When I began Tape Op it was a reaction, in part, to the prevalence of high-end studios in other recording magazines. I'd see a photo of a giant console in a fancy room and think, "I've never made a record in a room like that." I knew that I (as well as most of my friends and peers) was making albums in small studios, most of which were in secondary markets (i.e. not L.A., New York, Nashville, or London). I wanted to make sure I was able to give voice to these people and places. Since then, Tape Op's coverage has certainly widened; and while I think that is a good thing, I still have a gut feeling that I need to be very "careful." I know the magazine's focus should be well balanced, between people working in top-end studios with major clients, as well as personal studios, small commercial setups, regional recording strongholds, as well as producers and engineers that work in certain niches.