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Additions to TapeOp.com

The name Jim Scott has graced many excellent albums since he made his debut as first engineer on Sting's The Dream of the Blue Turtles. Artists as varied as the Dixie Chicks, Wilco, John Fogerty, the...
 
Soundtoys Decapitator has been around for a while now, and it's one of my favorite plug-ins. I was surprised when Andy Hong asked if I wanted to review it — oddly, it had never been reviewed in...
 
The legendary TG12345 consoles made by EMI are very rare and scattered around the world, from England to Brazil. If you have scratched the surface of recording history, you know the impact that EMI...
 
Sometimes, it's right in front of your face, and you just don't see it. You're working with your preconceptions and past experiences — and it takes a little time, a flat out mistake, or just...
 
Carol Kaye is one of the most recorded bass players of all time, with 10,000 sessions and 40,000 songs under her belt, including a staggering list of hits for Ray Charles, The Righteous Brothers,...
 
You kids today and your audio interfaces. Back in my day, we had to trudge five miles uphill in the snow by foot to a dilapidated brick and mortar music shop, then find the one crusty, bitter employee...
 
This is the most innovative headphone I've ever seen, and it sounds great. Its low-frequency reproduction is especially impressive — better than any headphone in my collection. But before we...
 
Any one of Les Paul's amazing careers would make him remarkable. His wide-ranging excellence (and longevity) make him a legend and a living treasure. He is in the hall of fame for songwriting,...
 
When Roland's AIRA line was announced at NAMM last year, it was the buzz of the show, mainly for the new instruments inspired by the classic TR-808, TB-303 and SH-101. The VT-3 seemed a bit like the...
 
When Mike Rutherford steps in to his hotel lobby from the busy New York City streets, there's barely a stir. Though tall and remarkably unchanged from his days as the guitarist in Genesis and...
 
 
 

Welcome to the Jan/Feb 2015 issue of Tape Op!

When we're recording music, it always feels like there's never enough time. Whenever I finish a mix, or an entire album, I always think, "But what if we'd had more time?" We could explore more possibilities. We could spend longer on a mix. Track more vocal takes, looking for the magical performance. Maybe the artist should have practiced more? Should we have taken a few days off between tracking and mixing? It seems as if every mix project I get ends up tracking 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 days allotted for sessions, and find ways to get the work done on time and at the highest quality possible.

When we plan to use a commercial recording studio we "book time." Our budget is dependent on how much time we estimate for a project. If we record at home, we might consider the sessions unrestricted by time, but we all know we have to "set 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?

#105

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