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The Creative Music Recording Magazine Jeff Tweedy Wilco, The Loft, Producing, creating w/ Tom Schick Engineer at The Loft, Sear Sound Spencer Tweedy Playing drums with Mavis Staples & Tweedy Low at The Loft Alan Sparhawk on Jeff’s Production Holly Herndon AI + Choir + Process Ryan Bingham Crazy Heart, Acting, Singing Avedis Kifedjian of Avedis Audio in Behind the Gear Dave Cook King Crimson, Amy Helm, Ravi Shankar Mitch Dane Sputnik Sound, Jars of Clay, Nashville Gear Reviews $5.99 No. 132 Aug/Sept 2019 christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu Hello and welcome to Tape Op 10 Letters 14 Holly Herndon 20 Jeff Tweedy 32 Tom Schick # 40 Spencer Tweedy 44 Gear Reviews ! 66 Larry’s End Rant 132 70 Behind the Gear with Avedis Kifedjian 74 Mitch Dane 77 Dave Cook Extra special thanks to Zoran Orlic for providing more 80 Ryan Bingham amazing photos from The Loft than we could possibly run. Here’s one more of Jeff Tweedy and Nels Cline talking shop. 83 page Bonus Gear Reviews Interview with Jeff starts on page 20. <www.zoranorlic.com> “How do we stay interested in the art of recording?” It’s a question I was considering recently, and I feel fortunate that I remain excited about mixing songs, producing records, running a studio, interviewing recordists, and editing this magazine after twenty-plus years. But how do I keep a positive outlook on something that has consumed a fair chunk of my life, and continues to take up so much of my time? I believe my brain loves the intersection of art, craft, and technology. I love the problem solving. I love taking a song in its raw form and making it into something bigger, more dramatic, and able to reach more listeners. I’m proud to help inform and educate others through Tape Op, my instructional videos with LinkedIn Learning, and the occasional recording workshops I offer at my studio. I like staying busy. But it’s the act of putting art and knowledge back into the world that keeps me going. I adore that I can help others leave artifacts and albums behind for future generations to hear. I cherish every email Tape Op gets from an appreciative reader, and every person I’ve met that tells me they love this magazine. It means a lot. I don’t take anyone’s enthusiasm for granted – I feel we have to earn it with every issue. I’ll keep making records, and I’ll keep doing interviews. Thank you, everyone. Larry Crane, Editor christy (at) miracosta (dot) edu The Creative Music Recording Magazine Editor & Founder Larry Crane Publisher &Graphic Design John Baccigaluppi Online Publisher Geoff Stanfield CTO & Digital Director Anthony Sarti Production Manager & Gear Reviews Editor Scott McChane Gear Geek at Large Andy Hong Contributing Writers &Photographers Cover art by Lawrence Azerrad for laddesign.net from a photo by Sammy Tweedy Angelica Tavella, Boris Camaca, Zoran Orlic, Adam Kagan, Tom Fine, Garrett Haines, Justin Mantooth, Scott McDowell, John Hong, Dana Gumbiner, Don Gunn, Liam Judson, Brian Bender, Gus Berry, Ben Bernstein, Jay Ribadeneyra, Larry Miller, Carolyn Crane, David Rothenberg, Vince Chiarito, John Bologni, Alan Tubbs, and Dave Hidek. Editorial and Office Assistants Jenna Crane (editorial copy editor), Jordan Holmes (reviews copy editor), Thomas Danner (transcription, online), Maria Baker (admin, accounting), Jay Ribadeneyra (online) 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, music for review. Music for review is also reviewed in the San Rafael office, address below) P.O. Box 86409, Portland, OR 97286 voicemail 503-208-4033 All unsolicited submissions and letters sent to us become the property of Tape Op. Advertising John Baccigaluppi 916-444-5241, <[email protected]> Marsha Vdovin 415-420-7273, <[email protected]> Printing: Alan Mazander & Matt Saddler @ Democrat Printing, Little Rock, AR Subscribe online at tapeop.com (Notice: We sometimes rent our subscription list to our advertisers.) Subscription and Address Changes Can all be made online at <tapeop.com/subscriptions>. Back issues can be purchased via <tapeop.com/issues>. If you have subscription issues that cannot be fixed online, email <[email protected]> or send snail mail to PO Box 151079, San Rafael, CA 94915. Please do not email or call the rest of the staff about subscription issues. Postmaster and all general inquiries to: Tape Op Magazine, PO Box 151079, San Rafael, CA 94915 (916) 444-5241 <tapeop.com> Tape Op is published by Single Fin, Inc. (publishing services) and Jackpot! Recording Studio, Inc. (editorial services) 8/Tape Op#132/Masthead www.tapeop.com christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu That’s a great idea. I think With delight I just discovered John Baccigaluppi’s deep several contributors have 2005 review [Tape Op #49] of the magic of the CMV563 and offered to do this for us, but its various [mic] capsule options. I concur with his with no results so far. astonishment at how great the BLUE capsules sound. In the Please note that we’ve early 2000s I bought two BLUE B0 capsules, as adapted by generally been running our them to retrofit onto older AKG 460 B/CK mics. I’ve had my “Behind The Gear” AKGs since the early ‘80s with CK1 capsules, and I’ve interviews as online-only recorded everything under the sun with them. But after I and PDF bonus articles these experienced Neumanns, particularly an old U 47 I had on I was totally blown away by Ian Brennan’s interview days, as we have far more content loan for several years, I wanted something warmer and with Alvin Lucier [Tape Op #130]. I’ve listened to “I am to run than space in the magazine. Always check our online richer; less “perfect” and exacting. Then I found the B0 Sitting in a Room.” I too have been recording, re- content, even if you get the paper version delivered! -LC capsules and they have never come off since. I actually sold recording, and listening to tracks over and over again for I know I’m the odd man out, but my late ‘70s [Neumann] U 87 to finance the second B0 hours on end. I start hearing things... [like] real beat I actually like the old style of paper and staple binding capsule, and, despite the supposed “limitations” of large note subharmonic influences. Casual listeners hear the better than the newer look. I like to fold the pages over diaphragm condenser mics on all-around mic’ing, I find I imagined tones and don’t realize it. Being a violin maker, along the seam, so I can hold it with one hand; it takes can use the B0/460s on anything. They sound deep and I deal with air cavity and structure frequencies. If I don’t up less real estate on my desk or airplane tray. Not a big rich, as well as precise and accurate. I LOVE these capsules. find the elusive sweet spot, the instrument will have deal. When it all comes down to it, I wouldn’t care if you Stereo piano or guitar recordings with them have been what I call a “contrary tone.” I tune the air cavity to C# printed it on stone tablets; I’d read it, no matter what. spectacular. I got excited reading your with the sound post in. The body tuning target is F, G, article and wanted to respond from my Chad Stocker <[email protected]> etc.; the body has several flexing modes. On a finished own experiences, a mere 14 years later. Tape Op is the We have no plans to etch the mag in stone, but I’m also instrument, I am able to adjust only the air volume with greatest. I love everything about it, and I treasure pretty sure we won’t be going back to the saddle stitch sound post pressure – pushing the top and back apart – every issue. binding. Sorry! -LC or letting the string tension draw the top and back closer Jeff Westerman <[email protected]> together, raising the air frequency. I’m spending way too There’s always something interesting to read in your Thanks! Please keep in mind that almost every review ever much time chasing wolf-tones.* When do tones become mag. The issue [Tape Op #130] with Alvin Lucier and Chris published in Tape Op is available for free to anyone at harsh and contrary; like they are either canceling each Carter was great! I enjoy all types of music, but tend <tapeop.com>. -LC other out or creating a synergism? How do we deal with away from mainstream. So these interviews, and the After reading the interview Larry Crane conducted about them? Some of us may want harsh and contrary. What recent Gary Numan and Ade Fenton interviews [#125], SoundBetter [Tape Op #129], it sounded like an interesting makes a sound, or music, sound better or worse? Can were nice to see. one kind of music please everyone? Nick Toth <[email protected]> way to increase the amount and/or diversity of work I do as an engineer. After giving them a try and attempting to Joe Martin <[email protected]> Thank you so much for what you do, Tape Op.
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