Hi. Tape Op is made possible by our advertisers.

Please support them by clicking on their ads.

<     Issue #93     >

 
 
 
 

Hi. Tape Op
is made
possible
by our advertisers.

Please support them by clicking on their ads.

 

Additions to TapeOp.com

I've tried a lot of different iOS software synthesizers, but this app is probably the most enjoyable and best sounding soft synth I've used to date — on an iPad or a computer — and it has...
 
As we pack our bags and prepare to head down to Los Angeles for the 137th Audio Engineering Society Convention (here is how the thing began in 1948), we thought we'd drop you a line and let you know what we'll be up to once we get there. Come...
 
We are missing the departed Lou Whitney today. Here's Vance Powell's fantastic interview with him from Tape Op #98 for everyone to read. - LC
 
Richard Kaplan, owner engineer of famed recording studio Indigo Ranch [Tape Op #103] is selling the remainder of his classic equipment collection.  It includes vintage and rare pieces by API, Aengus, Fairchild, Teletronix, Neumann and...
 
I'm not actually going to review the music on this record; it's free, just go get it and listen to it yourself. Instead, I'm a bit fascinated by the mechanics of the release itself. As my wife said when I told her I had the record, "Does anybody...
 
Just a quick note about the upcoming Audio Engineering Society (AES) convention in Los Angeles. We have arranged for all Tape Op readers to receive a free Exhibits Plus Badge to the convention. This badge is good for the Exhibition PLUS all...
 
 
 
Legendary record producer Bill Szymczyk helped dial in sounds for The Eagles, Joe Walsh, The James Gang, The Who, Elvin Bishop, and The J. Geils Band. Many have argued that AOR...
 
From the moment I first heard Joy Division's two studio albums, Unknown Pleasures and Closer, I was affected. Initially I returned the LPs to my friend Steve, saying, "These are too gloomy. I don't...
 
 
 

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

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

Please support them by clicking on their ads.