Tape Op is sponsoring an event at The Hangar, aka Tape Op Publishing HQ.
When: Saturday, September 6, 10am-6pm.

Where: The Hangar Studios, Sacramento, CA

What: The first Audio Underground Roadshow

What’s that and who will be there: Demos of gear from AUG manufacturers;

Ryan Hewitt (Red Hot Chili Peppers, Blink 182, Tom Petty, John Frusciante) who was profiled in Tape Op #61 will be doing demos of the Tonelux modular mixing system along with Tonelux designer, Paul Wolf.

George Massenburg probably doesn’t need an introduction as he was interviewed in Tape Op twice! (Issues #54 and #63) George will be demoing his GML gear throughout the day.

Former Blues Magoos drummer and gear designer extraordinaire Geoff Daking will be demoing his console, mic pres and compressors.

Peter Montessi of A-Designs, David Bock of Bock Audio Microphones and Tim Spencer of TRUE systems will be doing recording workshops on drum, guitar and vocal recording with Kris Anaya and James Neil of the band An Angle. Tim will also be doing an M/S recording workshop.

And in the mastering room, Brad Lunde will be demoing the ATC monitor line.

And, Tape Op will be giving away free back issues of Tape Op! Tape Op’s publisher, John Baccigaluppi will be on hand as well as the Hangar Studio crew. It’s gonna be a fun and educational day and it’s free!! Hope we see you there!

Space is limited, so send an email to todd @ transaudiogroup.com (remove spaces!) for a personal invitation and directions.

Here I am at Powell's City of Books in Portland doing the book reading. Quite fun to get up and make an ass of myself in a book store. Thanks to Leigh Marble and Ben for playing sweet music, to Kevin Sampsell for arranging this for Powell's, and to Jenna Sather for arranging this on our end. Buy the Tape Op book, Vol. II!

I got an email the other day from a PR person looking for Tape Op to write an article about several "known" engineer/producers and their drum recording techniques in the studio. These guys are known, and one of them we've written about and I think he's a pretty great engineer, but the other two have really worked on some mainstream crap. Here's my response, with names removed of course. This is what I deal with every day, and I hope it gives folks an idea of the BS I have to deal with and how John and I keep the magazine on track. Other mags, well - they can do whatever they want. -LC

XXXXXXX,
I'm not sure if you've read Tape Op before, but we don't do many articles like this. I prefer to keep with interview format pieces, or some articles about certain subjects or persons. We've interviewed XXXXXX before, and we don't do repeat interviews. I hate to have to say it, but folks like XXXXX and XXXXX have worked on some of my least favorite music of the last few decades. I know they have platinum records and Grammies and all, and maybe they're just doing their jobs, but in my eyes they've also helped mid-wife a lot of junk into the marketplace. In Tape Op we're looking for folks working on timeless, lasting, interesting and unique recordings. Sorry to be blunt about it, but it's just the way we decided to approach this 12 years ago, and our status as the second largest magazine in this field, and one not owned by an outside publishing company, leads me to believe I've made the right choice.

I also find it odd to have an article about drum recording from people who replace and/or reinforce most of their drums with samples in the mix. As an engineer/producer myself I love the possibilities these techniques open up, but the bland, homogenized sound we hear on the radio these days is part of what is killing the music biz in my mind.

I wish none of your clients any ill will, and I hope they enjoy their work, but it just isn't of any interest to me. I hope this isn't too negative, or you walk away thinking I'm some sort of asshole, but as you can tell is see this magazine as more than a place to get some press for engineers and producers and as a forum for the art of recording.

All the best,
Larry Crane, Tape Op Magazine

I ran the end rant about "Lies" I hear in the studio from musicians. I asked for "Lies" that engineers tell people, but only got these two. But they're pretty good! Please take with a sense of humor, according to Arthur, but there may be some truths in here too. -LC

I am a recording artist, who tracks and mixes my own recordings, and sometimes help others. I am not a recording engineer. While some of my friends are recording engineers, a few lies I have heard over the years, might explain why I am reluctant to involve them in recording projects.
1. Lets spend two [days] weeks getting drums sounds.
2. Let's compress everything, in tracking, then compress the mix, then compress in the mastering room. That'll sound great.
3. Let's close mic loud instruments, squash them with compression, then add EQ to them.
4.The mixes sounded good in the room, these self powered monitors cost over $3000, so it must be your fault the mixes sound bad everywhere else.
5. I'm a producer too.
6. I'm a musician too.
7. Doing live sound in the clubs for over five years hasn’t affected my hearing in the least.
8. It sounds great out in the room but it doesn’t sound good in the control room because you don’t have the right, [very expensive] mic, board, processor, etc.
9. Recording is all about compression and EQ.
10. Your project doesn’t sound good because, you didn’t have enough of a budget to record for more than two weeks.
12. You need at least eight tracks and just as many mics, compressors and noise gates to record a drum set well.
13.There is no difference between the sound of digital and analog.
14. Digital sounds great! Ugh!
Arthur Nasson

"On this album let's not listen to what the label says and just focus on making a great record instead"
"we can always fix that in the mix"
"yeah, I can get the Cold Turkey drum sound no problem"
"This transient designer sounds fucking great!"
"The mic's are in phase"
"once we play this to your manager he is gonna freak out"
"yeah we can work late tonight"
"tomorrow let's try and make it an early start, I will be here"
"I will buy the cigarettes tomorrow"
Soren Christensen

One of the local Portland weeklies did a blurb on me and the Tape Op book for the reading tonight. Mercury