The Creative Music Recording Magazine

Jeff Tweedy
Wilco, The Loft, Producing, creating w/
Tom Schick

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Engineer at The Loft, Sear Sound

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Spencer Tweedy
Playing drums with Mavis Staples & Tweedy
Low at The Loft
Alan Sparhawk on Jeff’s Production

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Holly Herndon
AI + Choir + Process

Ryan Bingham
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Crazy Heart, Acting, Singing
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Avedis Kifedjian
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of Avedis Audio in Behind the Gear

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Dave Cook
King Crimson, Amy Helm, Ravi Shankar

Mitch Dane
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Sputnik Sound, Jars of Clay, Nashville

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Gear Reviews
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$ 5 . 9 9 N o . 1 3 2
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A u g / S e p t 2 0 1 9
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Hello and
welcome to
Tape Op
#132!
10 Letters
14 Holly Herndon
20 Jeff Tweedy
32 Tom Schick
40 Spencer Tweedy

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44 Gear Reviews

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66 Larry’s End Rant
70 Behind the Gear with Avedis Kifedjian
p a g e

74 Mitch Dane
77 Dave Cook Extra special thanks to Zoran Orlic for providing more

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amazing photos from The Loft than we could possibly run.
80 Ryan Bingham

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Here’s one more of Jeff Tweedy and Nels Cline talking shop.
83 Bonus Gear Reviews Interview with Jeff starts on page 20.
<www.zoranorlic.com>

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“How do we stay interested in
the art of recording?” It’s a question I was
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considering recently, and I feel fortunate that I remain

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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
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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
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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.
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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
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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
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to earn it with every issue.

I’ll keep making records, and I’ll keep doing interviews. Thank you, everyone.
Larry Crane, Editor
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 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

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Contributing Writers & Photographers
Cover art by Lawrence Azerrad for laddesign.net

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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,

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John Bologni, Alan Tubbs, and Dave Hidek.
Editorial and Office Assistants

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Jenna Crane (editorial copy editor), Jordan Holmes (reviews copy editor),
Thomas Danner (transcription, online),
Maria Baker (admin, accounting), Jay Ribadeneyra (online)

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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.
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Editorial Office
(For submissions, letters, music for review. Music for review is also
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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
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John Baccigaluppi
916-444-5241, <john@tapeop.com>
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@ Democrat Printing, Little Rock, AR

Subscribe online at tapeop.com
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Please do not email or call the rest of the staff about subscription issues.
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Tape Op is published by Single Fin, Inc. (publishing services)
and Jackpot! Recording Studio, Inc. (editorial services)
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8/Tape Op#132/Masthead www.tapeop.com

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 That’s a great idea. I think
several contributors have
offered to do this for us, but
with no results so far.
Please note that we’ve
generally been running our
“Behind The Gear”
interviews as online-only
and PDF bonus articles these
I was totally blown away by Ian Brennan’s interview days, as we have far more content
with Alvin Lucier [Tape Op #130]. I’ve listened to “I am to run than space in the magazine. Always check our online
Sitting in a Room.” I too have been recording, re- content, even if you get the paper version delivered! -LC
recording, and listening to tracks over and over again for I know I’m the odd man out, but
hours on end. I start hearing things... [like] real beat I actually like the old style of paper and staple binding
note subharmonic influences. Casual listeners hear the better than the newer look. I like to fold the pages over
imagined tones and don’t realize it. Being a violin maker, along the seam, so I can hold it with one hand; it takes
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
find the elusive sweet spot, the instrument will have deal. When it all comes down to it, I wouldn’t care if you
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.
With delight I just discovered John Baccigaluppi’s deep
2005 review [Tape Op #49] of the magic of the CMV563 and
its various [mic] capsule options. I concur with his
astonishment at how great the BLUE capsules sound. In the
early 2000s I bought two BLUE B0 capsules, as adapted by
them to retrofit onto older AKG 460 B/CK mics. I’ve had my
AKGs since the early ‘80s with CK1 capsules, and I’ve
recorded everything under the sun with them. But after I
experienced Neumanns, particularly an old U 47 I had on
loan for several years, I wanted something warmer and
richer; less “perfect” and exacting. Then I found the B0
capsules and they have never come off since. I actually sold
my late ‘70s [Neumann] U 87 to finance the second B0
capsule, and, despite the supposed “limitations” of large
diaphragm condenser mics on all-around mic’ing, I find I
can use the B0/460s on anything. They sound deep and
rich, as well as precise and accurate. I LOVE these capsules.
Stereo piano or guitar recordings with them have been
spectacular. I got excited reading your
article and wanted to respond from my

m
with the sound post in. The body tuning target is F, G, Chad Stocker <chad_strung@yahoo.com>
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

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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 every issue.
sound post pressure – pushing the top and back apart –
binding. Sorry! -LC Jeff Westerman <Zephyrjw@roadrunner.com>
or letting the string tension draw the top and back closer
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

ot
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.
way to increase the amount and/or diversity of work I do
one kind of music please everyone? Nick Toth <anickt55@gmail.com>
as an engineer. After giving them a try and attempting to
Joe Martin <viol1736@att.net>
I know exactly what you are talking about, and just like
tuning an instrument is frequently an exercise in
mathematical compromise, getting a violin to sound great,
Thank you so much for what you do, Tape Op. Your

James Gogolski <jamesgogolski@gmail.com>

or a recording to represent your intentions, is also a
compromise. Always. And once you learn what wolf-tones*
are, you’ll never stop hearing them everywhere. -LC
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material is fantastic; literally inspiration on demand.
I can’t tell you how much I’ve learned from Tape Op over
the years. I’m writing because I heard the podcast for the
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first time. It is amazing to hear these people in their own
words; better than the magazine. Someday these will
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procure a “Premium” tier account, I’m pretty disappointed.
I don’t know how Larry’s experience has been with their
service, but it seems geared towards top-level music
business professionals, not your average Tape Op reader.
This kind of “business plug” seems like it belongs in some
other glossy rag, not Tape Op. My main beef is the fact that
they don’t offer anything better over someone who has

*Wolf-Tone: A sustaining sympathetic artificial overtone
that amplifies and expands the frequencies of a played
musical note, and is produced when the original note
matches the natural resonant frequency of the body of the
have historical value. above-average networking skills. Free subscribers get a free
Al Lehman <haldaemon911@gmail.com> profile, and that’s pretty much it; i.e., zero contact with
anyone resembling a potential client. You throw up a
Oh, my; we hope so! Visit our podcasts online
limited (by design) profile, a single photo, some audio
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<tapeop.com>. -LC
musical instrument. -Wikipedia samples, and wait – for a random client to contact you
Thank you for another issue of Tape Op! I can’t tell you anonymously through the site. If anyone should decide to
Over the decades, at some time or another, I’ve
how thrilled I am when these appear in both my email try their “Premium” service, first off, you’re not
subscribed to all the recording magazines listed on your
and mailbox. I love the articles about people I’d never immediately charged for it, nor are you granted access to
subscription renewal pages. None of them were, or are, as
get to hear about elsewhere, and I love drooling over the the extra services. Users have to wait a few weeks for their
succinct and bullshit-free as Tape Op. Thank you for
t)

ads and seeing the possibilities. Thank you so much! request to be approved. If somehow you are special
putting out such a fine magazine.
Garry Grasinski <garrygray@aol.com> enough to be selected, you get to shell out $60 per month,
Mark Moran <firmgrey@gmail.com>
I wanted to say that I have kept all my Tape Op issues, or $650/year (on top of the 5% SoundBetter fee, plus a
Longtime reader, first-time commenter. In this age of
and I learn so much within each one. Thanks, and keep 3% transaction fee) – to have your profile appear higher in
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resurgent analog tape multitracking, it may be nice to

interview someone with an in-depth knowledge of how
tape works. My longtime friend, and Tape Op
advertiser, John French at JRF Magnetic Sciences
would be a great guy to talk to. He’s probably
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them coming.
Roger Thom <roger@openfiredesign.com>
Larry, I just renewed my free subscription. We’ve met
at AES a few times – I think you’re a real mensch. I’m
seriously considering getting the Tape Op archive
searches, while being granted access to their job board.
Only then are you allowed to bid on any client’s
jobs/projects. But wait, you can only bid up to ten times
per month. As it stands, I wasn’t approved for Premium
status. Am I being a sore loser because I wasn’t picked for

forgotten more about tape and the magnetic process

a pay-to-play account? I can afford it, and while I am
than most people could ever know. I’ve known John package. It sounds hyperbolic, but I’ve been reading
generally nobody, I am plenty qualified. The particular
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and [his wife] Cookie since the ‘90s, and his passion
for magnetic tape is unwavering. I’m sure it would be
very insightful to your readers, who may be opting to
record on analog for a good base of information.
mp
trade mags for over 35 years, and yours is far and
reason I was given for not being selected sounds dubious:
above the best I’ve seen. I learn something (or five
“We add Premium members on a rolling basis, based on
things) new and interesting every time I read Tape Op!
demand for particular specialties at the time.” All in all, it
Keep up the good work!

seems a waste of time and effort for most of us.

Dan Cleary <fogf1@hotmail.com> James McLean <mcleancreative@gmail.com>
Drew Rydberg <extracurricular.stuff@gmail.com>
10/Tape Op#132/Letters/(continued on page 12)
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 In regards to this being a “business plug,” you should
know that Tape Op has yet to even receive or run an ad for
SoundBetter. No one paid us off to do this. I’ve had a far
different experience at SoundBetter than yourself, and
that’s why I was interested in doing this interview with co-
founder Shachar Gilad. Initially I did have a free Basic
account, and during that time I waited patiently and
received a couple of small mix jobs from clients who
discovered my credits via SoundBetter. Premium accounts
were discussed in depth in our interview, and it was
explained why they do not automatically grant these
accounts to everyone that applies. Less than three percent
of Premium applicants get accepted. (Note also that Basic
accounts make up half the work being done via
SoundBetter.) When I asked for, and luckily received, a
Premium account it wasn’t an initial rush of jobs, to be
honest. I was able to bid on jobs on a first come, first serve
basis, though I’ve only ever been chosen for one or two of
these. But as I did a few more jobs via SoundBetter, I

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started getting more work. Most jobs are simple mixing for
one song, but I’ve also done full album mixes and in-person

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production work. Any of these clients could’ve also booked
me directly, but it seems this is work I’ve only received
because of SoundBetter’s exposure, so I see this as a good
outlet for four to five extra jobs per month. I suppose many
clients like the fact that their money is held by the site until

)
the work is completed to satisfaction, and that uploads are
handled on the site. Also, you mused that the site is geared

ot
towards “top-level music business professionals.” I don’t
consider myself a huge star in the production and mixing
world; just a guy running a medium-sized studio in a
secondary market with some specific credits, and I’m happy
(d
to get low key jobs via SoundBetter. I’d say to keep
promoting your services any way you have been before, but
to give Soundbetter.com a chance. I would also recommend
using your real name on their site so people can easily look
up your proper credits. And, if there’s a glut in the services
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you provide, look into what else you can offer to entice
clients into working with you to help you stand out. -LC
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On page 30 of issue #130 [in Chris Carter’s interview],

Peter Christopherson is misidentified as “Peter
Christopher.” Thanks for all you do.
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Nathan Amundson <www.rivulets.net>

Thank you for catching that! I’m a long time Throbbing
Gristle fan, and I knew the spelling of the late Mr.
Christopherson’s name, but I somehow missed fixing it!
Damn! -LC
t)

Larry & John, I have not thanked you yet. Thank you!
Stuart Gilchrist <jsgilchristiii@gmail.com>
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Send Letters & Questions

to: editor@tapeop.com
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Please support them and tell them
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12/Tape Op#132/Letters/(Fin.)
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by Angelica Tavella
photos by Boris Camaca
In March of 2018 I met Holly Herndon at a hotel on the
outskirts of Berlin, just two weeks before she was set to
defend her Doctor of Musical Arts Music Composition
dissertation from Stanford University, and one month before
the release of her third album, PROTO, on 4AD Records. We
had a fantastic conversation about the making of PROTO, her
creative process, as well as what it’s like to collaborate
with artificial intelligence and a choral ensemble.
How you would describe what you do?
I’m a computer musician.
What does that mean?
Well, that’s always what comes next. I am a composer,
and I’m a performer. My primary instrument is the
computer.
What were the formative experiences
in becoming the musician you are
today?
Well, my introduction to musical performance was
through choirs, often in a liturgical setting – in
church, in this emotional ecstasy that one has in the
religious singing experience. Another introduction
would be coming to Berlin as a teenager and
hearing Eurodance in the supermarket; also the
crazy, synthetic pop music that was popular here.
It’s like a geographical point. Another one would be
moving to Oakland, going to Mills [College], and
starting to use a computer in a way that I had more

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control over. That’s the trajectory.

