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Additions to TapeOp.com

I opened my commercial recording studio (Jackpot! Recording) in 1997, after years of simultaneously having a busy home studio while working day jobs to pay the rent. Making this leap to a full-time recording engineer/studio owner was terrifying. I...
 
Mark Ronson got his start as a young DJ in NYC before going on to work with Amy Winehouse, Nikka Costa, Lily Allen, Macy Gray, Saigon, Adele, Paul McCartney, Duran Duran, and many others. Mark's...
 
It is truly remarkable to step back and examine the full societal impact that some recording engineers and mixers have had on American culture. During his 18-year tenure as Chief Engineer for Motown...
 
Rudy Van Gelder's legend looms large, yet he has avoided most interviews throughout his 50-plus years in the recording biz. He has never discussed his techniques, and even in the following...
 
There's a dark cloud over Memphis this week I guess. First John Hampton, and now John Fry passes away. Fry's Ardent Studios is one of the most important American studios ever. We all shall miss this gracious and brilliant man. Read our interview with...
 
Very sadly, long-time and industry-renowned Ardent Studios producer/engineer John Hampton just passed away. John began at Ardent in 1977, and since then has been awarded 23 gold and platinum records, several Grammy nominations and three Grammy wins....
 
I have been privileged twice now, while interviewing studio owners for this magazine, to have encountered true mavericks. People whose views on the current state of "The Music Industry" have been...
 
With the music biz shifting, daily talk amongst musicians mainly revolves around the subject of adaptability. As old doors close, others are opening, offering creative control, DIY tools, and...
 
Twenty years ago, there really wasn't much of a market for "plug-ins." Sure, there were some limited software tools for audio, but they were mostly proprietary to a specific editor. Very little...
 
Better known by the last name "Explosion," due to his rock group Doctor Explosion, Jorge Mu-oz-Cobo started Estudios Circo Perrotti in 2003 in his hometown of Gijon, located in Spain's northern...
 
 
 

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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