Looking forward to seeing many of you at this year's AES convention in NYC!
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I recently have been digging through the Tape Op archives looking for writing, reviews and stuff we can post online. And I just found this snippet of hilariousness from Issue #7 in the Fall of 1997. Oh man, maybe I shouldn't post this... all...
I just received the first promo cassette in a long time from Odessa Records' Shit Horse. Alright! Wait, what year is it? Fucking A. I have a cassette player in the basement, and I could go down there, grab it, plug it all in and give this a...
Tape Op contributor Thom Monahan dug up this gem. Enjoy!
I finally figured out what makes for a successful tracking session: simply eliminate the variables. On one level this could be seen as pre-production combined with concise decision making. Certainly those can help - but what I'm talking about is...
We interviewed Loma in Tape Op issue #148 and spoke with members Dan Duszynski, Emily Cross, and Jonathan Meiburg about their recording process. Emily also did the cover art for that issue, and Jonathan is also a member of Shearwater and a Tape...
Support the Future of Music Coalition! [donate!] The FMC is "a small, Washington, D.C.-based non-profit that fights to get musicians a seat at the table in debates about the future of music. FMC's HINT (Health Insurance Navigation Tool) program,...
by John Baccigaluppi The music industry trade shows, and the NAMM Show in particular, have always been a mixed bag for me. Every year, for the last 20 years or so, Larry and I, along with Geoff, Scott, and Marsha (We miss you Andy, Dave, and Laura!)...
Your magazine was not the first place I'd seen Count's "I Have a Credit Problem" essay [Tape Op #89], but I feel compelled to respond. I agree with his general ideas - credits should be shown, and the current "album experience" in the digital...
If you want to stay in business you need to record all kinds of bands, including those you don't care for. (This is actually a shock to some people. It is. They don't last long, and their refusal to work with anyone except bands they hand-pick is...
