I cannot claim to...
 
Wall Street PR reports on the woes of Avid, the company behind Pro Tools. What does the future hold? I'm just terrified of having to learn a new platform, buying more gear and software, and there not being a de facto DAW standard for professional...
 
"I sent a package to you several months ago containing some music I asked you to evaluate for me. I respect your background and was hoping that you personally might allow for cutting out a spare hour to do me this favor. Since I never heard from you...
 
I don't want to explore this concept with as many words as I might for a Tape Op "End Rant", but I had to dump this shit out of my mind immediately. Someone dropped me a line recently; "I'd like you to hear this record I worked on. We didn't use EQ,...
 
Over the last few years we've seen an explosion of online music services. Pandora, iTunes, Spotify, Rhapsody, Soundcloud and dozens of other platforms are touted as groundbreaking ways to deliver music to listeners. But this success is on the...
 
 

Welcome to the Nov/Dec 2011 issue of Tape Op!

While interviewing Bob Weston in 2000 for Tape Op #18, one of his comments took me by surprise. He told me, "Some bands just assume I won't record them. They assume I'm too busy, that I'm too expensive or that I only approach bands. When I hear that someone's afraid to call me, or assumes they can't call me, I can't even believe it." I'd always assumed since Bob worked on records that my friends and I bought and listened to that he was a hot commodity in the studio and that he was able to pick and choose projects to suit his taste and timeframe. The reality is that he was (gratefully) taking most any job that came down the pike in order to keep busy.

People's perceptions of how busy, inaccessible or picky a producer/engineer might be are often skewed. Most of us are easy to contact (see Vance Powell's, "People wonder how to find me and I say, 'Google me!'" in #82). Many folks are far more affordable than their

credits might lead you to believe. And everyone needs work; no matter how "cool" their job may appear. I recently talked to a good friend of mine who had a number of weeks work disappear overnight when a record label changed their mind on a band, and he's the kind of producer whom you might assume was always busy. We all live mostly day-to-day in this business (those of us crazy enough to attempt to make it a full time job) and what keeps clients coming our way is word of mouth, our back catalogs and musicians who wish to work with us. So to all the artists out there who admire the work of anyone on the other side of the glass, please consider that we might be much more available than you assume and that we'd be happy to work with you on any project.

#86

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