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“I’m always
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trying to
develop my
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own palette.
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Each record
has its own
tool kit of
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whatever I’ve
developed for
that record.”
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What led you to Mills? on the semester they were teaching Max. That’s the
I was already writing music. I went to some master only reason. It’s actually probably better that way,
classes here [in Berlin]. I took some free because it’s visual. Actually, I was in the beta testing
improvisation with [vocalist] Lauren Newton. I was of Max for [Ableton] Live at the time, when I was first
trying to teach my way through some things. I had getting started.
downloaded SuperCollider [a real-time audio synthesis Around what years?
programming language] and was trying to figure it I was at Mills from 2008 to 2010. This always happens
out without any community. That is hard to do if you to people when they first start to use Max: I was
are coming at it blind, without any reference point. building this complicated, insane, disgusting patch
There was already a deep interest, and I was trying to that I’d never use again. But that’s part of doing it;
figure things out myself. I figured that if I wanted to to learn how it works. I was building this stupid
take things to the next level technically, I needed to performance system that was super complicated. I
retool. So, I decided to go to Mills. spent forever on it, and then the Max for [Ableton]
SuperCollider was the first music- Live beta came out and answered everything. All of a
making software you interfaced with? sudden it was so much easier to do all the things I
It was, and it wasn’t what I ended up using. I ended up wanted to do, because I could just put individual Max
using Max [Max/MSP/Jitter; a visual programming patches on individual audio tracks - things that were
language for music]. It’s random. At Mills, one difficult to code if you were just starting with an
semester they would teach Max, and one semester empty Max patch. That was a massive self-own; but it
they would teach SuperCollider. I happened to start was also good, because I had to learn how to do all
that. Now I have the stability of this DAW [Ableton
Live] but with the flexibility of all this weirdness I
want to do [Max For Live]. That then became a
powerful performance tool.
I know those messy Max patches. When I
was in school, I was doing the same
thing. It was like, “If only there were
something else!”
Then that something else came. I think a lot of people had completed studies there. In many ways, Holly Herndon’s
that moment. A lot of people who didn’t know what Max
was bought Ableton Live, and they found out about
[Max] through [Live]. Then they got into programming.
(d
That’s cool that it introduced people on that level. So,
then I started writing Movement [her first album] So, when you got there, did you know
towards the end of Mills, and after Mills. Movement came
out right when I started at Stanford [University]. I had I didn’t know. I was overwhelmed, in a sense. It’s a very
no expectation that anyone would care about it at all.
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It was just this weird thing I made and thought was
cool; then somebody wanted to put out. Then, “Oh,
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you’re invited to play this festival.” That was exciting,
but also weird timing, because I’d just started at
Stanford, so I was taking classes and trying to tour the
album at the same time. That was gnarly.
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Can you talk a little bit about your work
at Stanford’s CCRMA [Center for
Computer Research in Music and
Acoustics, (pronounced “karma”)]?
How would I describe Stanford? I was drawn to the
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history of it; John Chowning, and the whole legacy
there. Also, there’s just an attitude. Chris Chafe is the
director there, and he’s my advisor. He has this
(a
beautiful, super open-minded approach to
experimentation; wherever that might take you.
There’s no real expectation of what will come out of
something. A lot of that comes from Chowning. You
have this example of someone who’s just messing
around in the lab, and the next thing you know it’s
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one of the most valuable patents [FM synthesis -ed.]
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that the university has ever seen. That will embolden
a community to be like, “My experimentation is
valuable!” Experimenting without necessarily a goal
in mind is something that’s valued there, and I think Are you still working on your PhD?
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that’s a beautiful thing.
Ms. Herndon/(continued on page 16)/Tape Op#132/15
John Chowning and CCRMA
The Center for Computer Research in Music and Acoustics,
or CCRMA, was founded in 1975 at Stanford University by
John Chowning and Leland Smith, along with research
associates John Grey, James A. Moorer, and Loren Rush. This
was the culmination of over a decade of work by Chowning
and Smith that began in 1964 with help from Max Mathews
of Bell Telephone Laboratories. During this initial decade,
they pioneered early experiments with music, acoustics, and
early mainframe computer systems. The first computer music
course was offered in 1966, and in 1969 they established a
summer workshop in computer generated music. In 1967 Dr.
Chowning began his work on frequency modulation (FM)
synthesis, which resulted in an AES paper on the technique
in 1973 and a patent in 1977. FM synthesis was licensed to
Yamaha in 1973, and they eventually introduced the FM-
based DX7 synthesizer in 1983 – one of the best-selling
synthesizers in history. The patent for FM synthesis was one
of the most profitable patents held by Stanford, earning over
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$23 million before it expired in 1994. When CCRMA was first
founded it was part of the Stanford Artificial Intelligence
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Laboratory (SAIL) in an off campus building in the hills of
Palo Alto, CA. In 1979 SAIL moved to the main campus and
in 1986, CCRMA followed suit and moved into their current
location at The Knoll Building on the main Stanford Campus.
Over the decades, CCRMA has had a huge impact on how
)
music is made today, and many people in the industry – such
as Bill Putnam Jr. of Universal Audio [Tape Op # 24]) – have
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work with Spawn on PROTO is an almost full circle, back to
the early promise of CCRMA and SAIL. -JB
<ccrma.stanford.edu>
the direction you were going to go?
weird program. I’m in the composition department.
The music department is one big thing, and then
there’s a composition track, a musicology track, and
an engineering track. CCRMA is mostly the
engineering track, but there are also composers there.
A lot of the composition history at Stanford is a more
traditional approach; very complex and score-
oriented. One of the composers there is Brian
Ferneyhough, who’s famous for his contributions to
the “new complexity” movement, which is all about
the most ridiculously complex scores you could
imagine; to challenge players that are extremely
skilled and to push them to a next level of
performance. It’s a very different tradition or interest
than I’m coming from. Maybe at times it was an
awkward fit, but I always felt at home at CCRMA. Most
of the people there are doing physical modeling,
trying to improve a compression algorithm, or
something like that. There’s an openness to the
community there. I like being around engineers and
finding ways to integrate that work into my creative
practice, even though that’s not my focus. Some of
that is just so insane. Like Jules [LaPlace]’s classes –
some of the physical modeling – is super advanced
math. It’s a nice community.
I’m defending [it] in two weeks.
What’s your dissertation about?
Because it’s a Composition DMA [Doctor of Musical Arts],
it’s a body of work which is PROTO, and [the
performance pieces] “Deep Belief” and “Chain Opera,”
and then an analysis of that. It’s mostly writing about
AI [artificial intelligence], as well as the aesthetic
implications and subjects like that.
Do you have separate phases for writing
and composing, and then taking Straight into Ableton Live, and I just record
those ideas in to record, or is the
process fluid?
That would be the smart way to do it. My methodology
is not always that perfect. I would write something,
like a simple score, and then we would have regular
rehearsals once a week, or every other week. The There are a couple that I’ve used. One is called Sometimes we sit together towards the end of the process
members would perform them, and I would record
that. I’d then go back into the studio and work with it.
Then I’d iterate on that and change the score; or I’d
have them emulate a process that I applied to the
score. Once it was at a certain point, I would go into
the studio to record them, but I would still end up
changing it and remixing it into its final iteration.
For the score, do you use traditional That studio just had a good vibe. It had good lighting, and
notation for the ensemble to read?
Yeah. Or sometimes I record a process and have them
emulate a digital process. Then it, of course, becomes
something entirely new when they’re interpreting it.
What is the environment or studio that
you work in like?
We had a very unusual setup in our old place. We just
moved a couple months ago. We used to live in
Kreuzberg [in Berlin], and we had a more industrial loft
space with a large, open room where we could have
rehearsals. I had a little studio room, where I could
shut the door that was sound-treated and had a nice
speaker setup. I could do single recordings in there. We
would also rent a recording studio to do a proper final
run of recordings. I would record our rehearsals in the
main room and then iterate on them in my studio.
Once we got it to a point where we were rehearsed, we
would take that to a recording studio. We’d further
rehearse there and get real-time feedback and try it
with different approaches. “Okay, let’s try it this time
staccato” or, “legato” or, “add a glissando to these
parts.” Just workshopping.
When you’re recording the vocal
ensemble at your house, do you have a
particular way that you like to
t)
capture that audio? Any certain
mic’ing techniques or mics that you
like to use?
(a
It depends on what we’re recording. Usually I was just
recording as a reference, but we ended up using some
of that. I probably should have paid a bit more I wanted to ask you about the drum
attention. I find the Sony PCM [handheld recorder] to
be quite good at recording. The fidelity is good I feel like Marta made them sound so much better than
enough. I did a piece called “Body Sound” years ago
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with a dancer, and that was all recorded with the PCM.
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I was just holding it to his feet as he was dancing and
recording his foot sounds. It’s actually really crisp and She’s a masterful drum mixing engineer.
clear. But there were a couple times that I rented
microphones and set them up in our space for a couple
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of sessions when I knew that I didn’t need to rent the
16/Tape Op#132/Ms. Herndon/(continued on page 18)
studio. It’s expensive to do that. There were a couple Yeah, for sure. Well this time, because she was in London,
of background parts I wanted to record where I would
set up some microphones. I can’t remember the
microphones that I ended up using. There’s this place
here called Echoschall. I would rent a nicer microphone
when I would record soloists in my studio.
What are you recording with in your
studio? What DAW do you use?
with whatever preamp I’ve rented from Carsten
[Lohmann of Echoschall], and then I have a Focusrite
Clarett series sound card.
What about any go-to studios here that
you record at?
LowSwing Tonstudio, in Prenzlauer Berg, and then
there’s one called Blackbird Music Studio in Kreuzberg
that’s also pretty cool. Then I just discovered a new
one in Mitte that I can’t remember the name of. It’s
more expensive, but it was beautiful. I want to be
able to afford to record there!
What attracts you to certain studios?
good acoustics within the live room. When I’m in the
studio, it’s mostly about recording the live room with the
ensemble performing. I’m not really doing any
production in those studios. The production all happens
at home. I have nice ADAM speakers. Then I mixed in
London with Marta Salogni. She’s amazing. She just built That’s
her own studio in London. Before she was renting out a
studio in the Mute [Records] office. She’s a sick mixing We work better separately. We’ll come together for a
engineer. She usually works with bigger pop artists, but
she’s friends with a friend of mine, Lafawndah, and they
were working together on Lafawndah’s album [Ancestor
Boy]. She was playing me some of the tracks that she
(d
just released, and I was like, “Oh, this mix is amazing!” I’m curious about how the different roles
She said, “You have to meet my friend, Marta.” Then we
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found a time to synchronize. She’s so good. I love
working with mixing engineers, because it’s like hearing
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your music in a new light. The process of writing clouds It is a group. Almost more like a sports team, and different
your judgment, at least my judgment’s totally skewed by
the end of it. [Marta] has this almost psych rock vibe to
the way that she mixes digital instruments. She gives it
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this space and weight in a way that worked. All of the
ensemble music was recorded in a space with people,
and you feel that liveness and atmosphere. When you
have digital instruments with that, it can often feel
disconnected. How do you make all of these digital
instruments work together? Then you have this artificial
intelligence [component] that has its own aesthetic and
lo-fi sound to it. How do you make those all sit in the
same environment? Marta was huge in that. Her drum
mixes are so epic.
sounds.
they were! I feel like all of a sudden they were these
Baywatch sounds; imagining these stadium sessions
where the drummer has this huge kit all around them.
Do you like being in the room during
the mixing process? Were you sitting
there together?
I sent her the material and she did a pre-mix. A lot of
that takes time, and she can do it on her own schedule.
Then I went to London, and we went through the album
together and tweaked each one, song by song. Of
course, Mat [Dryhurst] was part of that as well. We wrote
and produced together. I don’t want to write him out of
this process. He’s also sitting in the room. Mat has an
almost savant ear for timing. Some people have perfect
pitch. He has perfect timing, in a way that’s almost
annoying sometimes. Sometimes I will like a swing on
something that he doesn’t, because his timing is too
sensitive. Sometimes we will argue over swing!
How does it work during production?
when we’re tweaking things. The way the process usually
works is that I’ll start something and then we workshop
it together. There’s a lot of file sharing. We remix things
together. This has been a long process to get to this
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point, because I used to be very sensitive about certain
things being off-limits. Like, “Don’t touch that. That’s
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perfect!” That’s not a great way to collaborate. I think
the more comfortable I get with myself, the easier it is
for me to let go of control. I’ve tried to be more like,
“Nothing is holy.” They can mess with anything.
Everything is a “Save As” anyways. That’s been a learning
process for me. Then we just remix each other back and
)
forth, and it creates this weird collage at the end.
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awesome. So, it’s not necessarily
together?
listening session and give each other feedback. But we
don’t jam together. We’re not vibey like that. We’re more
neurotic and controlling of things. Whenever we try to
sit together, we’re fighting over the mouse.
in the ensemble for PROTO works? What
is the role of your AI bot, Spawn, and
the role of your human ensemble?
players are on the field at different times. They all have
their own projects, and they’re all traveling constantly,
writing music, and playing in a million different things. It
was a process of getting to know their voices and then
trying to write things that bring out certain features of
their voices. It’s specific to them. On “Frontier,” the wailing
sound in the back is just so Stine [Janvin]. I actually wrote
that line with a Granulator [sample-based granular
synthesizer] and then asked Stine to sing that line. She
emulates it and makes it come to life. Or like “Frontier,”
dealing with Sacred Harp music. One of the ensemble
members, Evelyn [Saylor], is in a Sacred Harp ensemble.
She taught everyone how to do that authentic delivery,
and how to go for the chest voice. It’s drawing on what
different people brought to the table, as well as what they
try to draw out of it. We were trying to see Spawn as an
ensemble member. A lot of people doing machine learning
music now are dealing with automated composition, like
training on Bach and then writing new pieces in the style
of Bach. We’re not interested in that. I find that not at all
interesting. What we wanted to do was use sound as
material, kind of coming more from a musique concrète
lineage. We wanted to see Spawn more as a performer.
mp
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L-R: Spawn (on top of the piano) ,
Roman Ole, Evelyn Saylor, Jules
LaPlace, Holly Herndon, Josa Peit,
Mathew Dryhurst, and Albertine Sarges
Can you break down who or what Spawn
is? Does Spawn use a pronoun?
I use she. Maybe it’s super narcissistic, but the first
experiments I did with Spawn were modeled on my
voice. The first things that Spawn did sounded like me,
so it was a she!
Where did Spawn come from?
Mat and I have been wanting to do some work with
neural networks for a while. We got a grant from the
German government, actually in honor of Beethoven.
A celebration of his life and work. They gave maybe
ten different composers little grants over three years
to work on different things. Something experimental
that you wouldn’t normally be able to fund from your
current setup. We didn’t have a way to dive into this
otherwise, so we were able to buy the hardware, and
we were able to pay Jules LaPlace for his time. He’s
working on all the software. We had this opportunity,
so that’s what we decided to do with it. It’s a three- I was interested in it as a subject. Also, I was interested
year grant, and we’re in year two.
So, Jules is an integral part? Are you guys
continuing to develop together?
He is, yeah. We call him an ensemble member. He is
amazing; also as a composer. Having somebody who has
a musical ear makes a big difference. Jules is a
wonderful alien.
How did Spawn develop over the last two
t)
years?
Well, the first six months were just awful. It was like we
didn’t get anything out of it. We were working mostly
(a
with TensorFlow [a symbolic math library, also used for
machine learning applications], which is usually used for
style transfer of images, so we were applying that to
spectrograms. It was even lower fidelity than what we
have now. It was very scratchy, and it wasn’t that
interesting. A lot of the voice work we were doing
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sounded very computerized; kind of vocoded. It was a
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good six months of us training it on all different kinds of holistic approach. Let’s build the ship and sail the ship,
things, and we kept getting awful results. Six months is
a long time to not have anything. We were like, “This
sucks! Why are we doing this?” We switched it up and
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decided to use SampleRNN, which is a different approach;
18/Tape Op#132/Ms. Herndon/
Because the rendering time is so long, it’s difficult to
more of a microsound sample-by-sample approach. That’s
when things started to turn around. I think the first thing It was certainly beautiful.
we got out of it that was the most interesting is what Thank you!
became “Birth,” where she’s kind of emulating my voice. Now that PROTO is out, what is the future
Jules made this GUI [graphical user interface] where
Spawn will be rendering, and then she’ll post when We’re working on real-time systems now. It’s difficult, but
something’s new. She has a little Slack bot where she’s
like, “Here’s a new track!” So, we listened to it, and we For her to be able to learn on the spot?
were like, “Hallelujah! We finally have something I’m not going to say she will never, but our current
interesting!” Of course, it ignited our interest again,
because we were starting to wane in on it. Then we
wanted to put everything through SampleRNN and see
(d
what else we could do. It was a long, laborious process,
and that was a watershed moment. When we started
working on the voice model with the WORLD vocoder,
with Jlin’s “Godmother” track, that was another moment.
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What are the opportunities of using
artificial intelligence in your music?
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in it as a philosophical, human subject of what AI
means for the history of humanity, the history of
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intelligence, and for our evolution as a species. A
broader, philosophical question. That filters into the
music that’s not even necessarily dealing with Spawn.
“Extreme Love” is a text written by Jenna Sutela, who
also works with artificial intelligence. Spawn is not even
on that track, but it’s dealing with these kinds of
questions around intelligence and evolution. It was a
broader theme that I was interested in dealing with, but
also working with it in this DIY capacity. I was
interested in what sound world would come out of that.
Whether or not I’m successful, I don’t know. I’m always
trying to develop my own palette. Each album has its
own tool kit of whatever I’ve developed for that record.
Hopefully it has its own sound world. That takes time to
develop. It’s not like I want to just plug into whatever
I did on the last one and start jamming away. It’s a
but you have to build it first. Through building it, you’re
learning how to play it and what it can do. I think that’s
why it takes me so long to write, as well. I have a hard
time doing something that I feel like sounds like
something I’ve done before. I feel like I’m trying to push
myself to progress. Of course, it’s not always successful,
but at least that’s what the goal is when I’m starting.
What are the training sessions like that
you were doing with Spawn? I
happened to be at the performance at
Martin-Gropius-Bau.
incorporate her into a live performance. It’s something
we’re struggling with right now. We want to tour with
her, but we’re trying to figure out this real-time system.
At that time we were like, “What part of this process is
performative?” It’s the creation of the data sets
themselves, because you have to perform them in order
to record them. We wanted to involve the audience in
that as a way to make the process less opaque, as well
as to explain what a training even is. If you just hear
somebody say, “Oh yeah, I’m training an AI,” it sounds
like a mysterious thing. It’s not. I’m creating audio files
that I’m then feeding to this neural network. By
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involving the audience, we were hoping to explain it in
a way that was slightly didactic, but also immersive and
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interesting, and maybe beautiful at the same time.
for you and Spawn?
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that’s the goal.
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capacity is not such that she will be able to learn on the
spot. But I think that she will be able to perform on the
spot in a way that is interactive with human performers
on the stage. That’s what we’re hoping for. It’s not
seamless yet, and we won’t present it until we’ve figured
it out. I don’t want to do some sort of fake AI bullshit
on stage. We will start the tour without her. Whenever
she is ready, she will join us.
What are your thoughts on the role that
artificial intelligence can have in the
musical sphere?
I think there are many things that will happen. I think
we’ll see a lot of automated writing. That’s inevitable.
It’s a much cheaper way to generate genre-specific
music, but I don’t think that’s interesting.
What’s most interesting to you?
What’s most interesting is seeing it as a different kind of
intelligence, as well as trying to figure out what we can
learn from that intelligence. Allowing it to surprise us
with different options. With [the track] “Godmother” for
example, I didn’t teach Spawn how to beatbox at all.
That would be embarrassing if I ever tried to beatbox,
but Spawn ended up beatboxing, which was hilarious,
weird, and funny. Be open to what surprises you’re
going to get back when you do something. Those kinds
of moments are exciting and fun. It’s revealing
something of my voice that I’m training her on that,
when I didn’t even have that in mind when I was
tra i n i ng he r. T he fu nda me nt al d if f erenc e
(compositionally speaking, not performatively
speaking) between algorithmic music and something
using a neural network is that with algorithmic music,
you set up the rules and you let it run, and that will
surprise you by having some randomization in there. But
 with the neural network, the rule set can be derived from
another piece. It’s an alienated rule set, which is a
fundamental difference. Usually the composer has to set that
rule set, and now the composer can outsource the rule of
writing itself to the neural network by being able to analyze
an existing piece of music. I think that’s fundamentally
different, and it lends people to a lazy approach of just
trying to copy things that came before. But maybe there’s a
different way of applying that, that can reveal something
about how we compose that’s interesting. Instead of just
trying to copy, maybe we can use the way the AI sees that
rule set. Maybe that can reveal something about our impulse
as composers that’s interesting. I haven’t seen that yet, but
that’s something that could be interesting.
So, this is going to be an avenue you
continue to go down with Spawn’s
development, as well as to see what she
does next?
Yeah, I’m definitely going to continue with it. Also, this real-

