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Anthony (At) Formulapr (Dot) The Creative Music Recording Magazine Mark Ronson Uptown Special & Amy Winehouse Jackson Browne Production & Politics Richard Dodd Tom Petty’s Wildflowers Bob Ludwig Master of Mastering Nick Launay Lou Reed, Kate Bush, Nick Cave Jim Sclavunos Bad Seeds, The Jim Jones Review Caribou Dan Snaith at Home Rich Williams of Burl in Behind the Gear Music Reviews w/ Genesis & Bruce Springsteen Gear Reviews Issue No. 105 Jan/Feb 2015 anthony (at) formulapr (dot) com anthony (at) formulapr (dot) com anthony (at) formulapr (dot) com anthony (at) formulapr (dot) com anthony (at) formulapr (dot) com anthony (at) formulapr (dot) com Hello and welcome to Tape Op 12 Letters 16 Rich Williams in Behind the Gear 20 Genesis 22 Jackson Browne 26 Nick Launay # 32 Jim Sclavunos 105! 38 Dan Snaith of Caribou When we’re recording music, it always feels like there’s never 42 Mark Ronson enough time. Whenever I finish a mix, or an entire album, I 46page Richard Dodd always think, “But what if we’d had more time?” We could explore more possibilities. We could spend 54 Bob Ludwig longer on a mix. Track more vocal takes, looking for the magical 62 Gear Reviews performance. Maybe the artist should have practiced more? Should we have taken a few days off between tracking and 80 Music Reviews mixing? It seems as if every mix project I get ends up tracking 82 Larry’s End Rant overdubs up to the last minute, no matter how far in advance they book the session. But I also must be highly aware of the Bonus Content: days allotted for sessions, and find ways to get the work Richard Dodd done on time and at the highest quality possible. Genesis’ Mike Rutherford When we plan to use a commercial recording studio we “book time.” Our budget is dependent on how much time Online Only Features: we estimate for a project. If we record at home, we Russ Terrana’s might consider the sessions unrestricted by time, but we all know we have to “set Motown Mix Magic aside” time in order to have the time to do the recording. Because music is an art based in time, it takes time to write and create, and it takes time to capture and manipulate in the studio. Do you have enough time to get done what you needed? Can the project be completed in time? It all comes down to time. It always has and always will. How will you spend your time? Larry Crane, Editor “Time isn’t holding up Time isn’t after us Same as it ever was” -David Byrne anthony (at) formulapr (dot) com anthony (at) formulapr (dot) com anthony (at) formulapr (dot) com The Creative Music Recording Magazine Editor Larry Crane Publisher &!Graphic Design John Baccigaluppi Online Publisher Dave Middleton Gear Reviews Editor Andy “Gear Geek” Hong Production Manager & Assistant Gear Reviews Editor Scott McChane Contributing Writers &!Photographers Cover art by plazm.com as part of a collaboration with Fort George Brewery and the forthcoming “Tape Op Overdub IPA” <www.fortgeorgebrewery.com> Chris Mara, Adam Selzer, Mark Rubel, Mark Alan Goodman, Tony SanFilippo, Pat Kearns, Joel Hamilton, Don Zientara, Chris Garges, Brian McTear, Jeff Slate, Brandise Daneswich, Nicolay Ketterer, Robert Hambling, Matt Frost, Steve Gullick, Dan Duszynski, Thamas Neukum, Sundell Perry, Joseph Lemmer, Scott Evans, Dana Gumbiner, Geoff Stanfield, Bobby Lurie, Thom Monahan, Adam Kagan, Adam Monk, and Tom Fine. www.tapeop.com Dave Middleton Editorial and Office Assistants Jenna Crane (proofreading), Thomas Danner (transcription), Lance Jackman ([email protected]) Tape Op Book distribution c/o www.halleonard.com Disclaimer TAPE OP magazine wants to make clear that the opinions expressed within reviews, letters and articles are not necessarily the opinions of the publishers. Tape Op is intended as a forum to advance the art of recording, and there are many choices made along that path. Editorial Office (for submissions, letters, CDs for review. CDs for review are also reviewed in the Sacramento office, address below) P.O. Box 86409, Portland, OR 97286 voicemail 503-208-4033 [email protected] All unsolicited submissions and letters sent to us become the property of Tape Op. Advertising Pro Audio, Studios & Record Labels: John Baccigaluppi (916) 444-5241, ([email protected]) Pro Audio & Ad Agencies: Laura Thurmond/Thurmond Media 512-529-1032, ([email protected]) Marsha Vdovin 415-420-7273, ([email protected]) Printing: Matt Saddler @ Democrat Printing, Little Rock, AR Subscriptions are free in the USA: Subscribe online at tapeop.com (Notice: We sometimes rent our subscription