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Additions to TapeOp.com

In honor of Spoon's new release They Want My Soul (also: survival past the 20-year mark as a functioning rock band), we're making our full interview with them from 2002 available to all subscribers for a bit. Enjoy!
 
With 2014's Lost in the Dream, The War on Drugs have made it onto most people's playlists. Frontman and producer extraordinaire Adam Granduciel was kind enough to take a break from touring to...
 
An Australian architecture student bumps into famous producer/engineer Flood while studying in Ireland, returns home to start playing in bands, and eventually moves to London and becomes an...
 
Bill Cheney and Jim Romney are the men responsible for keeping the amazing legacy of Spectra Sonics, a legendary, if criminally unheralded, pro-audio company alive.  
 
Lately we've been really appreciating companies who make simpler, more focused digital tools that concentrate on doing one thing really well, and Harrison's Mixbus definitely fits this bill. If you don't know Harrison, they are best known for their...
 
It was at a recent trade show, after a major DAW manufacturer cancelled our meeting, that I realized I was relieved to be off the hook. I always enjoy meeting with this person, and I use and like their products. But I was relieved to not hear...
 
Ted Nugent, REO Speedwagon, Poison, Mötley Crüe, Molly Hatchet, Twisted Sister. When pitching this article to Tape Op, it was not lost on me that many of the artists that Tom Werman signed...
 
For eighteen years, numerous albums, EPs, tribute tracks and even a four-CD box set of rarities, Jon Auer and Ken Stringfellow have shared a passion for creating recordings, as songwriters,...
 
What's the attraction of vintage consoles? There's no denying that a classic console will look incredible in your studio and make a great investment, too. But the real draw will always be the...
 
What is the attraction of vintage microphones? While we all may spend more hands-on studio time with our outboard gear, our console, and so on, there's undoubtedly a uniquely personal connection we...
 
 
 

Welcome to the Jan/Feb 2013 issue of Tape Op!

Imagine that you've become somewhat comfortable recording songwriters and bands in your very modest home studio. It's been fun; you've pushed the gear to its limits to get half-decent results, and you've already got a few loyal clients. Then you get the call, "Hey, we've been working in a pro studio and aren't happy with the mixes. Could you come down and help us out?" Panic and fear take over. How will you be able to figure out all this unfamiliar gear, in a different room? What will the speakers sound like? Certainly they should just find someone else. But this is also the moment you've been waiting for. What do you do?

This is the exact situation I found myself in nearly 20 years ago. I took the challenge. The studio manager gave me his home number on the way out the door saying, "You'll be calling me." He said it with a bit of resignation, capped with a raised eyebrow and a grin. He knew I was green as heck. What did I do? I asked that the house engineer (who seemed wholly unhappy with this situation) explain the signal routing to me, and I made sure the console output fed the DAT machine before he left for home. I brought headphones along that I knew well, and a boombox with some blank cassettes in order to make sure the mix would hold up in the real world. I only used EQ or compression when it was needed, and I listened closely to what was happening to the tracks. But mostly I tried to sculpt the mixes closer to what had been working for us previously in my basement studio. I kept everything very simple and worked with what I knew - and I didn't spend any extra time exploring gear I wasn't familiar with. The mixes came out pretty good and they made the cut for the CD release, along with tracks from my home studio. But no matter what I did that night, I made sure I never called the studio manager for help. No way would I do that. I had to prove I could do this, and I did.

-Larry Crane, Editor 

#93

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