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time thing is what gets me excited, especially live. That’s
been my whole thing; live-processing. I feel like I’m back

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at this early computer music thing, where it’s punch cards
and then I put it in the computer, wait a day, and get the
sounds back. It gets exciting when you can improvise with
the process and have immediate feedback.
Is the biggest thing that’s holding you back
the technology of the processors?

)
Yes. So, we’ll see! I’m sure we’ll be able to figure it out. We
have some ideas! r

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<www.hollyherndon.com>
<www.angelicatavella.com>

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Ms. Herndon/(Fin.)/Tape Op#132/19

 I’ve been in studios and rooms all over the world. I’ve seen where The
My partner in Tape Op, John Baccigaluppi, noted that Jeff’s memoir, Let’s
Beatles spent hours creating masterpieces. I’ve been in the room
Go (So We Can Get Back): A Memoir of Recording and Discording with
where Buddy Holly’s hits were made. I’ve stood at the mics that Al
Wilco, Etc., and a solo album, Warm, were being released, and he asked if we
Green used on many hits. I’ve been in several rooms that David Bowie
should have Spencer Tweedy, Jeff’s son, conduct an interview with his dad.
spun his magic in. Many of these places have something special going
Spencer has been in touch with Tape Op for years, letting us know about
on – maybe those creative vibes soaked into the walls – but almost all
his wonderful boutique mic cable company, Fjord Audio [Tape Op #126], as
of them require the musicians to cart their instruments and gear in, as
well as suggesting some book ideas for us.
well as to spend some time sorting out and setting up. And, by virtue
So, I asked Spencer to do an interview, but Spencer and Jeff asked if I
of the usual studio layout, many professional studios leave the
would come visit and do one in person. I’m very glad I did. I spent time
musicians and engineers in isolation from each other, especially
interviewing Jeff and engineer Tom Schick [see his interview this issue]
during overdub sessions. In contrast is The Loft, a third-floor
over the course of two days, and I was able to hang out with the rest of
warehouse practice space turned studio, where Wilco and Jeff
Wilco, even enjoying a lunch with them. The band was hard at work on an
Tweedy have created a musician’s dream. Racks of drums and other
upcoming album; it was an honor to hang with them, as well as Tom,
instruments fill the space, with the control room area (not “room”)
studio manager-and-more Mark Greenberg, and the enthusiastic
taking up the front part of the building. There’s even a kitchen/dining
and talented Spencer.
area, a tech bench for repairs, and various little hideaway spots
On the flight into Chicago, I ran into my friend Jonathan Pines, who had
scattered all around the 5000 square foot room.
helped former Wilco member Jay Bennett [#41] turn The Loft into a studio
nearly 20 years ago for use on Mermaid Avenue Vol. II, a collaboration
between Billy Bragg and Wilco, and engineered some of the album there…

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Jonathan Pines explained to me how After that you did Yankee Hotel Foxtrot

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you had a place here for rehearsals in here, right? What was the
and storing your gear. During the timeline on all that?
Mermaid Avenue sessions, he set up a Oh, it’s blurry. From that point on, part of almost
space to start working. everything we’ve worked on has been up here. We had
Yeah. Maybe we looked at it this way, because Mermaid upgraded to tape from ADATs by the time Yankee was

)
Avenue was an advance from a record label we hadn’t being worked on. We tried to mix at CRC [Chicago
planned on. It was this side thing that ended up being Recording Company]. We had transferred everything, all

sort of legitimate. The first Mermaid Avenue had been
pretty successful. I think the general thought was that
it would be money well spent for us to have a place
to record ourselves. We did what we could with what
we had financially. At that time, it was ADATs.
I saw a photo yesterday. Recording to
VHS tape!
Yep, which Jay Bennett was comfortable with. Before he
was in Wilco, he worked at a VCR repair shop.
No way!
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the ADATs to 2-inch reels, and went down there. We
didn’t get much out of that. Then I basically started
working with Jim O’Rourke [Tape Op #16], just the two
of us, at Soma [Electronic Music Studios], John
(d
McEntire’s studio [#23]. It was the same tape machine
Richard Swift [#120] had, that I ended up buying and
then selling to him. We used that machine to go to Pro
Tools, and then we’d mix to 1/2-inch. We’d mix up until
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the chorus, wipe the board, mix the chorus, and then
splice it in. It was all tape edits. You could never
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Yeah. He felt like ADATs were the medium for him. He
was excited about that. We did get a tape machine
at some point. I basically bankrolled it with money
that was coming in from my contracts. I never had
reconstruct Yankee Hotel Foxtrot. It would be impossible.
Nobody even knows where all the different pieces are.
It’s famously documented in the film
as well [I Am Trying to Break Your
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much interest in putting it together. I wanted to
have it be put together in a way that we could work.
A couple of other engineers in town probably
weighed in too. It was wired and set up in a way that
prohibited almost anyone else from using it.
t)
Heart: A Film About Wilco]. There
was a lot of creativity being thrown
at this album.
The part of it that’s not in the movie at all actually is the
part where we were at Soma, where we basically

Ridiculously complex. Even the order you were
supposed to turn it on. I always thought that was
like “job security.” Jay wanted to be the guy who was
engineering when we were up here. Nobody else
(a
ripped everything back down to the skeleton and
started reconfiguring it. I think by that time,
[director] Sam Jones had run out of money for his
film. He had to prioritize, and he wanted to wrap it up

could really work with it. But that became the plan
going forward, which was not to spend so much
money going to other people’s places, but to
basically use whatever advances we were getting to
upgrade what we were able to use, and then have
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in some other fashion, so he didn’t film any of it.
Right. You mention a bit of that in
your book, about how skewed it
comes off. I never saw the movie until
two weeks ago.

something to show for it going forward. Over time, it Oh, wow. Good for you!
became this [The Loft]. I knew it was about people in the studio
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Jonathan was like, “We had to build when there were arguments. I was
gobos, put all the cables in, and do all like, “I don’t know if I want to see
of this.” It was like, “Here’s a room.” this. I go through that all day.”
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Yeah. It’s basically grown out of a glorified VCR. [laughs]

20/Tape Op#132/Mr. Tweedy/(continued on page 22)
Jeff Tweedy
Staying Warm at The Loft
interview by Larry Crane

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b/w photos by Zoran Orlic and color photos by Larry Crane.

