Maybe you Should Worry more about Performance and not Recording?
I don't want to explore this concept with as many words as I might for aTape Op"End Rant", but I had to dump this shit out of my mind immediately. Someone dropped me a line recently; "I'd like you to hear this record I worked on. We didn't use EQ, compression, plug-ins, etc." They went on to describe all sorts of "rules" they created for the project. Fine by me; I do a similar thing when I record to sorta reign the project in and understand how we will proceed, though I always seem to bend every rule by the end. But in this case the artist/engineer/producer was certain that he or she had not done so.
So I put on a random song off the album and within a few seconds I'm like, "Hey, was that drum intro hit a little off?" I keep listening and the drums get more and more off. Not "good" off like a Shaggs album or some odd Syd Barrett, but just way off and distracting from the song. l skipped to another song and heard the same thing when drums entered near the end of the song and basically derailed it instead of lifting it up.
Look, if you're gonna burden your recording with little rules that dictate how it is recorded that's great. Fine. Whatever. But when you do so please think about what that will mean. Is it helping the songs? Is it making the songs sound worse than if a few retakes, overdubs or fixes were going on? Or maybe the player/overdubber in question should have been replaced with someone with better technique or feel? When you listen to a classic song recorded under "primitive" or "simple" conditions yet the song sounds fantastic, a big part of it is because the performances were so damn good. But it's never because the technology was limited or the track count was low. Never. Ever. Was.
Sorry.
MORE ENTRIES

April 18, 2025
Tunde Adebimpe: Thee Black Boltz
BY Geoff Stanfield
Ian Brennan interviewedTunde Adebimpe forTape Op#155, and he has just releasedThee Black Boltz, a beautifully conceived album full of interesting soni...

April 13, 2025
New Bon Iver: SABLE fABLE
BY Geoff Stanfield
Listening toSABLE, fABLE, the new release from Bon Iver, it dawned on me that he and co-producer Jim-E Stack, have created a collection of songs that ...

April 4, 2025
New Music from Dirty Projectors
BY Geoff Stanfield
We interviewed David Longstreth of the Dirty Projectors back in 2013 forTape Opissue #93. His new release,Songs of the Earth, is a return to a sound a...

March 31, 2025
New Music From Tortoise
BY Geoff Stanfield
Members of Tortoise have graced the pages ofTape Opfor years. We interviewedJohn McEntirein 2001 for issue #23, and more recently we coveredJeff Parke...

March 30, 2025
New Music From Lucy Dacus and Perfume Genius Produced By Blake Mills
BY Geoff Stanfield
We interviewed producer and guitarist Blake Mills inTape Op#115and for ourpodcastin 2019. He’s produced newly-released records for both Lucy Dacus –Fo...

March 21, 2025
Fort George Brewery and Tape Op Overdub IPA
BY Geoff Stanfield
Brian Bovinizer is the Marketing and Sales Director at Fort George Brewery in Astoria, Oregon. Being aTape Opreader, some 11 years ago he spottedTape ...

March 5, 2025
Mdou Moctar Releases Tears of Injustice
BY Geoff Stanfield
Released in 2024, Mdou Moctar'sFuneral for Justiceis a raucous, distorted guitar-driven album that, along with bands such as Tinariwen, turns the idea...

March 4, 2025
Panda Bear Releases Sinister Grift
BY Geoff Stanfield
It's always a good day when I discover that there is new music from Panda Bear. It hits all the marks for me; nods to the classics, modern concepts, s...

February 25, 2025
New Music From Rafiq Bhatia
BY Geoff Stanfield
We hadRafiq Bhatiaas a guest on ourDISCussion podcastin June of 2023. His new release, a collaboration with pianist Chris Pattishall,Each Dream, A Mel...