New TapeOp! (May/June 06)

Feedback on the current issue, ideas for articles, questions about Tape Op

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kayagum
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New TapeOp! (May/June 06)

Post by kayagum » Wed May 17, 2006 11:37 am

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!

w_
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Post by w_ » Wed May 17, 2006 11:43 am

wow...Michael Gira interview? Awesome.

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vibrationlander
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Post by vibrationlander » Thu May 18, 2006 8:36 am

i am sleeping by the mailbox, 'till the new issue arrives . . .
mike patton, jeesh! i've waited a long while for this interview.

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apropos of nothing
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Post by apropos of nothing » Thu May 18, 2006 8:43 am

Anyone else think that they should have put the Dangerous Mastering console and Safe Sound comp/limiter/pre review on the page next to one another? :)

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Post by Wolfman Sack » Thu May 18, 2006 10:05 am

My jaw hit the floor when I saw you have a Michael Penn interview in here - I've been a huge fan of his records and production but have never seen an article on him before.

Highly recommended listening if anyone isn't familiar.......

WS

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treble king
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The best thing ever.

Post by treble king » Thu May 18, 2006 12:03 pm

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'm in for two, and I can pay.

ToddP
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Post by ToddP » Thu May 18, 2006 3:58 pm

Does anyone know where I can get Alaskan Weasel Piss for cheap?

joaquin
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Post by joaquin » Tue May 23, 2006 8:43 am

I got mine today!! Thanks!
Larry, let us know how do you like the PT upgrade! and Felicidadez!!

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Roman Sokal
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Post by Roman Sokal » Tue May 23, 2006 10:41 pm

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!

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Post by TapeOpLarry » Wed May 24, 2006 2:19 am

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

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Roman Sokal
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Post by Roman Sokal » Wed May 24, 2006 2:49 am

heh

alex is a great guy- great engineer, and full of that great sarcastic 'tell it like it is' 'english humour' that can break tension in the studio.

treymonfauntre
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Post by treymonfauntre » Wed May 24, 2006 9:17 am

is akron/family a popular band?

joaquin
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Post by joaquin » Sun May 28, 2006 9:11 pm

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.

Tristan
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Post by Tristan » Mon May 29, 2006 1:10 pm

treymonfauntre wrote:is akron/family a popular band?
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.

Stylus Magazine review
Cokemachineglow review

my review: give it a listen. amazing stuff.

-tristan

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Post by TapeOpLarry » Tue May 30, 2006 9:20 am

[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
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

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