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“I live this every day!” In your book you skipped through the Yeah! But, in a way, I felt like that was a blanket
Yeah! As soon as that camera’s rolling, Mermaid Avenue sessions. I’d heard affirmation. You’re allowed to do so for this. I remember
you know you’re being documented. that those sessions were rough for how easy the actual writing and recording felt. It is
It’s not a fly on the wall, like you said Wilco, in certain ways. still, to this day, one of the things that I find the
in your book. I think we were probably more hardheaded and arrogant. I easiest of any task; to take existing lyrics and put them
Right. I feel like one of the most famous scenes, if you can think we were much more than Billy thought he was to music. I love that process. A few years ago, I was
call it that, is the argument between Jay and I in the getting into. In hindsight, to be fair, we looked at being considered to be a part of that Dylan project
studio. I don’t think it would have gone on nearly as ourselves as being a lot more than a backing band for [Lost On The River: The New Basement Tapes]. I’d been
long if the cameras weren’t there. But, that being said, him. Whether we deserved to have that sense of self or sent 12 or 14 sets of lyrics from that project. I wrote
that was also pretty typical of the types of arguments not, we did. Jay was very, very assertive about wanting and recorded a whole record over the weekend with
that were happening at the time. For some reason, a lot to mix. He was a huge Billy Bragg fan. He wanted to mix that; I can’t help it.
of the time I wasn’t that disturbed by the cameras. I Billy Bragg’s material because it was a dream of his. I Spencer Tweedy: That’s not an exaggeration.
don’t know if it looks like it in the movie, but I got used think, like a lot of people who are involved in recording, [To Spencer] Were you playing on it?
to, “Oh, they’re just there.” They were doing a pretty they can like something but still think they could have ST: Yes.
good job of keeping out of the way. I guess because the done a better job mixing it. Any opportunity I get to do that, I’m excited.
alternative to me was the experience we had had with Oh, I know what you mean! Is it also because half the equation has
Mermaid Avenue, when Billy Bragg brought in a camera It’s human nature. You can’t help it. There was some of already been solved? I know you tend
crew. He had funded the documentary himself. I guess that going on. Honestly, I felt like I was on the to generally write lyrics further down
he ended up selling it to BBC, or something. I don’t periphery of that, although I was fairly disillusioned the process.

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know. It became [Billy Bragg & Wilco:] Man in the Sand. I think I tend to look at language as being melodic or
with some of the overall practices versus the politics of
That camera crew, and Billy’s attitude towards it, were musical. I’ve always liked reading lyrics; it seems like
the situation. That’s about as diplomatic as I can get.

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much different. He was actually asking me to have Some of the results are beautiful and second nature. Plus, with Woody Guthrie – and with
arguments with him again for the camera! awesome, aren’t they? Dylan, to some extent – it’s almost like doing a
Hmm… crossword puzzle. With Woody Guthrie, in particular, he
Yeah. I’m super proud of the material, for sure.
Like if we’d gotten into a dispute about something, he’d You also mentioned in the book that you never wrote an original melody intentionally. He was
be like, “Whoa, whoa, whoa. Hold on a second. Can we were going through a time where you like, “If I ever wrote a melody that was original, I didn’t
get a camera in here?” were trying to get rid of the mean to.” You can hear other songs in all of his lyrics.

)
Holy shit. Well... “Americana” tag, or at least subvert it It’s a “Cotton-Eyed Joe,” or a Carter Family song. It was

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Sam Jones and his crew were like a breath of fresh air to a degree. Then you’re thrust into hard to read those lyrics without some musical
to me. this thing with Woody Guthrie songs! information coming to me.

Wilco @
The Loft
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group of musical lifers

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who are all pretty tuned

into the needs of a song.”
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22/Tape Op#132/Mr. Tweedy/(continued on page 24)

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Getting the meter and melody. That’s an interesting revelation. You’re I don’t mind getting lost in the details sometimes. I think
It was like, “Okay, that’s already there.” So, let’s use currently working on another Wilco that can be fun. But still, [I want to be] once removed
chord substitutions; let’s not make it exactly like that record, I assume. from the actual physical, tactile sensation of
[other song]. Yeah, correct. controlling it somehow. It also forces me to use
With production in Wilco, how has that Mark Greenberg told me that the sessions language to explain to Tom what I want to hear. Like,
flowed over the years? You’re the were quick and efficient. “I wish I could hear more of the fingers on this
voice. You’re generally at the center Yeah. Well, on one hand it has to. Everybody’s so active instrument.” It allows me to stay a little bit more in an
of all the songwriting. How do and so busy outside of the band, it’s difficult to carve “imagination world,” as opposed to real-life physics.
you make sure there’s room for out a whole lot of time for us all to be in the same The other thing I’ve worked hard to try and avoid is
everything else to be around you, place. We’ve been hitting it pretty hard, and it’s been using other peoples’ records as references. When you
while also seeing what people can going very well. go, “Oh, more like a Fleetwood Mac thing.” It’s hard
bring to the table? That’s awesome. You’ve worked with a lot sometimes. Especially in a band like Wilco. We all have
Well, since Sky Blue Sky – the lineup of the band that of engineers over the years in so many references that we share a language like that.
formed after A Ghost Is Born – it’s a miraculous group different places. Currently, Tom We all know what it means when you say, “A Byrds-ish
of musical lifers who are all pretty tuned into the needs Schick is here at The Loft. 12-string.” But when you force yourself to not do that
of a song. I guess I’m the overseer of a vision for the I don’t remember ever working with any engineers other and say, “I want it to sound more despondent,” then
record, or the overall sonic landscape. Which songs to than Tom. you have to think about it. You have to go, “Well, how
do and how to put it all together. But everybody’s Perfect answer. do I play more despondent?” Instead of saying, “Big
pretty sensitive to not stepping on the song. It’s a six- I guess I have worked with a fair amount. But Tom and I Star’s Third,” it’s, “Play like something awful just

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piece band, so it can get very difficult for everyone to pretty much complete each other’s sentences. It’s happened.” I don’t want to get too on-the-nose and
find their way into a song. A lot of my songs are so telepathic. That’s one of the reasons he’s here. It was make it into a pastiche. I always try and remind myself

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simple. It definitely doesn’t need too many pieces. I immediately like that, actually. Maybe not the that that’s what my favorite records were generally not
can play them with an acoustic guitar, generally. telepathy part, but the general speed of how we work doing. It’s the one thing I’m confident they weren’t
Right. It’s there. together. The understanding or working at the same doing. Howlin’ Wolf was not saying, “Make it sound like
It’s a song. Everybody’s up for the challenge, all the time. It pace. Thinking at the same pace. Paying attention at somebody else’s record.” It was this miraculous thing
can get a little bit frustrating, but I guess the point that the same pace. You’ve got to find your guy. I feel like that he could [get to] hear what he sounded like.
Conquering a new sound is always more

)
I was trying to make is that it’s such a great collective when you touch a knob, consciously you become less
spirit to the band. It hardly ever gets contentious, like, aware of the whole. If I touch a knob, all of a sudden interesting.

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“You took my part!” It doesn’t get to that territory. I think I’m thinking about what this knob is doing. I find that Sure. That’s the point; liberating yourself to not sounding
everybody wants to get in there and be a part of it. to be distracting. I feel like my role is to keep an eye like something else.
Everybody throws ideas at it, but generally everyone’s on the song; the big picture and the emotional With productions you’ve done in the
pretty open and accepting to being cleared out if it content. Not what the bass EQ is doing. Your last handful of years, you did a lot
necessitates that. There’s not a lot of insecurity. To me,
egos are fine. It’s insecurity that’s the problem. Insecurity you look, too. People don’t realize that.
creates an ego that is needy, and that’s a problem in any To their detriment, with Pro Tools.
(d
consciousness goes to that. Your ears tune into where with Mavis Staples, which must have
been a blast.
Totally. She’s incredible to get to hang around.
dynamic. Everybody’s comfortable laying out, because Yeah. Don’t put it in front of you! That’s an amazing run of records [You
they’re not thinking, “Oh, if I don’t get X amount of licks I’m always amazed when I hit the Are Not Alone, One True Vine, If All I
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in on this record, people are going to think I forgot how spacebar and the band crowds around Was Was Black]. How did that come
to play!” They don’t look at it like there’s a lot to prove. the computer screen. “No, listen to about in the first place?
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They’ll be on stage with you. It’ll be okay. the monitors! Listen to the audio!” I always refer to it as an arranged marriage. I think we were
We’ll all be on stage. Yeah. They’re thinking about something else. I like not both being fed a bill of goods. Her manager was telling
I saw your solo tour, listened to Warm, having that sensation where I’m drawn too deep inside her that I wanted to meet her, and maybe try and work
and then to the Tweedy album with her. My manager was telling me, “Mavis wants to
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of it by a knob.
[Sukierae] that you and Spencer Right. The details. meet you, and maybe wants to work with you.” I was
made. How do you determine where a
song’s going to end up? How do you
decided whether it’s going to be a solo
song, a Tweedy song, or a Wilco song?
t)

It’s a lot less conscious than that. It’s a lot more about
having faith in the process. Maybe it would be smart to
set aside certain songs for certain projects. But I don’t
(a

believe that there are accidents. I try and do what I’m

most excited about working on. When that’s all
finished, that’s a record. Whether everybody in Wilco’s
here; or it’s Spencer and me. Over time, if you keep
working, the other thing that happens is that songs
start to feel like they belong to each other. We listened
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to a bunch of material the other night, and I thought,

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“Oh, there’s a rock record in here somewhere. It’s not

the record we’re making right now, but this sounds like
it belongs with this other song.” That never occurred
to me until the other night. There’s almost enough
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material for this power pop record. Tom Schick at The Loft
24/Tape Op#132/Mr. Tweedy/(continued on page 26)
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 familiar with Mavis; I don’t think she was familiar with
me. They basically set up a date for us to hang out and
have lunch on the South Side. Initially, I thought I was
getting together with her to suggest some material for a
record and potentially write a song for her. After that first
meeting, I invited her up to The Loft. I played her a
bunch of old gospel 78s and songs like that I thought
she could really make her own. They happened to be a
lot of songs that Pops [Staples, her father and leader of
The Staple Singers] used to play. We had a great time and
it felt like we were on the same wavelength. That
seamlessly rolled into working on a record.
Did you record that album [You Are Not
Alone] here?
Yes. I’d seen her play with her current band. On this first
record, I loved the idea of getting them in the studio.
They hadn’t been in the studio with her. They were raw,
compared to a lot of artists from her era. As they get
older, their bands tend to get older and more
Yeah. I think it keeps her young. I think she feels like it’s It’s all rough mixes, too. We had mixed the whole record at
what she does. Ocean Way [Recording]. When I was at the mastering
She’s been doing it her whole life. studio with Bob Ludwig [Tape Op #105], we’d mastered
Literally. I guess since she was 12 years old. the whole record from the original, finished mixes. I’d
That must feel pretty amazing to work on booked two days, because it’s a double record. I came
something that’s got so much to do back the next day and said, “I don’t like this record as
with the history of music. much as when I used to listen to it on my cassettes.” Bob
It’s a crazy, unlikely turn of events for a person from where said, “Well, let me hear the mixes you like.” He helped me
I’m from. To have had these types of connections with pick all of the mixes from cassettes and DATs.
Woody Guthrie and with Mavis Staples. That makes me That’s awesome.
feel like I’m an unwitting bridge between some ST: He’s so nice.
different eras of music making. He agreed with me. He said, “These feel better. They’re not
It could be at the point where someone better sonically. They feel better.” That was a big moment
who’s a Wilco fan starts listening to Bob for me, affirmation-wise, to have him supportive of that
Dylan and The Band because of you. decision. We’d spent a fair amount of money on those
It’s possible! Which is how most people found Woody other mixes!
Guthrie. Not from us! There’s no way you were getting out of
From Dylan! Ocean Way for cheap.
Yeah. But now “California Stars” is maybe one of the top- There’re a couple of David Kahne mixes on Summerteeth. He

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conservative. She did have that [type of] band at one 10 most known Woody Guthrie lyrics. was mixing Sugar Ray and people like that at the time.
time, but she ended up with this fiery little blues trio. On I never thought of that. That makes it more contemporary-sounding than

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the next record [One True Vine], we had done some Wouldn’t you think so? anything else we ever did, probably.
promotional [events] together, with acoustic guitar andYeah. It took on its own life. It’s crazy. On Right. Don’t take this the wrong way, in
the two of us singing. She wanted to make a record like the other side of this, you produced a any sense, but that record always
that. The next record started like that, and then Spencer record for Low a while back that I love. pushed me away sonically. I’d always
started coming by after school and putting drums on. [The Invisible Way] think, “Why do I keep going to Being
Mavis loved it, and she loved the idea of there being aI love that record. They came in wanting to do an acoustic There or the records that followed?”

