Sonic Boom

Interviews

Tommy Ramone

Interviews

Gordon Raphael

Interviews

Wade Goeke

Interviews

Microphones

Interviews

MORE FROM THIS ISSUE

JULY 31, 2025 INTERVIEWS
Microphones

Microphones: The Decca Tree Technique

In the last issue, Bruce Bartlett examined many of the ways to position two mics for great stereo recordings. Although it might seem strange, there is also a cool way to get great stereo tracks using three mics. This method uses a device called a "Decca Tree." In simplistic terms, a Decca Tree is a t-shaped bar that is suspended above a sound source. The bar serves two purposes: to support the mics and to space them a certain distance. In addition to capturing a solid stereo picture, a Decca Tree also provides opportunity to alter the perceived depth and scope during mix-down.

JULY 31, 2025 INTERVIEWS
Mouse On Mars

Mouse On Mars: German Electronic Lab Rats

Mouse on Mars have been electronic pioneers since the early '90s, being one of the first bands to successfully create electronic music for the non-raving crowd — one of the more important bands bridging the gap between samplers and indie rock. Jan St. Werner and Andi Toma have been releasing records steadily since the beginning and with their newest, Radical Connector, prove that they are still expanding their sonic arsenal.

JULY 31, 2025 INTERVIEWS
Phil Taylor

Phil Taylor

For nearly a century, The Astoria has woven its own distinct musical heritage along the banks of the river Thames, just southwest of London. With its lush and leafy surroundings, highly reminiscent of what one might imagine in Kenneth Graham's The Wind in the Willows, the 90-foot houseboat has achieved near mythical status. The Edwardian-style boat, built in 1911 by the finest craftsmen available, has been synonymous with an elite, musically inspired clan of entertainers, musicians and producers spanning multiple generations. Fred Karno, a famous music hall impresario who managed the likes of Charlie Chaplin and Laurel and Hardy, was the vessel's original owner. When he had it built, Karno described it as "...rather an elaborate affair, with mahogany paneling and state-rooms for guests. At night it was lit up with festoons of coloured lights...". Throughout the years, The Astoria was the site of many elaborate banquets and gatherings, whose guests were often entertained by "special amplified orchestras". From 1926 to 1950 it was owned by Vesta Victoria, and then by Sir James Greenwood, who commissioned an orchestra to perform on the Astoria's deck to an audience of over 2,000 moored in small boats and on the far river bank, beneath a grand display of fireworks. In 1986, David Gilmour of Pink Floyd acquired the vessel with the intention of using it as sanctuary for his own composing and recording. The grounds of The Astoria, named after the famous 18th-century Shakespearean actor David Garrick who is credited with helping bring the bard's dramatic genius to the masses, cover one-third of an acre and are breathtaking in their natural beauty. One enters through an ornate tunnel, designed by Lancelot "Capability" Brown. Capability Brown also designed the gardens at nearby Blenheim Palace and Windsor Castle. For almost two decades, Phil Taylor has been the steward and driving force behind the current iteration of Astoria, which is now one of the most technologically advanced recording studios in the world; it is exceptionally unique. Its idyllic ambience is matched only by its technologically superior, hi-fidelity infrastructure. Taylor's own musical heritage includes having been Mr. Gilmour's right-hand man and guitar tech since 1974. He has also handled Pink Floyd's back-line for their live shows since that time. One summer afternoon, I had the privilege of meeting with Phil, who, despite being charged with such a great responsibility, was very gracious with his time. With his easygoing character and down to earth nature, he struck me as someone who had clearly hit a rhythm in his career and successfully married his passion with his natural abilities.

COLUMNS

It’s the End of the World as We Know it (and I Feel Fine)
END RANT

GEAR REVIEWS

Gear Reviews

?Alice? small-diaphragm condenser mic

by ?Alice? small-diaphragm condenser mic  |  reviewed by Inverse Room

While trolling the ancient "DIY Mics" thread on the Tape Op forum, I came across a post from Scott Helmke (AKA Scodiddly) about a microphone he was working on based on the Transound TSB-165A cardioid electret capsule, a high-quality element that requires an external FET (and thus more design and...

Gear Reviews

B-CONTROL BCR2000 USB/MIDI controller

by B-CONTROL BCR2000 USB/MIDI controller  |  reviewed by Jason Wolford

Behringer gets bashed a lot because they've managed to drive down the price of project studio gear significantly without raising (or in some cases maintaining) the level of quality set by manufacturers like Mackie and BOSS, whose gear Behringer has been known to imitate. I personally have no...

Gear Reviews

BravoPro Disc Publisher

by BravoPro Disc Publisher  |  reviewed by Andy Hong

In Tape Op #44, I wrote a review of the Bravo II Disc Publisher and called it "awesome." The BravoPro is the new big-brother to the Bravo II. Using either, you can "publish" your own CD's or DVD's with your own full-color graphics printed right on them. Unlike its sibling, the BravoPro includes two...

