Welcome to issue #152 of Tape Op.

Over the last 15 years, my studio career has leaned more and more towards the mixing process. I'm still involved in producing many tracking and overdubbing sessions, but even long before the pandemic I began receiving mixing jobs – many remote and unattended – and I fully embraced the work. As the "10,000 hours" came and went, the mixing of a song became easier and far more intuitive – something I was almost surprised by, but certainly made a lot of sense. However, just like tracking and producing, once a majority of the mixing process became quicker and less difficult, I started to explore avenues in which I could do aneven betterjob. As I scribbled this thought down as one of my End Rant ideas a year ago, I began looking for ways that my mixing could have even more emotional impact on the listener. It was something I was quickly reminded of when my pal, John Plymale, submitted the writing that became this issue's End Rant. I always want to leave my clients – whether they be the artist, producer, engineer, or record label – happy with the final mix, but I am also constantly thinking about the listener's possible reactions as well.I want fans to get emotionally involved and excited about a song, hopefully in the same way so much music has moved me over the years.

— Larry Crane, editor & Founder

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