)
family element to it, like her family. album. They felt like they’d never done that. I got That record always sounds more pushy

That’s how she was brought up, in
a family band, with The Staple Well, it’s always the producer’s fault.
Singers. Wow.
That ended up being the way that record was put There’s always been a flexibility with
together. Then we got to do the Pops album [Don’t Lose
This], because she felt good about how things had gone
working here.
That was taking unfinished studio
sessions, and then building songs?
They were finished, but they were hard to listen to.
Once we had the master tapes and the individual
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blamed that I’d made them do that. and abrasive.
ST: It’s cold.
Yeah. They’re so good now. I don’t really know. I feel like the material on that record has
continued to be something that people want to hear
them, that the music could be done
any way they choose.
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when we play live. So not very many of the songs have
disappeared from our consciousness, which is more
It’s this intense, musical thing that happens when they important to me.
sing together. I don’t know. They’re up there in my Yeah, as long as the songs stick around.
opinion; nobody else sounds like them. American Yeah. People get excited when we start playing one. I love
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originals. It’s a lot of material that holds up. It’s making that connection. I don’t know how much of it is
always out of time, too. You don’t go back and find from the record anymore – or if it’s from Wilco being a live
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tracks, it was unbelievable some of the tracks [they’d] records of theirs where you think they have lost act for so long – that people are perhaps more familiar
put around these guitars. There were some mixes we anything because the production sounds too much with the live version of any one of those songs.
heard initially that didn’t even have Pops’ guitar in like the ‘90s, or something. You mentioned the rocking drums on
the mix. We stripped everything down to his vocal Do you feel like there was ever a time Wilco (The Album). It’s easier to do
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and guitar on as many tracks as we could, and we where some of your work got tainted something very gentle and fragile in
played with him like he was in the studio with us. It by production or recording styles? the studio. Then if you end up with a
was amazing. One of the nice things about having so I think Wilco’s Summerteeth is probably the closest to whole album of that it’s like, “How am I
much tremolo on his guitar is that it creates almost having some sensation like that. I definitely have going to tour this?”
a little click track. things I wish I had done differently on some records. Well, yeah. That’s exactly what I’m getting at. I think with
t)

It’s a rhythm. You hear that on his The overall drum sound on Wilco (The Album) I feel is Wilco (The Album), there was way more attention paid to
distinctive playing, in the single muscular and uncharacteristic. It was weird that that that than I’ve ever done before or since. We wanted more
note parts. was the decision being made at the time, but I think material.
(a

It’s pretty loose, but it feels good. Then the last record [If we were playing so much. I think we had gotten used To rock out?
All I Was Was Black], I had an idea that I pitched to to the sound of [being] pummeled [by] live drums. It Yeah. That was “big” enough to play in front of these crowd
Mavis about making a record where she comments a was hard to hear them any other way in the studio. I sizes we were playing to. It is a real challenge. We’ve gotten
little bit more on what’s happening now. She was into don’t really understand it. But Summerteeth definitely over it. We have enough material. One of the ways we got
the idea. We talked about some different topics we has some of the earmarks of us transitioning from over it was with Star Wars and Schmilco; we stood behind
wanted to cover. I wrote all of the songs in a couple of analog to digital recording. it more. When we toured Star Wars, we played the whole
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weeks, and we recorded it in a couple of weeks. It was It feels different to me. It came after record first every night and said, “This is our new record. If
[Wilco’s second album] Being There,
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all done fast, because she works so much. It was hard you want to hear anything else, you’ll have to wait around
to get much time out of her. right? for at least a half an hour!” I think that made a difference
It’s amazing to meet someone who’s JT: Yeah. with how the material was received. We believed in it more.
substantially older than you are and is That’s much more spacious and open We didn’t do the same thing with Schmilco, but we
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still working hard at music. sounding. definitely put a lot of it in the set and stood by it.
26/Tape Op#132/Mr. Tweedy/(continued on page 28)
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 Making Let’s Go (So We Can Get Back), the Audiobook
It’s one of the worst things that ever happened to me; [it took] four long days. We
had to stop every time a siren went by. This isn’t a soundproof studio. It was so
demoralizing, because I’m not a precise speaker, for one. I slur a lot, and my lower-
Midwestern tongue gets tripped up a lot, even by words I know. I figured out I can
write at an eighth-grade level, but I can only read out loud at a fourth-grade level. It
took forever. There was a day where I couldn’t say Wilco. I couldn’t get the “L” out.
There are people who direct audiobooks. The guy we worked with, Scott Sherratt, was
great. It was fortunate. He does a lot of books, especially music books. He did the
Beastie Boys’ audiobook. He did a great job. It makes a huge difference – in terms of
peoples’ interest in the audiobook – to hear me read my own words. I think it was a
no-brainer that I had to do that. I got offered to read a chapter from [Michael
Azerrad’s] Our Band Could Be Your Life. I hadn’t read my own book yet – I hadn’t learned
what a fucking disaster it is to be doing that. A couple of weeks after I finished reading
mine, I felt light as a feather, “This is behind me now.” Then that book came up. It
was the Minutemen chapter. It was the worst kind of reading I could possibly do,
because half of the chapter is dialogue between D. Boon and Mike Watt. I had to come
up with different voices! Nels can talk like Watt. When I read the Minutemen chapter,
my Watt is my imitation of Nels Cline’s Watt!

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<www.scottsherratt.com>
After 25 years of Wilco, are you obligated to play X amount of

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songs every night that are always the same ones?
Well, not so much with Wilco. I talk about this in my solo sets a lot. One of the benefits
of not having any hits is that there’re hardly any songs that we have to play! The
disadvantages are fairly obvious. We do requests off of our website. Almost every night,
every song that we’ve ever recorded gets one vote!

)
That’s a good sign!
When I’m playing solo acoustic, I always tell people they should leave after they hear the

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song they wanted to hear so that I know when to stop. “Jesus, Etc.” is the only one
that comes to mind. “Impossible Germany” is pretty high up there, in terms of feeling
like everyone wants to hear it every night. But I can change it up. Today’s audiences are

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weird, because you get criticized if you don’t change the set every night.
And you can find that setlist online.
Not because people are tired of seeing you play it every night, but because people are
tired of reading the setlists in their homes. It’s like, “They’re not changing it up too
much.” You haven’t been to any of the shows! But then if we change it, and we’re not
having as much fun because we’re playing a bunch of songs crammed into the set that
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we tried to relearn at soundcheck; I dunno. We’re spending too much energy thinking
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about not fucking up over putting on a performance.

Right? A quote in your book was, “Being a good listener makes
for better music making.” I think that’s a good lesson for
anyone who wants to make this their art, and maybe their life.
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It’s true of anything. If you want to be a poet, read poetry! That’s the key thing to do.
If you want to write lyrics and want to be a poet, you should read everything. That’s
like one of the only professions where I feel like you should be a philosopher and a
theologian. That’s all the thought in the world that you’re drawing upon. But music,
yeah. As an autodidact; as a person who’s spent much of his whole life much more
t)

capable of learning in a self-directed way, it’s miraculous that all of this exists to listen
to. Every year, as I get a little bit better at my instrument – or a little better at
understanding how records are put together – I can hear deeper into records and revisit
records that I feel like I’ve taken a lot of inspiration from. Every Friday I listen to almost
(a

