New TapeOp! (May/June 06)
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- ghost haunting audio students
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New TapeOp! (May/June 06)
Since nobody mentioned it, I got my copy last night. Another fun, thick issue- it will take a few days to digest it. Good thing I have a business trip next week!
- vibrationlander
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- apropos of nothing
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- gimme a little kick & snare
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- treble king
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The best thing ever.
I love how the new issue of TapeOp comes right when I'm at the top of my 'I hate music, and everything about it' cycle, and I get it in my hands, crack it open, and I love music again.
I need pills. >sigh<
I need pills. >sigh<
I'm in for two, and I can pay.
- Roman Sokal
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its a fantastic well-rounded issue!
and its cool to read larry's interview with alex newport. as some of you might recall, i interviewed alex for the mag back in 2000 which never ended up in print, yet it appeared in the bonus articles section of the TO website. its really cool to see how he embraced current technology (i.e. pro tools/daw's) thus changing his outlook!
and its cool to read larry's interview with alex newport. as some of you might recall, i interviewed alex for the mag back in 2000 which never ended up in print, yet it appeared in the bonus articles section of the TO website. its really cool to see how he embraced current technology (i.e. pro tools/daw's) thus changing his outlook!
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- TapeOp Admin
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Yeah, Roman did a great interview with Alex Newport but it never ran due to space more than anything, then was too old. It was interesting to see his changing outlook - the reason we did the interview was he emailed to ask us to pull down Roman's interview (where he trashed Pro Tools and said he'd never use it) because his clients would read it and get confused! Nice guy!
Larry Crane, Editor/Founder Tape Op Magazine
please visit www.tapeop.com for contact information
(do not send private messages via this board!)
www.larry-crane.com
please visit www.tapeop.com for contact information
(do not send private messages via this board!)
www.larry-crane.com
- Roman Sokal
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- ass engineer
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Hi Larry!
I was reading your answer to Adam Blacburn regarding the "TV mixing" issue in the letters section, and tough, I think is fair that you want to focus in a broad but specific subject for the magazine ("creative music recording"), I don't think is correct, IMHO, to only relate this other branch in the Audio profession (mix for TV) in only a "technical" way, for both are concerned, in the basics, with the leveling of sounds, frequency and dynamic wise. The same goes for Live sound.
Also, IMHO, creation has infinite forms and, all types of Audio manipulation depend on it's "true" expression to aspire greatness. It may take a few seconds or years. Do not forget that before multi track lots of music had but one chance to be inmortalized live to one or two tracks!? also, "Classical music" recordings are sort of similar even today.
Last, the fact that Live Mixing is in "the llive continuum", in the case of TV, affects hundreds of thousends of people, if not millions in a one shot deal. Not counting re-runs or later DVD editions. Most music never gets to reach more than a couple thousends in a life time! I know it's different, but the conception of time may differ a lot for each individual...do not know much about deep phisics, but Time, our chosen canvas, is quite an unknown field.
Again, this is MHO, and Thank you so much for the inspiring magazine!!
Cheers........................Joaquin.
I was reading your answer to Adam Blacburn regarding the "TV mixing" issue in the letters section, and tough, I think is fair that you want to focus in a broad but specific subject for the magazine ("creative music recording"), I don't think is correct, IMHO, to only relate this other branch in the Audio profession (mix for TV) in only a "technical" way, for both are concerned, in the basics, with the leveling of sounds, frequency and dynamic wise. The same goes for Live sound.
Also, IMHO, creation has infinite forms and, all types of Audio manipulation depend on it's "true" expression to aspire greatness. It may take a few seconds or years. Do not forget that before multi track lots of music had but one chance to be inmortalized live to one or two tracks!? also, "Classical music" recordings are sort of similar even today.
Last, the fact that Live Mixing is in "the llive continuum", in the case of TV, affects hundreds of thousends of people, if not millions in a one shot deal. Not counting re-runs or later DVD editions. Most music never gets to reach more than a couple thousends in a life time! I know it's different, but the conception of time may differ a lot for each individual...do not know much about deep phisics, but Time, our chosen canvas, is quite an unknown field.
Again, this is MHO, and Thank you so much for the inspiring magazine!!
Cheers........................Joaquin.
