Interviews

Magnetophone/Sea Saw

This was originally going to be just a short review of a record I liked very much, but as time went by I listened to it way too much and wanted to know more about how it was recorded and put together. The album is by a band called Sea Saw and is called Magnetophone, although since there are so many bands using the see saw-type name the band name is becoming the album name. Hence, Magnetophone.

Magnetophone is really only Trevor Campmann, a one-man-band home recordist who used a four track reel-to-reel deck to it's fullest potential in creating Magnetophone, the album. His work is nothing short of meticulous, finding the right sounds for the instruments, layering a thick buzzing pop drone, and when it's time to write a catchy hook (and there's a good handful here) he delivers the goods. Plus, a lot of the tunes use lyrics about recording technology as analogies for personal trouble, like "microphone has died, lose the tone" or "erase my tapes, my batteries are low" which totally hit home here at recording-geek central.

I caught Trevor in the middle of a band practice, as Magnetophone also reluctantly exists as a live vehicle (with extra members added), and we chatted briefly about recording.

How did you get started doing recordings?

In college I took an engineering class. I was a politics major but I just decided to take one thing that I thought might be interesting. It turned out to be really interesting. I wasn't really super into recording but it was a fun class. It was an 8 track analog recorder but I wound up gravitating toward the 4 track.

Do you have any idea why?

It was easier to manipulate. Initially, the 4 track was it. When I was in my bedroom I had to keep things really, really quiet. With 4 track you can make things sound loud even though they're really quiet. It's like the opposite of big, multitrack recording. Things sound puny but collectively they become a big, huge thing.

You were just concentrating on individual sounds and making them big?

Yeah.

Are you still using the TEAC 3440 [1/4" 4 track], that's on the album cover?

MORE INTERVIEWS

Hidden Musics
INTERVIEWS · ISSUE #175 · Sep 2026

Hidden Musics

By Ian Brennan

By 2014, I'd already been transitioning for more than five years from working in traditional studios to almost exclusively doing field recordings overseas. As a result, I'd had some success with groups like Tinariwen, Malawi Mouse Boys, and The Good Ones. At that point, the...

Yves Jarvis
INTERVIEWS · ISSUE #175 · Sep 2026

Yves Jarvis

By Geoff Stanfield

Yves Jarvis is the moniker of Canadian musician Jean-Sébastien Yves Jarvis. His latest release, All Cylinders, won Canada’s Polaris Music Prize for best album of 2025, a record on which Jarvis wrote and performed all of the 16 tracks. Made entirely using Audacity and a half-broken...

Joe Boles
INTERVIEWS · ISSUE #175 · Sep 2026

Joe Boles Seattle Recording Pioneer

By Alex Kostelnik

In the mid-1950s, Seattle was host to the little-known music recording legacy of Jay F. "Joe" Boles. A fraction of his discography includes The Ventures, The Wailers, Cab Calloway, Big Jay McNeely, Buck Owens, The Fleetwoods, Robert "Bumps" Blackwell, Ella...

  Rostam Batmanglij
INTERVIEWS · ISSUE #175 · Sep 2026

Rostam Batmanglij Sonic Cinema

By Sam Retzer

Ever since Rostam Batmanglij burst onto the scene as a founding member of Vampire Weekend, he’s been known for his penchant for baroque and leftfield sounds in pop-leaning indie music. Fresh out of college, he handled production for the first three Vampire Weekend albums (Vampire...

Melina Duterte
INTERVIEWS · ISSUE #175 · Sep 2026

Melina Duterte Sharing Curiosity

By Danielle Goldsmith

Melina Duterte began recording her own music armed with little more than a laptop, a budget mic, and a fascination with how records are made. As Jay Som, she crafted a distinctive sound defined by textural, layered guitars, and soft, intimate vocals. Since then, Duterte has expanded...

Oli Jacobs
INTERVIEWS · ISSUE #175 · Sep 2026

Oli Jacobs Friends & Commitment

By Larry Crane

A graduate of the Tonmeister course, a former Head Engineer at Peter Gabriel’s Real World Studios [Tape Op#63], and now an in-demand mixer, engineer, and collaborator with Jack Antonoff and Laura Sisk [#135], Oli Jacobs has had a heck of a career path. He’s worked on records for artists...