every record that comes out. You can do that now! I don’t have to go buy them all. I
have streaming services. When in history could you do that? It’s incredible.
You used to have to go down to the record store, and the clerk
would say, “You don’t want to hear Madonna.”
Yeah. Even modern country records. It’s like, “What is this all about?” Probably the single
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most important thing that you have to protect, or nurture, in yourself is enthusiasm
for other peoples’ work. Even work you don’t like. I go back and listen to so much that
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I didn’t [used to] like all the time. I have this underlying belief that if anyone took the
time and effort to do this, and they put so much passion and so much of themselves
into making this thing, I should be able to unravel it in a way in my mind where I can
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appreciate it. I get frustrated [with myself] when I think, “Why? What is this shit?”
Like is it your mental block?
28/Tape Op#132/Mr. Tweedy/(continued on page 30)
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Low at The Loft
The Invisible Way, Low’s tenth album, was produced by Jeff
Tweedy and engineered by Tom Schick at The Loft in 2012. We
dropped Low’s Alan Sparhawk [Tape Op #31] a line, asking what the
sessions were like for him and the band (which also includes Mimi
Parker and Steve Garrington). What do you think of remastering and re-releasing records, like ten or twenty years
“It’s a big, comfortable space with little private corners here
and there to make your own. I’m not sure if it was a conscious
discussion to make things that way, but the subtle, unexpected
surprise about The Loft is that they have their space figured out –
they know how to get good sounds because they’ve been recording
there for years and have found the best tricks. The piano sounds
great right off the bat because they have figured it out. Despite the
space being a deluge of guitars and gear, Jeff knew which two
guitars to try and which amps would be best. We tried to bend their
system, believe me, but time and time again they knew what would
work and make for the purest musical experience. While Jeff
facilitates, and gently hints at ideas and possibilities, Tom is
comprehending the whole picture – often the songs would be
already mixed by the time the last overdub was on.”
<www.chairkickers.com>
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Jeff, Alan, Mimi, and Steve @ The Loft
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30/Tape Op#132/Mr. Tweedy/(Fin.)
Right. I always blame myself. I think, “So many people love this. It’s gotta be me.”
I try to ease up on my opinions as I get older. I used to really shoot my mouth off.
Yeah, exactly. Well, it’s a hard lesson to learn for somebody who’s so obsessed with music their whole life. It’s
not the same thing for everybody. There’s a lot of art – a lot of music, movies, and whatever – that’s not
made for you. I still feel compelled to find some way into it, for some reason.
Do you still buy a lot of records?
Yeah. I’ve slowed down a bit over the past few years.
ST: You used to get a huge box every week.
I used to order online from distributors and get all the new ones, mostly from indie labels. I’m doing a little
less of that. Partially because it seems like they’re running out of things to release. They keep re-releasing
these archival albums in different configurations.
after they’ve come out. Have you been involved in much of that with Wilco?
We did a couple with A.M. and Being There. I guess there might be some Summerteeth in the works. The one
people keep asking for is Yankee Hotel Foxtrot, but I’m not super excited about it. For one, we could remaster
it, I suppose, but we could not remix it.
Like you mentioned.
Why would you want to?
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ST: Most of the outtakes are probably already on Alpha Mike Foxtrot: [Rare Tracks 1994–2014].
Oh, right.
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Plus, the weird thing is that that record continues to sell; probably better than almost any of our other records,
including our new records. Why put out another record to compete with it?
It’s always terrifying that any remastering supplants the original, to some
degree.
Yeah. If Wilco didn’t feel as much like an ongoing effort – and something that feels like we’re excited about
)
the music we’re making today – maybe it would be more appealing to me to be involved in projects like
that. But I don’t feel like that. We’re pushing forward towards some growth still. We’re still having a good
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time doing it, and we have fans! r
<wilcoworld.net>
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Formerly chief engineer at Sear Sound
[Tape Op #41], Tom Schick proved his skills in
the studio with artists like Paul McCartney,
Bob Dylan, Sean Lennon, and Rufus
Wainwright. As a freelance engineer in New
York City, he worked on projects for M. Ward,
Norah Jones, She & Him, Willie Nelson, and
Iron & Wine. Now, as the house engineer at
The Loft in Chicago, he runs multitudes of
sessions for Jeff Tweedy [see Jeff’s interview
this issue], including Jeff’s band Wilco, as well
as the various artists Jeff produces, like Low,
Mavis Staples, and Richard Thompson.
Did you go to school at Berklee College
of Music?
Yeah. I got an internship at Sear Sound the summer of my That must have been a really intense
t)
last year at Berklee. [The late] Walter Sear hired me. You
knew Walter, and Roberta [Findlay], right?
Steve Masucci [Tape Op #124] took me over
(a
there once, and we sat with them for
hours while they were chain smoking
and telling stories.
They’re amazing people. Walter hired me, and Roberta was So, did you go back to school, finish up, Yeah, Into the Sun. It’s a great album, and it was really fun.
pissed that he hired me. They needed an intern because
they would get a beach house every summer, so they Yeah. I went back to school, came back on winter break,
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needed somebody to answer the phones and such. I was
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going back to school before they were done with their
vacation, so Roberta was pissed. She’s like, “He’s
useless!” For the whole summer, she would refer to me
as, “That fucking moron kid.” I’d be standing about five
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feet away, and she’d say to Walter, “Tell that fucking
32/Tape Op#132/Mr. Schick/(continued on page 34)
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Tom Schick
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Being Ready, Moving Fast!
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interview and photo by Larry Crane
moron kid to clean the bathroom. It’s filthy!” I’d do it, What was your learning growth like
running the tape machines and taking notes. I would
show up early, and Walter would be there vacuuming
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but at the same time I was in on every single session, there, and when did you start
engineering as a first engineer?
He put me in the studio right away. My first day there, I
and busting his ass. He’d be staying there even after I was there until about ten o’clock at night. There was a
was leaving. By the end of the summer Roberta saw house engineer doing a session, so it was “watch and
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that I was useful to the studio, and then she was nice learn.” I hadn’t even been hired yet, and there I was,
to me. But it took me a whole summer to win her over. running the 1/2-inch machine and documenting it.
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She was a pretty good read of someone who would be Were they mixing down?
a good worker, whereas Walter would hire whoever No, it was a live to 2-track jazz session. I’m like, “This is
walked in the door. He’d like one thing on their amazing!” Walter’s thing at the studio was that
resume. Walter hired me because I’d worked for my
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everybody did everything. I got to do a lot right away.
brother who had a commercial cleaning business. I There were two other guys who worked there as
mentioned that, and that they did record records the engineers. Fred Kevorkian ended up building a
way that I liked. But he saw the cleaning aspect of it, mastering room in the back of Sear Sound, so he wasn’t
and was like, “I want to hire him!” doing as much in the main room. The other guy went
freelance. Then it was just me and Fred, and the studio
learning ground. was booked nonstop. By default, the first record I
Oh, yeah. Aside from hooking up with Jeff Tweedy and engineered there was for Sean Lennon. He booked the
Wilco, getting that internship at Sear Sound was the studio based on the reputation and wanted to use the
best thing that’s ever happened to me, career-wise or house engineer. By default, that was me.
music-wise. He was an amazing person to work for and Was that his album on Grand Royal
to listen to. Such a great mentor. Records?
and then come work for him? Sean walked in, and the way he liked to work was to
record a song, mix it, and then record the next song and
went to New York, and then right back to the studio. mix it. It was a really fun way to work. It was great. Yuka
I wanted to drop out. “This is what I want to do.” Honda was producing it. The first day of the session, we
But Walter insisted, “No, you’re going to finish were recording a song and working really fast. We got a
school, and we’ll see if there’s a place for you.” He take, and then Sean and Yuka both had overdub ideas.
really valued an education. Walter and Roberta We were working on tape; they both ran out and wanted
became my New York parents. to do it right away, a break for the bridge. I armed some
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 Tom &
Jeff @
The Loft
new tracks, – I thought I’d disarmed everything –
punched in right on the bridge, and I heard the drum
sound totally change. I looked, and I saw the overheads
were still in “record ready.” I went through the whole
bridge and punched out on the downbeat of the verse
coming back in; then Sean and Yuka came back in the
control room. I thought, “Oh, this is it. My first
engineering session, and I’m fired.” I told Sean and
Yuka, “I’m really sorry. I fucked up. I’m sorry.” They said,
“Well, let’s hear it.” I played it; it got to the bridge, and
the drum sound got really tight and then it opened back
up. They said, “Oh, my god; that’s great! We love it!” I
was like, “Phew. Okay.”
You might never have had the craziness
to go punch in and erase drums, but
when it works…
Oh, yeah! No Pro Tools. Walter was a holdout for that. It
was tape. I feel like a lot of great records were made
like that. Accidents would happen, and you’d work
around the limitations.
Sear Sound must have been such a great
place to learn. Walter could be
really ridiculous with some of his
statements though.
Yeah. Sometimes I feel like some of it was for show. “You
only use equalization if you’ve made a mistake. That’s
t)
why it’s called corrective EQ.” He started to come around
a little bit towards the end. Pro Tools was allowed in the
studio. It was actually my fault that he got Pro Tools. I’d
(a
been there for four or five years. He kept saying, “I don’t
want Pro Tools. It sounds like shit.” Eventually I said,
“Walter, I really feel like I’m falling behind. This is
something that I need to know.” Then eventually, I said,
“I’m thinking about buying a rig.” He’s like, how much
do you have saved up? He wrote me a check for $10,000
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– an interest-free loan – to buy Pro Tools and bring it I recorded early. Then he said, “Is that the rankest mic Yeah. Sonic Youth would do some sessions – it was fun to
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into the studio. And he said, “Now it’s your problem.”
Well, that’s brilliant.
I put the whole thing together. I got it up and going. You know, when you look at his career, you
Walter had just finished the new studio, and an artist –
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I think it was Maxwell – booked it for six months, but
34/Tape Op#132/Mr. Schick/(continued on page 36)
Yeah. He wants to walk in and do what he does. I feel like
it’s an engineer’s job to capture sound and not get in
the way; Not always worry about getting the perfect
sound. It’s more about being ready to record when the
musician’s ready to record, and deal with the rest later.
Right. You’re known for working fast,
too. People say, “He can get sessions
going fast.”
Yeah, sometimes a little too fast. I’ll solo the kick drum and
it’s like, “Man, that sounds weird.” I’ll go out into the
room and find the kick drum mic was on the floor. I try
to get going and worry about the sound later. It’s part
of what’s great about working here. We have it set up so
that there’re a lot of mics out in the room, and they’re
all plugged in all the time. If a full band wants to play,
I’m ready to do it. If anybody has an idea, I can get a
microphone in front of them in less than a minute.
You were obviously dealing with a wide
variety of music.
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Yeah. On some of those jazz sessions, I learned more than
anything. There was this engineer, David Baker, who did
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all these jazz records. He was out of his mind, and he
they needed a Pro Tools rig. He said, “They can rent your and Walter would fight with each other. But he was such
rig.” I set it up, and it would not work. All these a great engineer. He would send me setups and tell me
computer guys came, and nobody could figure it out. I to put up whatever I wanted.
had a friend who had a system, and we were swapping Mic-wise?
out parts. Eventually I got part of it working with a Yeah. I did one session where I used all the
)
hybrid from another rig, but this was thousands of microphones I’d never heard, and I didn’t even know
ot
dollars later I spent trying to get it to work! It turns out if they worked. All these weird microphones. I’m like,
that Apple happened to make a run of computers that “Oh, this is really going to fuck with him.” He’s in the
were incompatible with Pro Tools, but they didn’t know. control room getting sounds, and the band’s playing.
What did Walter say? I walk into the control room, and it sounds amazing!
“I told you!”
How many years were you working pretty
much exclusively at Sear?
(d No EQ, no compression. That’s when I realized that
it’s all about balance and the relationship between
the instruments. He was actually one of the first guys
About five or six years. It would have been ‘94 to around I assisted with at Sear Sound, because none of the
2000. In 2001 Walter finally told me, “You’re ready to go other guys wanted to work with him. He was surly
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freelance.” with the bands! The bands would be out there getting
What were some pivotal sessions for you ready to do another song. They’d be struggling with
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there? it, and he’d get on the talkback and say, “Uh, maybe
I got to do a Bob Dylan session at Sear. I was told it would we should try something that you guys know.” But
be five to ten musicians, Bob doesn’t want to wear they all knew he had a reputation.
headphones, and don’t talk to him. That was the only What other kinds of music did you
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information I had. I set up a bunch of microphones in work on?
the live room. As the band started showing up, I’d put All kinds of sessions. Little Jimmy Scott would come in. I
a microphone in front of them. It was a touring band at got to be a tape op for a Paul McCartney session where
the time, and Al Kooper [Tape Op #73] playing organ. It he was with Elvis Presley’s backing band. Tricky was
was a song for a TV movie soundtrack. Then Dylan shows there for a couple of days. I got to be a tape op on it.
up, walks right into the live room, and grabbed a He had a guy who was more of a sequencer engineering
microphone I had up as a room mic. I think it was an it, but the way that he would work was so amazing. He’d
RCA 77, and he started running through the song. Then have this guy get a sound for him. He’d be like, “Get a
he said, “Let’s record one.” I got on the talkback and drum sound.” He had a keyboard that was triggering
said, “I recorded that, if you want to hear it.” He was different things. Then he’d say, “Okay, roll the tape.” He
totally nice to me after that. He’s like, “That’s great!” It would play it live onto the tape; then he’d get a
was a nice, painless session. A really good experience. different sound, ready a new track, and keep adding
Plus, you did the right thing. You tracks like that. It sounded incredible.
recorded early. Keeping it organic, in a way.
you’ve got for the vocals?” I said, “I think so!” He’s like, work on those. There was a project I got to assist on
“Okay, good.” That was the vocal mic that he used. that was Thurston Moore, Steve Shelley, Ron Asheton
from the Stooges, and Mike Watt playing bass.
can definitely see that he has a The Wylde Ratttz? [For the Velvet
contentious relationship with the studio. Goldmine soundtrack.]
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 Yeah, The Wylde Ratttz! I didn’t know it at the time, but Watt At that point in the time he was probably getting a lot of
had borrowed Kim Gordon’s bass. He broke a string on a records where he’d listen to the drums and get them to
session, and he’s like, “Oh, fuck!” So, he puts a new string sound good. But everything was in the room together,
on it. Walter always used to put out lox, bagels, and cream and the bleed was part of it.
cheese. I’m in the control room changing the tape reel; I Do you deal with a lot of that here in The
looked out in the live room, and I see Mike Watt rubbing Loft? It’s an open-concept studio.
a piece of smoked salmon on the bass strings. Then he There’s not a whole lot of isolation.
holds it up in the air, looks around, doesn’t see anybody, I don’t worry about it. Make it sound good. Jeff [Tweedy]
and he doesn’t know what to do with the fish, so he eats will do a lot of live vocals, or replace them. If it’s a really
it, and then he plays! I went out and I’m like, “Wow, what loud band with an acoustic guitar, that can be a little
was that?” He said, “I hate new strings.” I wonder what tricky. But if we get the right performance, it doesn’t
Kim thought when she got her bass back! matter. Jeff and Spencer [Tweedy] do these amazing
What happened after Sear Sound? When we recordings right in this control room area. Jeff will be
talked years ago, you were working at on the couch, and Spencer will set up the drums right
The Magic Shop [Tape Op #66]. where you are.
Yeah, I was freelance at Magic Shop because that was a There’s not a lot of room here!
good studio and they had a good rate. I really loved that They’ll use a little kit. Those recordings are some of the
studio. After I did the record with Sean, that led to work coolest. There’s no delay in the bleed. When we get bleed
with Rufus Wainwright because Sean was friends with that’s going into the acoustic guitar mic, it’s almost like

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Rufus. Everything led to something else. Then I worked another close drum mic. Sounds are not getting bounced
with Jesse Malin. We had some mutual friends that Ryan around before they get to the microphone. At Sear Sound

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Adams was producing. That led to a bunch of work with the room wasn’t big, but it was dead, so I could do any
Ryan. Then I met Norah Jones when she played on a Ryan kind of recording with people in the room together. The
record. Then she introduced me to Matt Ward [M. Ward]. bleed was always really pleasant and musical.
I got one lucky break, and it led to other things. How did you end up meeting Jeff and the
The funny thing is that you also Wilco crew?
mentioned a lot of people who are more We had mutual friends for years. I did a Joseph Arthur

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attuned to the recording process than record years ago that Pat Sansone was playing bass on

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most. before he was in Wilco, so I knew Pat that way. I had a
Yeah. I think a lot of it goes back to Sear Sound. Being manager at the time, and the engineer that Jeff had
mentored by Walter carries some weight. Having a job hired to do the first Mavis [Staples] record [You Are Not
there, people are like, “Okay, he knows what records are Alone] here, he was managing him. That engineer bailed

It’s a lot of old school techniques. Live to 2-

track jazz helps you keep your shit
(d
supposed to sound like.” Getting that led to everything.
together.
Oh, which is fun. I got to engineer a lot of those at Sear
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Sound. It’s amazing. Then you get in that mindset – I
would try to pretend that everything was a live to 2-
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out; he had to cancel right before the session. It was last
minute, so my ex-manager recommended me to Jeff. Jeff
looked at my discography and said, “Okay; I don’t have
a choice!” I flew in. I was actually in Montreal doing a
session with Phil Ramone [Tape Op #50] at the time, so
I flew back to New York and flew right here. We started
recording the Mavis record that day. We did it start to

track. finish in this room, when it had a Sony board. We mixed

It’s got to sound good from the get-go. it here too. I think it was the first project that was done
Yeah, exactly. What we do here a lot is every time we do an from start to finish at The Loft, and it won a Grammy [for
overdub or work on a song, we do a new rough mix. Every Best Americana Album]. It’s like, “Okay, this is good!
gm

time, it’s a rough mix. Because we have unlimited Let’s keep going.”
recording space with Pro Tools, we can do that every That’s a nice start. We talked about your
time. On a lot of records there are a few rough mixes on expediency in the studio and being able
it. We’ll capture something that happens in the moment, to deal with bleed. Do you think that
and it’s hard to get back to. helped you to be in the right headspace
t)

Sometimes you can overthink a proper mix to work with Jeff in a space like this?
later, after the song is “finished.” This space is like my dream studio. It’s how I’d build a
The key for me, for mixing and engineering, is not to think studio, if I could build a studio and it already existed. I
(a

too much. When it starts to feel good, then I print it. I hated having to open a door to go adjust a microphone.
can’t remember what record it was I worked on, but while The typical studio.
I was still on staff at Sear Sound this album got sent to That’s great for isolation, but it’s nice to make a record
Bob Clearmountain [Tape Op #129] to mix. I got a phone where everybody’s involved all the time, even if
call from Bob. He said, “I brought the track up and did somebody’s in the kitchen having a snack. They’re still
my usual process, where I’d bring up each instrument and listening to the music.
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get it to where it sounded good. I did it three times, but You were doing acoustic slide overdubs
yesterday when I was supposed to be
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I could not get it to sound good. It wasn’t making any

sense to me.” I was like, “Uh-oh. I’m sorry.” But then he leaving, but we were all in the kitchen
said, “Then I brought all the faders up at once, and it whispering to each other. Do you ever
made total sense. Great job.” have to go around the corner and say,
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Some records have to be done that way. “Hey, shut up!”

36/Tape Op#132/Mr. Schick/(continued on page 38)
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Every once in a while, but it’s part of the record. There
used to be a canning company upstairs. Luckily their
business was slow, but every time they’d get an order
in, the whole building would shake. There were some
records where we’d have that on it, or the freight
elevator starts going. The only time it ever became an
issue, where it slowed us down, was when Jeff was
doing his audiobook.
He told me that yesterday! So early on you
kept having to fly out from New York
and work. Was it crazy to make a home
base change based on work?
It seemed pretty natural, because I spent a few years
going back and forth. After a couple of years, it felt like
home as much as New York. I love New York, and I miss
New York. I lived there for 20 years.
It’s a very different energy.
Somebody said to me once that New York is a place where
all of your amenities are stripped away and are sold back
Sear Sound And you get to look at Rich Kelly &
The microphone collection was insane. Every time somebody Friendship while you listen. [There’s
would bring in a new microphone, a microphone would get an amazing array of photos between
fixed, or he’d buy a new microphone; he would have me line the speakers at The Loft. -ed.]
them up in front of the piano. Probably about eight Yeah, and Bob Newhart and Don Rickles.
microphones, all close together, and about maybe eight feet I think all that shows up in Jeff’s book
away from the piano. Roberta would play classical music, and [Let’s Go (So We Can Get Back)], doesn’t
I would plug them in and put them in front of the piano. We’d it?
have one new mic, and then seven of Walter’s mics on the Yeah. The Bob Newhart one was signed at some point, but
board. He would come in, listen, and then mute and unmute. it faded out.
He would recognize every microphone. He’d say, “U 67 number Phase
one. 67 number three. 47.” Even with the ribbon mics. It really I have these Cricket boxes [Galaxy Audio’s CPTS Cricket
blew me away – he really listened. He would go out there, and Polarity Tester]. I use them all the time. I did a string
he had a great voice. He’d say, “I’m going to go talk into each session in Nashville, and they used them. It checks the
one, and you can listen to them and see.” He’d be out there phase of all the microphones. I’ve always said when I die,
with a cigarette, chain smoking. That was one the few days put a phase switch in my coffin so I can play with it on my
when there were down days. Or we’d go to the Neve, take out way to hell! It’s nice to be able to start from a base where
the modules, and clean them. There was always something to you know all the mics and lines are good. These boxes
be done. didn’t exist when I started; or if they did, we didn’t have

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to you as luxuries. I was like, “That makes sense.”
How long ago did you move from New York year. Jeff will remember songs he did three or four years them. I had to use my ears. Whenever I mix outside
ago, like maybe with an acoustic guitar or an iPhone sessions, I spend an hour trying to make sure that the

to here?
Almost five years. We were in Brooklyn, and I was coming
here basically two weeks out of every month. My wife
and I were like, “Let’s move to Chicago.” We’re both
from Cleveland, originally. I like it here.
You’re doing other sessions in here when When you came in here, all the gear
co
recording, and he’ll be like, “Can you find that one? I phase on all the drum mics is right. It can be tricky,
think it might really work.” It’ll still be on the drive. But depending on how far away the mic’ing is.
it is a challenge keeping up with that. I’m still
With the amount of work you have, day to
developing a system.
day, are you saying “No” to a lot of people
wanting to make a record with you?