Gear Reviews

Carmen Ghia tube guitar head

by Carmen Ghia tube guitar head  |  reviewed by Geoff Farina

A few recent experiences with a stripped-down 60's Fender Deluxe have finally convinced me to pack up my trusty Twin Reverbs for good. There's just something magical about the combination of the softness of tube rectifier and genuine power amp distortion that trumps the Twin's high-powered...

Gear Reviews

DrumCore

by DrumCore  |  reviewed by Jeff Robbins

First off, I should mention my hesitation about drum loops. Over the years, I've developed quite a library of drum loops, and although they're fun to play with, they rarely make it into my finished tracks. I just have a hard time basing a track on a canned beat that is available to anyone. It feels...

Gear Reviews

FW-1082 FireWire Audio/MIDI interface and controller

by FW-1082 FireWire Audio/MIDI interface and controller  |  reviewed by Scott Colburn

While reviewing the TASCAM FW-1082, I found myself reminiscing back to the days of the cassette four-track, with which an entire underground network of rebel musicians recorded their own music and traded their art with other musicians. This sort of free-spirited swapping continues today with the...

Gear Reviews

Live 4

by Live 4  |  reviewed by Chachi Jones

When the first version of Ableton Live hit the shelves in 2001, it instantly found a hardcore audience of music makers desperate for a flexible arranging tool with an emphasis on playful experimentation. Today, with version 4's addition of MIDI and virtual instrument support, Ableton Live has...

Gear Reviews

MasterQ parametric EQ plug-in

by MasterQ parametric EQ plug-in  |  reviewed by Garrett Haines

In general, I'm not impressed by most of the "mastering- grade" EQ plug-ins on the market. I mean, I put reindeer antlers on my dog for Christmas card pictures, but it doesn't mean my dog can fly. Likewise, calling something a "mastering EQ" doesn't mean it can compete with hardware. So, I really...

Gear Reviews

MDR-NC11 Noise Canceling Ear-Buds

by MDR-NC11 Noise Canceling Ear-Buds  |  reviewed by Andy Hong

In Tape Op #26, I compared the Sony MDR-NC10 earbuds to Bose QuietComfort headphones, both of which employ active noise-canceling technology. Although the Bose phones sounded better, I preferred the Sony earbuds because they're way more practical for traveling. Unfortunately, my MDR-NC10 earbuds...

Gear Reviews

Phoenix TDM plug-in

by Phoenix TDM plug-in  |  reviewed by Matt Boudreau

In the last several weeks while I was writing this review, Quantegy closed its doors for financial restructuring, Studer 24-tracks were listed on eBay for $7000 with Dolby SR, and the tape-using community began a frenzied quest to stockpile what remained of the dwindling tape supply. Now here I am...

Gear Reviews

Picturebox, Inc.

by Picturebox, Inc.  |  reviewed by John Baccigaluppi

This book is a very cool intersection of music, writing, photography and design. What it's not is a straightforward documentation of the band's music that holds the reader's hand and discusses the subject in the traditional rock journalist/writer fashion. The 160-page book includes a 12 track CD of...

Gear Reviews

PS-04 Palmtop Studio

by PS-04 Palmtop Studio  |  reviewed by Andy Hong

Attendees of the first Tape Op Conference in 2002 may remember a photo of the yet-to-be-released Zoom Palmtop Studio in my presentation of music technology history. I had read enough prerelease info about the unit that I knew it'd be pretty damn impressive, given its extreme portability, even if it...

Gear Reviews

Quartet II Recording Channel

by Quartet II Recording Channel  |  reviewed by Mike Caffrey

The Pendulum Audio Quartet II (Mercenary Audio Edition) sounds outrageously beautiful. The Quartet II is four independent analog processing elements: a tube mic preamp, a tube EQ, a tube compressor, and a solid state limiter. It takes up two rackspaces and has both XLR and 1/4'' I/O's, giving it...

Gear Reviews

Swivel Mic Cable

by Swivel Mic Cable  |  reviewed by John Baccigaluppi

Pete Weiss touched on these cables in his review of the Planet Waves line in Tape Op # 39, but I recently picked up a few of the cables after seeing them at the recent NAMM show, and thought they were deserving of their own mention. Most of the new products in the audio industry, especially in the...

Gear Reviews

UE-10 PRO Ear Monitors

by UE-10 PRO Ear Monitors  |  reviewed by Jeff Elbel

Ultimate Ears competes with companies like Sensaphonics for sales of in-ear monitors to professional users. After his introduction to the iPod, Ultimate Ears founder Jerry Harvey recognized an opportunity; his $550 UE-5c model now targets the consumer market. Despite the significant price...