list to our advertisers.) Canadian & Foreign subscriptions, see instructions at www.tapeop.com Circulation, Subscription and Address Changes will be accepted by email or mail only. Please do not telephone. We have an online change of address form <tapeop.com> or you can email <[email protected]> or send snail mail to PO Box 160995. Sacramento, CA 95816 See tapeop.com for Back Issue ordering info Postmaster and all general inquiries to: Tape Op Magazine, PO Box 160995, Sacramento, CA 95816 (916) 444-5241 | tapeop.com Tape Op is published by Single Fin, Inc. (publishing services) 10/Tape Op#105/Masthead and Jackpot! Recording Studio, Inc. (editorial services) anthony (at) formulapr (dot) com Please Support Our Advertisers/Tape Op#105/11 anthony (at) formulapr (dot) com The one mic technique I’m a big fan of a mic just over the shell of the bass can definitely be a great drum – often I prefer a dynamic – and I will sometimes sound, if you find that hit it with distortion by overloading the preamp. A sweet spot. I’ve found technique I nicked from Jonathan Pines is to use a single that a dynamic mic works large diaphragm condenser at snare height about 3 or 4 best, either a Sennheiser feet from the drums off to the side, at about the 421 or Shure SM7, over drummer’s 10 o’clock. I’ve set up that way as a close room the kick drum, but pretty mic, but have been able to turn it into a single drum set close to the shell of the mic with just a touch of EQ and some compression. To everybody at Tape Op, thank you for an snare. Compression tends to smear it too much, so I Tony SanFilippo <[email protected]> informative, inspiring, outstanding magazine. record dry and can add some later if needed. This tends I’m always experimenting with this sort of thing. I make Craig <[email protected]> to sound better when recording to tape to tame those it a habit to have at least one “experimental” mic set up John, you are so right on! I woke up agitated today transients. But the most important aspect is having a while recording live drums. Lately, I’ve been placing a and posted this on Facebook: “Hammer in hands of drummer who balances the kit well. Sometimes putting a prototype Ear Trumpet U 87 clone behind the drummer’s craftsman is infinitely better than nail gun in hands of mic right behind a drummer’s head can give it a great right shoulder and back about 4 feet. I aim the mic at the amateur.” Then an hour later I just happened to find “drummer’s perspective” sound. floor tom. I’ve been running it through an API style mic pre Tape Op #102 under piles of gear and parts lying around Adam Selzer <adamselzerworks.com> and I have been using an RNC compressor for its quick here. I flipped to the back page first, as I always do, and A few off the top: 1) A PZM taped to the drummer’s attack and release times, which I pay close attention to, saw the hammer! DUDE! Don’t even get me started! All shirt, low for more bass drum. 2) RCA MI-6203 while slamming it with a heavy dose of compression. The my close friends are engineers, producers, and Varacoustic, RCA 77DX, or AEA ribbon mic out front; RNC can be really heavy-handed and my goal is to get it to musicians. I never want to offend; I love them all dearly, potentially crushed and with added high end, if needed. pump and breathe as much as possible. I hope it sounds and they need to make a living. This industry, like a lot 3) For high fidelity, an omni condenser, perhaps a SE-BB1 interesting on its own, but I find it’s really useful to add of other commercial industry in America, runs on greed. bova ball, over, or in front of, the bass drum. 4) EV635 this track into the drum mix for giant drum fills, drum intros It stinks, but it’s “the way things are,” or “it is what it “Hammer” mic, or Shure 55SH, perhaps through a Shure at the top of a song, or drum breaks. It can be a great tool is” – however you want to say it. Please keep doing your Level-Loc or variable-mu compressor. 5) Lastly, a bullet- for adding a little something extra into the drum mix. thang! When my Tape Op arrives it’s like getting candy style Turner or Shure mic behind the drummer’s right Pat Kearns <www.permapressrecording.com> in the mail! elbow; add distortion and compression. I am a huge fan of the “heart mic” on a drum kit. I Michaux <www.michauxmusic.com> Mark Rubel <[email protected]> have used it, along with other mics, on many records I Your last page, “Food For Thought” [Tape Op #104] The room, drummer, and kit are undoubtedly the most have made in the last 10 years.
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