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5/16/ Program Equalizer EQPWA | Tape Op Magazine | Longform candid interviews with music producers and audio engineers covering mixing, mastering . TAPE OP. The Creative Music Recording Magazine. BRUCE BOTNICK. The Doors, MC5, Love, Pet Sounds. LESLIE ANN JONES. Automatt, Capitol Studios. Dude is awesome. RULES: All of your OWN music / Mac covers should be posted in the dedicated thread that is stickied. Anything with no.
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We have over 35, free subscriptions to the print magazine and less than paid subs. Please tell them compressors. Your local Goodwill store?
Thirty-eight cents a piece! Your interview with Kearney Barton noise in the electrical lines that would be recorded. Guitar Center still sells tapes. As usual. There are no downsides excluding larger files to hearing the music we all love with higher quality. Shaw is right — the artists are the ones who have the responsibility to change this.
I now also have two 8-tracks. We need more companies like these! I think Mr. I feel confident about getting a few rackmount pieces. Tape Op has been. Last year I placed a small order and the service was quick and the price fair. Although I would like to add a couple: Everyone wants to see everything in 3-D.
Jay-Z, Eminem, Kanye, Drake
I work really hard. Maybe less hiss? That would have been nice to know. Cassettes have provided me with a whole way of working that I never got to experience before.
What more could we ask? Arthur R. Back in the good ole days I guess! I am a very satisfied customer. I am bombarded with the latest hassle. Missouri nationalaudiocompany. It made my day.
I recently moved and I have a whole floor of my house for a studio. I am not into lo-fi. There is certainly no right or wrong. Most gear. Here it goes: Record any way you wish. Jumping onto some lame bandwagon that was probably defined by some jackass journalist is the last thing any self-respecting artist should ever do.
I work with a lot of electronic musicians and I keep running into a fundamental issue time and again: To me. Be yourself. People just turn down the volume in the DAW. Please support them and tell them you saw their ad in Tape Op. Recent uses of the phrase have led to it becoming a genre. Is recording on a DAW a genre? I always encourage people to work with what equipment is available. Good point though.
Those were subjective decisions that were made on the fly. He a concept actually became an asset. And sometimes it would just be cool to impose a straight 84 on that.
RZA came in and set the tone for the whole track. I wound up with a lot of sessions that are We wound up doing it there because Tony had a session at Studio G. A lot of the loops are of me just grabbing the closest instrument. The fact that we started recording things without instrumental process. Dan and Pat were the producers. RZA had a lot more to do with the stuff. It would take shape in front of us. NOE and M. Nicole Wray sings a bunch of the hooks. Are you guys seems to be a pretty common opinion.
Basically myself. None of the stuff was to a click — it had to be interpreted as a hiphop song in the end. Damon was getting tracks done and then talking about how The Black Keys are all content and bringing in MCs?
Each song features a different rapper? Damon think are cool in the rap scene. We also had other suggestions. Mos Def. I was amazed. We decided Audio] Copperphone mic between the snare and the to have some other people take some stabs at the hat. Nothing version. The helping get a quick punch-in for RZA when he wanted combination of those things is like the professional to mic his Blackberry.
It sounds like an awesome project. Were you self-conscious about the subtractive process. I have this Korg. Or were you just Joel Hamilton.
As a mix person I can throw it in secret. Rather than. It was awesome. We also changed mastering people to see if sound like things were fucked up in the studio and then we could get the specific aesthetic that was being a mix engineer had to deal with it. Clay Holly did a few of the mixes as well. Ludacris and Q-Tip — we had to find out more. It each other. Allen Farmelo is at www. Fucking great. Blige vibe. I did some of it with a [Neumann] U If you Lots of assembly but. The instruments and people not on a click and wind up with aesthetic.
He [RZA] rocked the control room like it was a show. But man. It classic-era hip-hop. It could be the was set in stone.
It was good to have some fresh ears come to the love has been made. The resulting album. It was more of a is. Jim Jones. He did the perfect executive EQ. He so you pull out all these tricks. I think [Beyer] M88 overhead. I think what we came up with in the sounded crazy and wrong when we were listening to it. Most of the music I love definitely project.
Things were left incredibly abstract. And Damon Dash! What I wound up with was a bunch of choices that mixes. He would dance right most part. I would blow it to bits with a tube Magazine. It felt like the modern version of wanted to make the sounds that are happening right letting people jam. And was incredibly enthusiastic. What would the strengths of any given performer were embraced. It was really impressive. We wanted it to still sound like The Black Keys. There are webisodes on The Blakroc website.
They feel compelled to be too song-y and too musician-y.
Wu-Tang Chamber Music. We also had a keyboard player who was in on some tracks. I became an editor at this magazine called Mass Appeal. The record. For me it was like. I went on to be a hardcore punk rock kid.
Besides this project. The way it ended up being edited was that drums and bass were always the thing that ended up staying. He was already well into his career in terms of recording. Not even really interpolations. I read The Source a lot in elementary school in suburban Boston. The keyboard player was doing a wide variety of stuff.
