Many Tape Op readers likely can’t imagine that issue #1 was Xeroxed and hand-folded 28 years ago, but it was. People may think of us as DIY, but there’s a long history of so many helping this magazine be its best, beginning with friends who dropped by to collate and staple for free beers! Thanks to all the folks that have worked so hard with us, and to all the amazing subscribers out there! -LC
Tape Op is a bi-monthly magazine devoted to the art of record making.
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...
By November 24th we will have installed a new Rupert Neve Designs 5088 console at my studio, Jackpot! Recording Studio, in Portland, OR. Excited? Of course. And look, no EQ, no preamps and no automation. Just pure, perfect analog mixdown heaven. You...
Years ago John Fischbach, a well-established and respected producer/engineer, came to my studio to record an album that our mutual friend, Luther Russell, was producing. [See Tape Op #21.] In those days my studio, Jackpot! Recording, was a diamond...
Spring has sprung in the Northwest, which means it's still raining, and possibly snowing with a few stellar sunny days thrown in for good measure. The trees are leafing out and there is that lovely dusting of pollen and fallen cherry blossoms on...
Vintage King recently celebrated their 30 year anniversary. Like most things, there is a story behind what has now become a fantastic retailer of both vintage and modern recording equipment. I caught up with founder Michael Nehra on a Zoom call and...
Remember Henry Hirsch from issue ? He's moved locations yet again, and his new studio (in Hudson, NY) looks fabulous. Check it out here.
An unreal space and an amazing engineer/producer.
I just wanted to make sure everyone knows that we have finally published Phill Brown's book. In issue #12 Larry Crane and Chris Eckman interviewed Phill Brown, a producer/engineer with credits like Mott the Hoople, David Bowie, Sly Stone, Led...
Your magazine was not the first place I'd seen Count's "I Have a Credit Problem" essay [Tape Op #89], but I feel compelled to respond.
I agree with his general ideas - credits should be shown, and the current "album experience" in the digital...