)
the band’s on tour or hiatus. Last year was in place and there was a Sony
Yeah, a good amount. The timing can be tricky. Wilco’s
console, originally?

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there wasn’t any Wilco activity, I believe? going to do a little more touring this year, so maybe it’ll
Well, that was probably my busiest year here, because Jeff Yeah, it was a Sony, but it was based off of the MCI. The be a little bit easier to schedule. I have a manager who’s
worked on about 100 songs. When Wilco takes time off, [Neve] BCM10 wasn’t here for the first Mavis record, but
great with that. I feel like it gets to the point where
Jeff doesn’t. He’s busting his ass all the time. Whenever the racks of API [preamps] were. I’ve always loved the
sometimes people are like, “Oh, Tom’s just working with
he can, he’s in here. He’ll come in and get an idea down, APIs for drums. The [Studer] tape machine was here.
every day. It’s such an incredible work ethic. I’ll do other Has there been equipment you really They write you off?
projects when Jeff or Wilco goes on tour; but when wanted that you leaned towards
bringing in? Is any of the gear
(d Jeff and Wilco.”

Yeah, after saying, “No,” so many times. But when it does

they’re not on tour, we’re here every day. line up and people come here, they’re blown away.
That seems unusual to me, but I think it actually yours?
Is there a vetting process? Like you don’t
You know, the main mic we use on Jeff’s acoustic guitar is
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shows in his work and his writing. want the wrong people in the space?
Oh, yeah. He’s still growing as a songwriter and a musician. mine. It’s a Neumann CMV-563 with the M7 lollipop
Oh, yeah. It’s a personal space. It’s like Jeff’s home. We’re
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He’s always striving to get better. He never coasts.
Do you feel that work ethic rubs off on
everyone around?
Oh, yeah. It’s infectious and exciting. It’s a great energy to
capsule. Jeff loved it, and then he got one that we use
really careful with that, and who can come in here.
on the drum kit now, in front of the drums. Jeff’s
Everybody who comes in here is sensitive to that. This is
collected microphones. He got a [Neumann U] 47; that
his home, and these are his instruments. We get great
wasn’t here when I got here. I bought a couple of Coles
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people who are respectful; it’s all friends. I’m at the point
be around. I’m really lucky to get to work on great music [4038], and he’s got some Coles of his own too. Jeff and
of my career where if I’m not really into something, I
every day. I have the same aesthetic, so when he finds something,
don’t have to do it. Luckily that doesn’t happen very
Jeff’s solo record Warm came out a little it’s like, “That’s great!”
often. I have a pretty wide palette of what I like! r
while ago. The other thing that’s crazy about this
I don’t think it’s been announced yet, but he also has place is the extensive amount of <tomschick.com>
t)

Warmer – a whole other record [out on Record Store Day instruments, amplifiers, and such.
2019]. Warm were the songs that fit together. It’s not That’s the thing with bands. When I do other bands here,
like songs were left off because they weren’t as good. It I tell them not to bring anything. A lot of times they’ll
bring something, like a security blanket. But it’s
(a

was more about those songs that went together, so that

they were the record. I feel like with Jeff, there are very incredible for a band to have access to this many
few B-sides. There are just extra tracks. instruments. A band can walk in, and they can be
Does it take a little bit to make sure you tracking within a half an hour of taking their coats off.
have everything backed up, and It’s nice to have a home base where I don’t have to go
cataloged as well, to go back and find into a studio and do the whole set up, and then test all
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songs and ideas when he’s that prolific? the lines and everything. One thing I really like about
this studio is the Pro Tools screen is not in between the
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Oh, my god; yeah. We’re working on a two terabyte drive.

Every year I go through, and I’ll make a folder of what’s
finished and released. That goes into a backup system,
“Finished and Released,” that Spencer set up
mp
speakers. I like having it not be a “visual” thing. I use
my eyes over there, and my ears over here. It helps me Tape Op is made
separate things. I don’t sit there doing edits in front of possible by our
advertisers.

downstairs. Then there’s what carries on to the next the speakers.

Please support them and tell them
38/Tape Op#132/Mr. Schick/(Fin.) you saw their ad in Tape Op.
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Please Support Our Advertisers/Tape Op#132/39

 brand vintage drums. [Studio manager] Mark

Spencer Tweedy Greenberg finds a lot of cheap vintage kits at thrift

stores and online. If you like playing a little softer,
and don’t mind fragile shells, those can be just as
interview and photo by Larry Crane good as a pristine brand name kit. So, the crazy drums
Being that Spencer graciously helped I was too young to remember if I gravitated to drums by at The Loft are more of a bonus than a necessity.
Tape Op set up our interview with his myself. My mom [Sue Miller] used to run a bar in What was the inspiration to do Fjord
dad, Jeff Tweedy, and that he sat Chicago called Lounge Ax and she had a drum set in Audio and the cotton-covered XLR
patiently as I asked so many questions, we the basement – it’s the same kit that I have at home cables? [Tape Op #126]
thought it’d be fun to talk to him about now. I’ve used it since Lounge Ax closed in 2000 – a I love product design and had been wanting to make
growing up immersed in music, Wilco, 1960s blue Rogers kit – and my parents (or members something physical. I was also deep into building
Tweedy, and The Loft, as well as starting of bands playing at the bar) would sit me down on my own mobile studio, so it seemed like a nice
his own company. the kit for fun. I started playing a little more opportunity to combine my interests into one
devotedly when I was six or seven. I would wake up thing. The idea for cotton-covered cables
Did you ever not want to play music at seven a.m. (not out of discipline, but just because specifically came from a concept console I wanted
because “that’s what Dad does”? that’s normal for little kids) and play for hours in the to build, and it seemed like they could be a
I think because my dad made such a point to include basement. I don’t feel like I’ve ever worked as hard as gateway to building bigger and more complicated
Sammy and me in Wilco touring, recording, and that since then, for better or worse. items in the future. I was also really encouraged to
everything he does, it didn’t feel like a separate You mentioned to me that you’ve never start the company by Kevin Faul after I reached out

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thing that he had “conquered” already; it felt like owned a drum kit, since Jeff has lots to his company, Conway Electric, about supplying
something that he does, and that we’re lucky to get of instruments. Do you feel spoiled the cables’ cotton braiding.

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to do too. I get anxious about making music that’s for choice of all the classic drums you Have you sold many of these cables? Who
original or interesting enough, but that has more have access to? are notable users?
to do with creative exploration than getting away I feel completely spoiled by the instruments that my dad I’ve sold about 400 of them so far. Josh Scott, of JHS
from my dad’s records. A certain amount of overlap has at The Loft. I’m lucky he likes drums! But I will Pedals, is probably our most vocal advocate!
is inevitable, and it actually makes me happy when say, even though we have a bunch of incredible kits Does design and marketing of items

)
it crops up. there, it really doesn’t take much to make a kit that appeal to you as another outlet,
What made you gravitate towards playing sounds great for recording. Most of the time I use outside of music?

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drums when you were young? those nice kits in combination with off-brand or no-

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40/Tape Op#132/Mr. Tweedy/(continued on page 42)