Celebration and Rings. So I was always talking to the hip-hop producers who came in. What was your working method? Did you do preproduction? Preproduction was all about vibe. At the same time I was building my hip-hop connections with people I had met through doing Scratch. The first proper record I worked on was with Chris Exactly.
From there it was take the jam and listen to it: Can you rock something that goes with that? That was the time when hiphop producers were starting to become celebrities — Pharrell.
Lil Jon and Kanye West — these were the people that they wanted on the cover. How did you get involved with the WuTang Chamber Music project? Because this was after September 11th and we were downtown. How did you get into recording and production in general?
Coady — this hardcore band called Das Oath that we recorded in a week at Headgear [issue 65]. It was like. Me and Chris Coady worked there at the same time together and we became close friends.
At the end of the day we wanted something that was like Enter the Wu-Tang 36 Chambers. Then I would take that basic beat and mix it. I had all this software that I was using and hipping people to that I was interviewing.
Tape Op Review: Dangerous 2-Bus
It was full of crazy vintage synthesizers. Ghostface Killah. Or feel like two completely separate songs. That was why it made sense to do a project like this with them.
So mic up the drum kit — we had a small live room — and we had bass and guitar in the control room going DI. From there I ended up spending a lot of time in studios. You want it to resonate with the feel that people are expecting. I ended up meeting tons more producers.
The production team on Chamber Music was basically myself. From there I ended up doing some remixes [as Ruby Beats] for bigger indie rock bands like Architecture in Helsinki. I just produced an album with RZA where we used a live band for basic tracks and then tried to make it sound like samples. If you fuck with a modular once. The live band is a group called The Revelations.. It was a super fast record.
You guys all know what WuTang is supposed to sound like. Their repertoire is very much oriented towards stuff that RZA might have sampled. I basically sat around. So after we had all these tracks it went back to a more hip-hop methodology. I was into hip-hop before anything else. Inspectah Deck and U-God A while back I met this guy in New York.
The store had a pretty high—profile clientele — a lot of big producers — and I was the guy who understood hip-hop. It forced me to think North 12th and Kent. We were helped make the whole thing really work.
I just had to somewhat limited in terms of gear. I remember sitting with all these beats any of it. You fucking Ensoniq EPS. I think Gintas really understood what needed to have it translate. My own studio is in the West Village. The drummer. Were you engineering for vibe? I was producing. Gintas it really worked. The live room was super tiny. The studio we were tracking in was Where were you working? Those beats got sent out. Sort of mood pieces that frame the proper tracks?
I used a SansAmp [plug-in] on the master bus. The Revelations came in again and they played experimental. Masta Ace and Sean Price. In terms of tracking. Then word comes back. On 36 Chambers half the tracks sound like shit.
Now I had to send it to Ghost[face Killah] and Raekwon. While we were down there we had to figure out how to make the tracks we had into a record. SSL Crystallizer — run them back through each other and then it starts happening. The sounds are dirty. Who else? Kool G Rap. That process just involved lots of distortion — different guitar amps. I used the Eventide Anthology bundle for pitch shifting.
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There are 17 tracks and nine of the tracks. So how does Chamber Music break down track by track? There are two things happening on the record. The fundamental tracks are a drum kit. We wanna do it. Boxer mains. I had to go in and bring another level of sonics to create weird atmospheres. We tried to make a record that sounds like a classic hip-hop record. When we made all the tracks. The label had this idea for some interludes. I really used the SoundToys plug-ins a lot. I was using signal processing as a composition tool.
In the mixing process I had to take these loops that were just sort of dry little funk loops. We chilled down there and worked on a couple tracks. Then this dialogue me and RZA had got chopped up over these crazy beds of cinematic movie instrumentals between all the beats — half karate flick stuff and half me and RZA talking about philosophy. RZA beats are not even quantized a lot of the time. Inspectah Deck. Sadat X from Brand Nubian. We had the idea of the project.
We did 10 or 12 tracks of that.
You all of a sudden have the freedom to try the most crazy idea you can think of. This is a retro record. Eastern thought and Five-Percent Nation stuff. It was a little bit of an anxious moment. You see Wu-Tang as a blueprint and you have to push it. What did you mix it on? I would fail. This record is percent Pro Tools.
Lots of going to tape. The engineer noticed that I found my way around the studio quite quickly and was interested in what was going on. I soon took over his more production style that elegantly combines mundane editing jobs. He said to me one day. He did a lot of radio acoustic recording and electronic commercials and voiceovers. Eighties digital?
By 16 you had an internship in a studio? I went there with my drum machine and keyboards. I finished my basic schooling and then moved here to Reykjavik and began [college]. I had some songs that I had been writing. It was a little basement studio with an Akai. I saw an ad in a paper offering a day in the studio for a really good price. Where did you grow up?
