You know those ads? Yeah, some Photoshop jockey took the GUI of a plug-in and made it look like a piece of outboard gear, a synth or something. Drives me nuts. For years I couldn't figure out if one plug-in, I think it was Trilogy, was "real" or not. Ugh.
Image courtesy of Sonic Finger
Tape Op is a bi-monthly magazine devoted to the art of record making.
Producer, mixer and engineer Eric Valentine has a video series out that digs into making records. This video takes a look at his approach to mixing drums. Enjoy!
I received several CDs recently, notably the Monsters of Folk (Jim James, M. Ward, Conor Oberst and Mike Mogis) and Porcupine Tree's The Incident, that I really wanted to listen to but was unable to hear. Why? Because these promo discs were...
I finally figured out what makes for a successful tracking session: simply eliminate the variables. On one level this could be seen as pre-production combined with concise decision making. Certainly those can help - but what I'm talking about is...
Berklee College of Music sponsored a recent Tape Op newsletter and it got me thinking about music schools. In terms of my personal recording path, I learned on my own through trial and error and via mentors. You can read a little bit about that...
This is a fascinating article about a brand new study in human auditory perception that is showing that there have been "naive" applications of mathematical formulas onto our understanding of human auditory perception. I cannot claim to...
Below is a Guest Post from Jim Janik:
Album Credits Are Just As Important As the Money We Make (maybe more so)
by: Jim Janik
Have you ever googled yourself? I have. In fact, I have to. Like many freelancers in the music industry, it's just one of...
A huge thanks to everybody who participated in the Hurricane Sandy relief auctions we posted last week. Thanks to you and our advertisers, Sound Toys, Avenson Audio, Dangerous Music, Placid Audio, and Universal Audio, we raised $42,578...
For his new release, Honey, Caribou's Dan Snaith (Tape Op #35, #105) wears his Detroit techno influences on his sleeve, and uses AI to explore and reimagine vocals as well as manipulate his voice, to create an album of dance tracks that...