Interviews
By Jenny Toomey, Jim Newberry, Nicole Radja
Jim O' Rourke is a busy fella. He's worked with so many bands it's difficult to believe he's only been producing for 5 years. When asked about his work ethic and prolific output, Jim always emphasizes friendship and fun, declining even to call himself a producer. Aside from recording...
Interviews
When we interviewed Joe Chiccarelli for Tape Op #14 he was heading back to Chicago to finish producing the new Pulsars album f...
Interviews
For decades condenser microphones have been the staple for high-quality recording and live sound assignments. Unfortunately, not eve...
Interviews
Interviews
We interviewed Phill Brown in issue number 12 of Tape Op. Over the years he's worked with some of the greatest artists ever, like Jimi Hendrix, Joe Cocker, Traffic, Spooky Tooth, Jeff Beck, Led Zeppelin, Robert Palmer, Bob Marley, Steve Winwood, Harry Nilsson, Roxy Music, Stomu Yamash'ta, John Martyn, Little Feat, Atomic Rooster, and Talk Talk. This is an excerpt from his book, Are We Still Rolling?URL, and we'll be running more chapters from it in upcoming issues.
The phrase "recording artist" is usually reserved for the sensitive souls who sing and play the stuff that makes its way onto those shiny little discs. But there are some on the recording end of the process that truly deserve the title. Recordists who forge a distinct creative identity of their own that manages to distinguish and enhance each project they work on without overwhelming it. Tchad Blake is among them. In the last decade, Blake, with frequent partner Mitchell Froom, has created an aural terrain unto itself. Like a latter Beatles album or Brian Eno [#84] recording, Tchad Blake's work is usually a "down the rabbit hole" experience — the listener is transported to another realm where the sonic texture asserts itself as a part of the creative process itself. For a record world titan who has worked with a staggering number of heavyweight music makers from The Master Musicians of Jajouka to Tom Waits to Sheryl Crow, Tchad comes across as an unexpectedly down-to-earth guy (I easily spot him in the dining room of his luxury hotel: he is the only one in a red flannel shirt and jeans). On a November morning in Seattle, knee-deep in the current Pearl Jam record, his hunger and enthusiasm for the work of recording is infectious. Between spoonfuls of oatmeal, we discuss, among many other things, Jaipur in the wee hours (and why you might want to pack earplugs for a visit), his predilection for high-contrast sound, and why he loves being a Latin Playboy. But like all those who climb to creative heights, he begin his trek at street level...
