Mar/Apr 2025

Welcome to issue #166 of Tape Op.

 

Recently, I randomly stumbled across a social media post advising people on how microphones work. It claimed that the closer the mic was to the source, the more accurate the sound would be. Despite the poster's seemingly authoritative tone, this type of information presents only a very simplistic tidbit of the actual knowledge of what one needs to know when choosing and placing microphones.

Where does the sound originate from? Is this the type of mic (cardioid or figure-eight) that builds up proximity effect? Is there a brighter or duller part of the instrument or amp that you need to consider? Do you need room ambience in the sound for it to work better? I considered posting a rebuttal, but soon decided against getting involved in one of those pointless internet conflict scenarios.

I've spent the last 30 years unlearning many "rules" I read long ago about mic usage in didactic books and articles. Put up a mic, listen, determine if it works for what's needed, and adjust accordingly. Then do it again on the next source. Next time, try different mics and think about how the sounds work together in new ways. This is how we learn. So ignore these often clueless "advice givers" of social media and teach yourself. Carve your own path!

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— Larry Crane, editor

In This Issue See more →

Daniel Tashian: Having Fun

by Larry Crane

In 2017, one of my best friends, Craig Alvin [Tape Op #137], kept texting me about a record he was engineering. He was saying how amazing the process was, and how awesome the results were. The album...

Urian Hackney: Punk in The Box

by Sam Retzer

A little over a decade ago, the A Band Called Death documentary brought cheers and tears to music fans worldwide, telling the fantastic tale of proto-punk band Death’s rediscovery. Having been...

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Gear Reviews See more →

PUNISHR 500 Series Saturator

by Malcolm Toft  |  reviewed by Brian Tarquin

Malcolm Toft [Tape Op #26, #165] began his career as a recording engineer at the legendary Trident Studios in London in 1968, then went on to found Trident Audio Developments, creating the initial...

32Classic MS Mix Strip

by Harrison  |  reviewed by Daniel Ryan Morse

Harrison consoles are beloved by many engineers, and after I had the opportunity to work with four of the new Harrison 32Classic MS Mix Strips, I understand why. While the Harrisons are not as...

PX2 Transformer Interface

by Pye Audio  |  reviewed by Stefan Konstantopoulos

After decades of manufacturing measurement tools and consumer electronics in England, Pye Audio merged with Phillips in 1960, forming Pye TVT Limited. Their studio technologies impacted an era of...

C60 & C90 Type One Cassette Tapes

by RTM Industries  |  reviewed by Kyle Field

I reviewed the RTM (Recording The Masters) 1/4-inch SM900 tape back in Tape Op #161, was very pleased with it, and have since used it for a few more mixing sessions. Then, at the 2024 NYC AES show, I...

Pro-Q 4 Plug-In

by FabFilter  |  reviewed by Dave Hidek

Since its release in 2018, FabFilter’s Pro-Q 3 [Tape Op #132] has become one of the most used, if not the most used, EQ plug-ins for professionals and enthusiasts alike. Seven years later, Pro-Q...

Nuvo N28 Stereo Ribbon Mic

by AEA Ribbon Mics  |  reviewed by Matt Anderson

When AEA released their first stereo mic, the R88 [Tape Op #96], in the early 2000s it was quite a statement. Other companies, such as Royer Labs, were fairly new to the scene, and ribbon mics seemed...

B67-269 (Version 2) Microphone

by BeesNeez Pro Audio  |  reviewed by Don Gunn

Ben and Veronica Sneesby have been making mics in Australia for nearly 25 years (the name derives from Ben’s nickname in high school). Some of their mics have been designed as modernized clones...

FK Comp 500 Series Limiter & Saturator

by Garbage Ideas  |  reviewed by Drew Vandenberg

I’m a big fan of using audio equipment originally designed for radio and other broadcast purposes to work on recording music in the studio. This gear is typically of extremely high build quality...

MBSI Channel Strip Plug-In

by Make Believe Studios  |  reviewed by Kirt Shearer

I’ve always been fascinated with the history of recording studios, the evolution of analog gear, and MCI equipment. There was one particular MCI console that almost seemed mythical: The...

Probe Diagnostic Listening Tool

by AudioTech  |  reviewed by Bruce Harvie

A few years ago, I had a water leak somewhere on a 600-foot-long pipe. There was no wet ground to give the leak away, and I even tried water witching/dowsing to locate it! No dice. Enter the AudioTech...

PSP Wobbler Modulation Plug-In

by PSP Audioware  |  reviewed by Larry Crane

For decades, I've wondered how the effect on the female backing vocals of Pink Floyd's "Time" from The Dark Side of the Moon was created. I hear a Leslie speaker vibrato or Doppler effect, but it's...

D-1 Multi-Path DAC

by imersiv  |  reviewed by Larry Crane

In April 2023, John La Grou, founder/owner of Millennia Media, dropped me a line about a new audio technology venture he was working on, with the caveat that I could not tell anyone what he was up to....

Knife Drop Fuzz/Synth Stompbox

by Third Man Hardware & Eventide Audio  |  reviewed by Larry Crane

Jack White [Tape Op #82] likes a certain guitar tone, right? A fuzz with a low octave and maybe some high octave piercing tone. Union Tube & Transistor hooked me up with their collab Third Man...

iLoud Micro Monitor Pro

by IK Multimedia  |  reviewed by Adam Kagan

Good things come in small packages, and that’s especially true for the iLoud Micro Monitor Pro. IK Multimedia first made waves with their iLoud Micro Monitors, which combined a compact form...

 

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

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