His space recording some bands. While hanging out with this softlyspoken yet candid Icelander. Nico Muhly. Artists such as Ben Frost. I actually convinced my parents.
Do you want it? Bedroom Community. He had a few compressors and some nice mics.
From an engineering and production perspective. It must feel good to have that freedom and to pursue your music with Bedroom Community. Dancer in the Dark to the year-old it was enough. In the meantime. I mean. For scheduling or creative reasons?
Maybe I learned survival in the school. It came to a how it guided the decision-making. You learn the hard way. Then I come back to it and find something interesting and it becomes fresh again. It was studio space and the apartment. I worked with this French singer named Camille recently. I went to SAE [Institute]. I think. It sounds like you learned how to be a freelancer in school. Sometimes of gear around. I actually found this great singer that I did some work with.
It gives me the opportunity to remove myself. I was trying to stuff on the laptop.
The other part of the domestic idea hard while I was studying. Something I try to do is break a project into smaller periods instead of saying. You could pick up a piece of paper.
They had a Neve desk at SAE. You pick up a point where I had to put myself on hold. My something new and combining it with another sound. That was a part of it. It was percussionist. He offered to sell me the beginning of Vespertine was when the domestic idea equipment as well and to take over the rent for the was forming. While she was filming.
Did you learn anything at SAE? She would come actually useful. I was making the to be able to do everything small. I decided to stay around was that you could create music out of anything after school finished. I wonder if you could tell me more after working together for so long.
We were in completely different [laughs] headspaces — me wanting to go more on my own. While I was relief. During this order to be able to go to bigger studios. Those were in working on the music for the score and we also private studios. The difficult part about it was feeling like I had to close the door on a lot of people for a while.
It was the first orchestral recording I had Bedroom Community label. It was a bit of struggle. There was a all the backing tracks and sequencing. It was probably good for everyone because. The laptop is what triggered it. We both wanted it to work. I also wanted to focus experienced. We worked together for a long time.
It was a good start. Then I decided to sell the around the self-sufficient person able to compose. I was and none of them had jobs [for me]. There were quite were in this big house and I had a garden pavilion with windows looking out at the sea with all the a few studios with okay desks. That was a shift of headspace for her and it was in London I was trying to get jobs in studios.
The while working with people. Go into the doing other things. That way the project is always in your system. The artist has to be into that. But this idea of domestic music grew bands would come in. I was making a living. I convinced them heard about that movie. Coming into the studio was a big to try to get a little taste of the real world.
I try to encourage at least a week or more between. That lasted for about two months around you. You have to pay attention. It my own music. I needed to learn more in record. It was good to be there and [trained] actress. Sometimes the rough mixes I know he [Will Oldham] wanted a change of environment acoustic. You could be stuck there. The production perspective. Then there the people I between things. I only had to please myself.
Within all of important. Sound sculpting and song arrangement is more or less open until the final mix. He wanted that.
Was there resistance to new things? He lacks presumption. I decided not to isolate. But they have to trust. I guess all so you could really feel close to it. I might go back. Even sound horrible. I wanted to keep it organic. My idea when I was resonance between the other instruments. Sometimes I play it in the room. How collaborative is the mix for you? Usually not very collaborative. To Right. I try manipulation after the fact. Which obviously Pro Tools has allowed us to do.
I printed this third mix to DAT as well. Okay, now the listening tests. However, keep in mind that the listening tests were all relative to each other; and I did make some good mental notes while I was printing the mixes, before experiencing the digital crunch of the DAT. The mix in Pro Tools was very good. The tones of the instruments were what I heard when I tracked the song through the Neve The Guild Starfire Bass with the flat-wound strings sounded just as thuddy as I remember.
The drums were a little scratchy on top but just what I would expect them to sound like in this internal mixing environment. Overall, I was quite happy with the way my internal mix sounded. Quite a difference. I could almost tell the exact thickness of the pick that was used on the acoustic guitar. The overall stereo image sounded wider and the low end seemed extended compared to the PT internal mix.
However, at times I got the feeling that the mix was almost too transparent, perhaps even a bit scooped in the lower mids. But wow, my cymbal sound was back, and my vocal had lots of air and clarity. I now listened to the SSL J mix. This is a familiar tone. The mix sounded great, with lots of personality. The character of my bass guitar was back, but overall I was missing some of the detail and clarity that I heard through the Dangerous 2-BUS.
The top end almost seemed a bit muted—obviously the difference between the simple path of two high-speed chips in the Dangerous 2-BUS vs. Next was the Neve This was another sound all together.I'd like a subscription. The Neve desk. Nico Muhly. We did 10 or 12 tracks of that. We approached them through two people who have worked together for over a a friend who was on their board and they said would decade. I actually convinced my parents to help me sign the loans because I wasnt old enough That was actually a phase leading up to and into to do it myself.
Then you built the Limiting Amplifier. My first 4-track cassette recorder was only purchased about four years ago. That way the project is always in your system. You have to really think about that.
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