Welcome to issue #66 of Tape Op.

With seventeen gold and platinum records to his credit, Adam Fuest's eclectic discography reads like some sort of schizoid iPod run amok. The London- born-and-raised Fuest has worked with a variety of...

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 so p...

When Canadian rock band Sloan hit American college radio in 1992, even they might have been surprised to know that they would still be going stronger than ever in 2008. Since their debut album, Smeare...

To anyone who didn't experience the early '90s alternative rock boom firsthand it must seem hard to believe there was a time when major labels gluttonously sought out and signed as much of the rock un...

Billy Barnett has been making records for 35 years. His studio, Gung-Ho, opened in 1985 and is known for a hundred miles in any direction from Eugene, Oregon, as the best place to make a record. Bill...

David Strackany, a.k.a. Paleo, is a wandering musician/poet currently calling Brooklyn his home. However over the last couple of years you'd be more likely to find him across the US traveling across 4...

In my own stubborn world of recording, sample libraries are slowly making inroads. Almost everything I work with involves real instruments recorded in a room, yet sampled strings, Mellotron and even p...

Sloan's Never Hear The End Of It (NHTEOI) and their new album, Parallel Play, were both recorded in the band's rehearsal space by their long-time soundman, Nick Detoro.

The Tone Factory is one of the few commercial recording studios in Las Vegas. Initially started by musician Vinnie Castaldo to serve his own needs, the studio soon became busy with local and national...