Jul/Aug 2011

Welcome to issue #84 of Tape Op.


I was out at a club watching some bands play the other night, but in the back of my mind I was wondering what to write about for the intro of this issue. Then it hit me. I'd been telling some friends at the show what a pleasure working on a recent album was, as the musicians involved were really good players and it was fun to work on. I'd also been enjoying the show I was at as I marveled at the quality of the musicians onstage. I suddenly realized what I wanted to say.

Sometimes we forget how or why we ventured off into this world of music recording. For myself, this path began with my interest in electronics and sound. Eventually I became more of a musician, playing in bands and such; but, in my opinion, I never became a great musician. Getting to work with players that intuitively understand and support a song with their abilities is a treat. At times I've felt privy to the best "private performances" I'll ever see from my favorite artists. For a kid that grew up obsessing over music and albums, being able to help capture these moments while working with great musicians and songwriters is certainly its own reward. I feel lucky.

— Larry Crane, editor

In This Issue See more →

Viva Voce

by Larry Crane

I've been a fan of the husband and wife group VIVA VOCE since I first heard their second album, Lovers, Lead the Way, in 2003. To my surprise, the band asked me to assist in mixing The Heat Can Melt...

Relax, It's Just Digital

by Ulrich Wild

Tape was an imperfect medium. We all used it because it was the only medium available. We grew accustomed to all the flaws and worked around them. As a matter of fact, we used them to our advantage...


by Garrett Haines

In an interview with Bill Skibbe for a "Behind the Gear" article [#44], he said, "One of the most important things you have to be able to do is troubleshoot and fix problems. Because when the stuff...


Columns See more →

End Rant

The Big Misconception

by Larry Crane

Here's the scenario: You're reading an article in a magazine about the current state of the music business. You come across the inevitable part where the journalist talks about how empowered musicians...


Gear Reviews See more →

Melodyne Editor

by Celemony  |  reviewed by Eli Crews

My relationship to pitch-correction software is complicated, as it probably is for many of our readers. On one hand, it’s just a tool, like any of the other behind-the-curtain, smoke-and-mirror...

InVision USM shock mount

by Rycote  |  reviewed by John Baccigaluppi

Shockmounts suck. Right after headphones, they are the bane of any studio owner’s existence. Every time I walk back into the studio, I find broken headphones and at least one shockmount that has...

C7 FET condenser mic

by Miktek  |  reviewed by Adam Kagan

Miktek, located in Nashville, TN, is relatively new on the scene, but their microphones are making a big impression. The C7 is their large-diaphragm FET condenser mic, which is aimed at the very...

PF Pop Filter

by JZ Microphones  |  reviewed by John Baccigaluppi

    Sometimes a very simple basic product that does a mundane but necessary function is a much more satisfying purchase than the latest compressor or plug-in that everybody’s raving...

195 large-diaphragm condenser mic

by Bock Audio  |  reviewed by Thom Monahan

Bock AudioSo many microphones... I once had a friend tell me, “Every mic, no matter what kind or what condition, will be better than every other mic on at least one thing. Your job is to figure...

T15 mic preamp

by Seventh Circle Audio  |  reviewed by Garrett Haines

Long before the 500-series format craze, Seventh Circle Audio (SCA) was helping ambitious engineers build phenomenal preamps (Tape Op #54). Continuing my DIY quest, I was very excited to learn of the...

1176 Blue Stripe clone

by Hairball Audio  |  reviewed by Garrett Haines

For ADD readers: Yes, you can build your own 1176 clone. No, Universal Audio won’t sue you. Yes, it sounds good. No, it doesn’t sound like the current UA 1176LN. No, it isn’t easy....

CM-28 small-diaphragm tube mic

by Advanced Audio  |  reviewed by Kirt Shearer

I love this mic. There - I did it. I didn't bury the lead under my normal lengthy preamble. In fact, I'm going to do the review backwards. The Advanced Audio CM-28 is an amazing deal. It provides...

B80 Mothership

by Burl Audio  |  reviewed by Marc Alan Goodman

  There seems to be a new trend developing in audio converter design. Up until recently, engineers considered converters to be part of the digital or computer side of their rig as opposed to the...

TS-1 MKII small-diaphragm tube mic

by Chameleon Labs  |  reviewed by Garrett Haines

Praise for the original TS-1 (Tape Op #60) was generally universal across print journals and web discussion boards. What did Chameleon Labs do to improve this well-received device? The new TS-1 MK II...

Drumagog 5

by WaveMachine Labs  |  reviewed by Thom Monahan

WaveMachine LabsDrum replacement software can seem like so much digital voodoo, adding to the “Photoshop-ification” of music production, but really it’s just an extension of drum...

Melodyne Editor

by Celemony  |  reviewed by Eli Crews

My relationship to pitch-correction software is complicated, as it probably is for many of our readers. On one hand, it’s just a tool, like any of the other behind-the-curtain, smoke-and-mirror...

Music Reviews See more →

Music Reviews

Salt On Sea Glass

by If By Yes | reviewed by

Sitting in a vegetarian café in her beloved, adopted East Village, Yuka Honda is more concerned about the recent catastrophes in her native Japan than promoting her record. It's understandable....



Tape Op is a bi-monthly magazine devoted to the art of record making.

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