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Welcome to the May/Jun 2015 issue of Tape Op!

I've long been a fan of film soundtracks. In fact I entered college under the pretense of a degree in filmmaking, but (despite obtaining a degree) that time soon transitioned into running lights for live bands, volunteering as a DJ/Music Director at the college radio station, as well as eventually playing in a band and making records. But, from a young age, I have always been enthralled by soundtracks and how they could immerse a viewer in a movie. Film music was a way to be exposed to new and interesting sounds. For instance, the "Lux Aeterna" choral music of György Ligeti, as well as excerpts from his "Atmosphères" as used in Stanley Kubrick's 2001: A Space Odyssey, didn't seem as odd when connected to visuals. Soundtracks featuring folk, jazz, and reggae turned me onto more genres than I'd ever heard on commercial radio. My journey with film soundtracks took on an added personal significance one day in 1997, not long after I opened Jackpot! Recording, when I found myself in a theater watching the end credits of Good Will Hunting as Elliott Smith's "Miss Misery," a song I had engineered and co-produced, boomed through the speakers. It was a special moment.

I hope our readers enjoy our talks this issue with John Rodd and Brian Reitzell, two guys working on film soundtracks in very different ways. Also check out my review of The Wrecking Crew — a film about the legendary L.A. musicians from the sixties. I'll see you at the movies. 

#107

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