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

Tape Op is a bi-monthly magazine devoted to the art of record making.

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