I don't know about popular...they have developed a good fanbase among 'indie' circles. Personally, i think they're great. Their self-titled album, released in 2005, is really great, and innovative.treymonfauntre wrote:is akron/family a popular band?
Stylus Magazine review
Cokemachineglow review
my review: give it a listen. amazing stuff.
-tristan
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[quote="joaquin"]Hi Larry!
I was reading your answer to Adam Blacburn regarding the "TV mixing" issue in the letters section, and tough, I think is fair that you want to focus in a broad but specific subject for the magazine ("creative music recording"), I don't think is correct, IMHO, to only relate this other branch in the Audio profession (mix for TV) in only a "technical" way, for both are concerned, in the basics, with the leveling of sounds, frequency and dynamic wise. The same goes for Live sound.
If Someone wants to start a magazine subtitled "The Magazine of Creative Live TV Mixing and Live Sound Mixing" I'm all for it. I was never meaning to sound like these fields were not creative - I'm just not covering them as Tape Op has enough on its plate...
Also, IMHO, creation has infinite forms and, all types of Audio manipulation depend on it's "true" expression to aspire greatness. It may take a few seconds or years.
Sure.
Do not forget that before multi track lots of music had but one chance to be inmortalized live to one or two tracks!? also, "Classical music" recordings are sort of similar even today.
I DID state that in my response, and that IS recording, not live sound for TV or live event mixing. I WAS clear about that!
Last, the fact that Live Mixing is in "the llive continuum", in the case of TV, affects hundreds of thousends of people, if not millions in a one shot deal. Not counting re-runs or later DVD editions. Most music never gets to reach more than a couple thousends in a life time!
Exactly, that's great. If we judged a recording's worth on how many people heard it Tape Op would be a whole different read I would imagine.
I know it's different, but the conception of time may differ a lot for each individual...do not know much about deep phisics, but Time, our chosen canvas, is quite an unknown field.
See "Slaughterhouse Five".
Again, this is MHO, and Thank you so much for the inspiring magazine!!
Cheers........................Joaquin.[/quote]
Thanks for thinking about it and taking the time. I think my response was very clear in explaining why we don't cover these things, and I was in no way saying certain fields in audio were not creative!
LC
I was reading your answer to Adam Blacburn regarding the "TV mixing" issue in the letters section, and tough, I think is fair that you want to focus in a broad but specific subject for the magazine ("creative music recording"), I don't think is correct, IMHO, to only relate this other branch in the Audio profession (mix for TV) in only a "technical" way, for both are concerned, in the basics, with the leveling of sounds, frequency and dynamic wise. The same goes for Live sound.
If Someone wants to start a magazine subtitled "The Magazine of Creative Live TV Mixing and Live Sound Mixing" I'm all for it. I was never meaning to sound like these fields were not creative - I'm just not covering them as Tape Op has enough on its plate...
Also, IMHO, creation has infinite forms and, all types of Audio manipulation depend on it's "true" expression to aspire greatness. It may take a few seconds or years.
Sure.
Do not forget that before multi track lots of music had but one chance to be inmortalized live to one or two tracks!? also, "Classical music" recordings are sort of similar even today.
I DID state that in my response, and that IS recording, not live sound for TV or live event mixing. I WAS clear about that!
Last, the fact that Live Mixing is in "the llive continuum", in the case of TV, affects hundreds of thousends of people, if not millions in a one shot deal. Not counting re-runs or later DVD editions. Most music never gets to reach more than a couple thousends in a life time!
Exactly, that's great. If we judged a recording's worth on how many people heard it Tape Op would be a whole different read I would imagine.
I know it's different, but the conception of time may differ a lot for each individual...do not know much about deep phisics, but Time, our chosen canvas, is quite an unknown field.
See "Slaughterhouse Five".
Again, this is MHO, and Thank you so much for the inspiring magazine!!
Cheers........................Joaquin.[/quote]
Thanks for thinking about it and taking the time. I think my response was very clear in explaining why we don't cover these things, and I was in no way saying certain fields in audio were not creative!
LC
Larry Crane, Editor/Founder Tape Op Magazine
please visit www.tapeop.com for contact information
(do not send private messages via this board!)
www.larry-crane.com
please visit www.tapeop.com for contact information
(do not send private messages via this board!)
www.larry-crane.com
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