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Jeff, Spencer, and Mavis
I’m in love with design, and I only like marketing
insofar as it’s an outlet for design. My idea of
design is really broad. To me, anything you do
that requires problem solving or thinking
through a lot of alternatives can be called
design. And that includes music. I don’t mean to
say that Pro Tools sessions are like sculptures
that should be meticulously chiseled. But I do
think that design thinking can inform the way
you arrange music or write songs, e.g. “This
should go here,” or, “This makes sense with this.”
That can also include intuition and chance. The
most exciting projects to me are the ones that
incorporate unconscious feeling with super
conscious tinkering.
How did it feel to end up playing drums
on Mavis Staples’ You Are Not Alone?
t)
It felt like I squeaked through the door! My dad and
Mavis had set out to make an album of mostly How often do you hang at The Loft? It
acoustic duets, but when he started building the
(a
tracks they sounded like they needed drums. I was
nearby, so it was spontaneous. On one hand I felt I spend a lot of time there. At some points I’ve been
like I had already been recording for a long time,
since it was something I did at home and with
friends. But on the other hand, it was my first time
working on a “real” record, and with Mavis on top
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of that, so it was an insane feeling! I’m really Mark Greenberg and Tom Schick
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grateful my dad asked me to do it, and that Mavis
liked the results, because it pretty much led to all
the other records that my dad and I have been able
to make together.
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42/Tape Op#132/Mr. Tweedy/(Fin.)
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The Tweedy album, Sukierae, is super We started the project because it’s really inefficient to
fun. Do you ever get frustrated
playing music with Jeff?
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store all of our sessions on standalone external hard
drives. Those are expensive; they take up a lot of
I very rarely get frustrated playing with my dad. This space on the shelves, and they fail pretty often. So,
might sound like false modesty, but most of the cases we’ve been building a server that’s similar to what
where things are tense on stage or in the studio, it’s you’d have in a data center, except it’s just for local
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because I’m tired or hungry, or there’s some other network use. We’re still migrating everything over
force of nature making me feel like everything’s more and figuring out the best workflow for new
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serious than it is. We very rarely disagree about sessions. But it seems like a good way to go for
musical choices. studios who have lots of sessions to store (look up
What other sessions have you played 45Drives Storinators). You have to do it in tandem
drums on? with other backup methods, like LTO [Linear Tape-
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I’ve played drums on records by my friends Henry True, Open] tape or Backblaze B2.
Daisies (Hugh Ferguson), and Liam Kazar. Upcoming You and designer Lawrence Azerrad
are records by Eryn Allen Kane, Joan Shelley, Amos [Who designed this issue’s cover. -JB]
Pitsch and Julia Blair (of Tenement and Dusk), and my have worked on projects together.
band, The Blisters. We also just did a session at The What have those been?
Loft with Norah Jones. I’ve worked with Lawrence from afar on
the Sukierae album art and other Wilco-related
seems like Jeff will put you to work on things. But we’re actually just starting our first
sessions if you do! outright project together, which is a book about
self-recording musicians. r
there every day. Lately, only every once in a while. <spencertweedy.com> <fjordaudio.com>
My dad and the rest of Wilco do a good job making
my brother Sammy and me feel like we’re welcome
there any time.
mentioned that you’ve helped build
The Loft’s digital archives. What does
that entail?
mp
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Audio-Technica
AT5047 cardioid microphone
In 2012 Audio-Technica released the AT5040 [Tape Op
#95] microphone, which was a special mic in several ways.
The hand-built mic uses four 2-micron rectangular capsules,
positioned next to each other in a 2x2 array to effectively
create a capsule with the surface area twice that of a typical
large diaphragm condenser. This design combines the best
of large and small diaphragm properties and provides
excellent high frequency detail, quick transient response,
and extremely low self-noise. The AT5040 uses a
transformerless output stage and delivers an extremely high
output level for a studio microphone. Regardless of the
instrument I’m recording, I almost always have to use a -20
dB pad on my AT5040. The AT5040 is a world-class
microphone in every way, including its super cool AT8480
shock mount, which looks like a mechanical, magnetic hand
that provides excellent security and vibration isolation. The
AT5040 is a fixed cardioid microphone with a focused sweet
spot and excellent off-axis rejection of sound. I love the
AT5040 on horns, especially saxophone, and find it excellent
on many singers and voiceover artists. The AT5040 has an
extremely high output, and sometimes the proximity effect
can be a bit overwhelming, requiring repositioning of the
mic or performer a few extra inches from the mic.
Recently Audio-Technica has released the AT5047, a sister
to the AT5040. Both share the same cylindrical, front address
body and cardioid pattern, but the AT5047 has an all-silver
finish, while the AT5040 sports a two-tone silver and dark
grey body. The AT5047 employs the same four capsule,
electret condenser array from the AT5040, but this time the
microphone uses a transformer-balanced output that
performs some artistic and technical functions. On the
artistic side, the transformer will saturate a bit and soften
transients while thickening some of the lo mid harmonics. On
t)
the technical side, the 150 ohm transformer balanced output
allows the AT5047 to maintain a consistent character, no
matter what mic preamp it is plugged into. Small circuit
changes from the AT5040 provide the AT5047 with the
(a
highest dynamic range (142 dB) of any microphone from
Audio-Technica, with an SPL capability of an ear-shattering
148 dB. The noise level of the AT5047 is incredibly low at 6
dB SPL and is slightly less sensitive than the AT5040 with 3
or 4 dB lower level output on most sources.
e
In the studio I recently recorded a three-piece horn
section, featuring trumpet, trombone, and sax. Here I set up
el
one AT5040, one AT5047, and one Sony C100. I tried each
mic on each instrument, through a John Hardy M1 mic
preamp. The John Hardy uses a Jensen input transformer,
and I would consider it a clean and solid sounding preamp
mp
– much like an API without the coloration and saturation.
44/Tape Op#132/Gear Reviews/
I also found that a pad was needed on both the AT5040 and
the AT5047. While I could probably have gotten away
without one on the C100, I did use its built-in -10 dB pad.
For the AT5040, I almost always use an inline pad (Shure
A15AS) because it provides switchable amounts of padding,
and I find that on some consoles the preamp pad affects the
tone of the mic pre more than the inline pad does. For this
session I used the same model pad on both the AT5040 and
the AT5047, set to -20 dB. Initially, I found that the AT5040
and AT5047s sounded remarkably alike, except that the off-
axis sound on the AT5047 was darker in tone than the
AT5040. One of the things I like about the AT5040 is that
the off-axis coloration never bothers me. That is, I never feel
like the room sound plays much of a part in the sound I hear
in the mic. The AT5047 has a bit more apparent room sound,
which some will find more natural sounding, and while
others may find a bit distracting. The room bleed into either
of the Audio-Technica mics was several dB quieter than the
bleed into the C100, mostly due to the AT’s very narrow
cardioid pickup.
The tone of the AT mics remained consistent on all three
horns, and, overall, I found that the AT5040 sounded
natural and open, with a lot of body in the lows, natural
clarity in the mids and highs, and no harshness in the highs.
Switching to the AT5047, I felt that I could hear a slight bit
of transformer saturation, or compression. Mainly the mid
and high frequencies seemed a bit more present when
compared to the AT5040. For a traditional or acoustic
approach, the AT5040 is natural and realistic sounding while
for a pop or smooth jazz type approach, the AT5047 would
provide a bit more presence and bite. Additionally, the low
end on the AT5047 is slightly tighter and more focused than
on the AT5040 while the AT5047 low end feels warmer,
almost like a ribbon with obvious sub frequencies.
(d
I can’t say that I have an overall preference between the
AT5047 and the AT5040. My feeling is that the AT5040
sounds slightly more accurate but sometimes produces too
much proximity effect and may not play well with every
preamp. The AT5047 feels a bit more polished, and I can
l
hear the transformer saturation and slight high end lift. For
close-mic’d voice-over recordings, the AT5047 may have a
ai
slight advantage over the AT5040, but every other
application would be a tossup in my opinion. I also find
that the AT5040 picks up occasional sub frequencies that
gm
must be high-pass filtered, while the AT5047 seems to have
solved that with superior internal shock mounting.
Since the AT5047 (and AT5040) have such a focused
cardioid pickup pattern, I would hesitate to use the mics on
musicians who tend to move around, but usually a word of
instruction to a performer can solve that problem. I love the
AT5040 and AT5047 on electric guitar amps, brass
instruments, voiceover, and some singers. I have also used
the AT5040 as a mono drum room mic with stunning results
and would expect the AT5047 to sound just as good. I
wouldn’t say the AT5047 would be my single desert island
mic, but I love my AT5040 and use it constantly, along with
many other classic studio mics.
I have long been a user of the AT40 Series mics, including
the AT4050 [#33], AT4033, and AT4047 [#20]. Now with the
50 Series, Audio-Technica has brought their microphone
design to the next level. These new mics are quickly
becoming studio classics and easily hold their place in the
most well-stocked of mic lockers. Visit Audio-Technica’s web
site for more information about the AT5047 and their other
fine microphones. ($3499 MSRP; audio-technica.com)
-Adam Kagan <mixer.ninja>
Neumann
NDH 20 headphones
Neumann made its bones on the microphone side of the
audio business. From its 1928 founding by Georg
Neumann, through its 1991 acquisition by the Sennheiser
family-owned company, Neumann was synonymous with
state-of-the-art German condenser microphones. A few
years back, Sennheiser also acquired the German
professional monitor company Klein+Hummel and moved
it under the Neumann umbrella. Thus, Neumann became a
top-tier professional speaker manufacturer. And now the
company has entered the headphone market.
The Neumann NDH 20 is a closed-back dynamic (i.e.
actual coned speakers inside) design, with some parts and
tooling borrowed from the Sennheiser HD 630 line. On
first glance, they look quite similar to the HD 630, with
shiny aluminum ear cups and a sturdy metal-covered-
with-rubber headband, plus the multi-hinged pivot
system to assure a comfortable and semi-tight fit.
m
Neumann says the NDH 20s use different drivers and are
voiced differently; I didn’t have an opportunity to
co
compare with their Sennheiser cousin, so I can’t
comment on sound quality differences.
Let me cut to the chase and state upfront that these
headphones sound good! They convey midrange and
deep bass especially well, without a harsh sheen in the
upper midrange that is common in many closed-back
)
headphones. The treble is also comfortable and realistic.
Stereo location cues are pretty good, but these
ot
headphones seem more center-focused than some
others. The human voice sounded particularly alive and
present, both male and female. Because the upper
midrange and low treble isn’t exaggerated, and there’s
plenty of audible low end, they might be described as
somewhat dark sounding.
As for fit and feel, they sat comfortably and firmly on my
melon. The ear cups were more than big enough to
surround my ears, and the velour-type outer covering of the
ear pads did not generate a sticky sweat-film after hours of
listening. In short, I could wear these headphones for a full
day of recording, mixing, or listening.
I read somewhere on the interwebs that their voicing is
supposedly based on the Sennheiser HD 650 [Tape Op #43],
a long-running favorite in the headphone listening world.
The HD 650 is also a favorite of mine, so I spent a lot of
time with both them and the Neumanns plugged into my
various headphone amps while switching back and forth
(the Sennheisers have a higher impedance; 300 ohms
verses 150 ohms for the Neumanns, so some volume-
control adjustments were necessary when switching
between the two). I would say that both models convey
the midrange accuracy about the same, but the Sennheisers
are lighter in the bass and a little brighter in the upper
mid/treble area. The Sennheisers are open-back, so the
feeling of "air and space" is different. With the Neumanns,
I felt like I was in a deadened control room, able to focus
on my production workflow, and only that. That’s the goal
of closed-back professional headphones: shut out the
background, focus on the sound between the cups.
At $500, the NDH 20s aren’t cheap. But they are well-
built, including touches like a twist-lock where the cable
connects to the right ear cup. They are packaged with a
coiled cable and a straight cable, and a screw-on 1/4-inch
plug (the cables terminate in 1/8-inch plugs). They also
come with a "silk" carry bag.
 I still think the $1500 Focal Clear Professionals [#125]
I reviewed in an earlier issue are the best-sounding
headphones I’ve ever worn, but these Neumanns are
pretty darn close. They tell the truth about the overall
sound quality and stereophony, which is important for
recording and mixing. I’m not sure I’d do fine-tune
mastering with them alone, but I’d sure listen to what I
was doing through the Neumanns because they’d tell if I
was taking a frequency area or part of a mix too far afield.
Many recordings I love were made with Neumann mics,
and I got a kick out of listening to them through
Neumann’s first foray into headphones. The NDH 20s exude
classy design, durable construction and demonstrate a
history of knowing what reality sounds like – a worthy
addition to the Neumann tradition.
(en-de.neumann.com; $499 street)
-Tom Fine <tom.fine@gmail.com>
Boz Digital Labs
The Wall
I expect many readers are going to want to buy this
plug-in within five minutes of trying it. In addition to
being a nice limiter for general use, The Wall is superb for
adding last minute level to reference mixes. I found that
it does a better job respecting the original mix EQ profile
than a majority of competing options, and the limited
control set makes it easy to get good sounds. There are
two Modes: Smooth, for less-percussive music, and
Aggressive, for driving source material. Pick one. Now, set
the ceiling to desired max output. Lower the threshold
fader until you start to get the level/compression that's
appropriate. See that the large red button called Sanity
Check? Enable it. Now you hear the post-limiting sound
at the same perceived loudness as the input source. Want
to level-up your limiting skills? Using a level-matched
source is one of the only real shortcuts. The Sanity Check
feature provides a defense against the louder-is-better
trap and serves as further proof that The Wall is a tool for
working engineers. (Remember to disable Sanity Check
prior to rendering mixes.)
Across the bottom of the GUI is a Flavor control. Move
it left to right until you find the right vibe. Farther to the
left yields heavier compression and slower release, while
traveling to the right employs faster release times with
higher distortion. Use your ears (not your eyes), and your
work is done. Extra features include oversampling (very
important for tweakheads, less critical for client roughs),
dither, MFiT (Mastering For iTunes), and stereo link.
With new digital limiters showing up frequently, we've
become numb to the deluge of plug-in choices. Boz
t)
Digital Labs designs tools for the working engineer. The
Wall is no different here. When time is money, pushing a
reference mix out the door should not be complicated. At
the same time, you don't want to ruin the mix for the sake
(a
of making it louder. With The Wall, simply set a few
parameters and odds are high that you'll have a
respectable reference. Cheers to Boz Millar for dreaming
up this one. ($99 direct; bozdigitallabs.com)
-Garrett Haines <treelady.com>
e
Tape Op is made
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mp
them you saw their ad in Tape Op.
Cloud Microphones
44-A ribbon mic
In the recording industry, there is a long list of iconic
microphones that every experienced recording engineer has
at least heard of. The RCA 44-A, is one of these. Built in the
1930s, and known for its smooth sound and beautiful
appearance, the RCA 44-A is an absolute classic. Cloud
Microphones looks to build on that classic with the
“something old, something new” approach. The Cloud 44-A
is a long ribbon design that is supposed to follow the exact
specs of the RCA 44-A with modern materials. The Cloud’s
body resembles the styling of the RCA’s, but it is more slender
and light for a mic this size. One of the major differences
from many ribbon mics is that the Cloud 44-A is an active
design that utilizes their own “Cloudlifter” technology. This
gives a major clean boost in output that greatly improves
performance, then leaves your ribbon mic eating phantom
power for breakfast. Preamps with even a modest amount of
gain should drive this mic just fine. For ribbons and some
dynamic mic applications, I use and love both the Cloudlifter
Zi [Tape Op #123] and the Crimson Audio Mogain [#110]
preamp booster. Having this technology built right into the
microphone is a welcome design. The Cloud 44-A’s 20 Hz to
20 kHz frequency response is also expanded from the original
RCA 44-A. The Cloud has two toggle-switched settings:
Music for full range and Voice for a reduced low end.
I have not had the opportunity to use an original RCA 44-
A, but I do use ribbon mics often. The mainstay ribbons in
my mic closet are the Coles 4038 [#15], the beyerdynamic
M 160 [#60], and the Cascade Fat Head [#55]. I have
owned and used others, but these are the mics that have
stayed in my collection. For this review, I mostly compared
The Cloud 44-A has an incredibly natural-sounding (d
it against the Coles 4038 and the M 160 on various sources.
midrange. On several sources I didn’t feel like it was giving
me a sound, so much as it was just there – what was in the
room is what was coming out of the speaker.
During the process of my comparisons, I really learned
l
a lot about my current ribbon mics when comparing them
to the Cloud 44-A. It was pretty much the same theme on
ai
every source. When compared to the Cloud’s extreme
midrange detail and tight low and top end, the Coles
4038 had a slightly scooped, extremely smooth midrange,
gm
with more high end sparkle and extended lows. Not that
the Cloud doesn’t have nice high end or solid low end –
it’s just different than the 4038’s… almost like an inverse
response from each other on sources like acoustic guitar.
I had never considered the Coles as scooped in the mids
until I compared it to the Cloud 44-A. The beyerdynamic
M 160, has much more of a bite in the midrange than the
others and does not have the same level of neutrality that
the Cloud 44-A possesses. On a vocal, things were much
more similar sounding until the performer got very close.
The Coles exhibited more low end boominess, whereas
the Cloud was much tighter – especially with its Voice
setting engaged. On trumpet the Cloud 44-A was stellar.
It was like the trumpet was right there in my face without
the squinting and pain a trumpet directly in your face
would typically cause! I can see the Cloud 44-A as a
mainstay for brass and other midrange heavy instruments.
Cloud offers a microphone with vintage style that will
impress clients, sound great, and comes in around $1500
– definitely worth a listen.
($1499 street; cloudmicrophones.com)
-Justin Mantooth <justinmantooth.com>
Gear Reviews/(continued on page 46)/Tape Op#132/45
Steinberg
AXR4 Thunderbolt 2 interface
Steinberg is on an impressive roll with sexy hardware
interfaces, collaborating with Yamaha and Rupert Neve to
deliver products that lean into the strengths of all three.
The AXR4 is clearly meant to be a flagship in their
hardware line, and it’s absolutely something to be proud
about. Boasting 28 inputs and 24 outputs over a
Thunderbolt 2 connection, with sampling rates up to 384
kHz and capable of 32-bit conversion with SSPLL ultra-low
jitter reduction (sub-sampling phase locked loop), they’ve
really pulled out all the stops! To be fair, 16 of those
inputs and outputs are over ADAT or AES/EBU, which I
didn’t test, so I’m not going to focus on them. As
purchased with no expansion, this is effectively a four mic
pre input, eight line input, and eight line output interface
– I really like that the eight line inputs are separate from
the four mic inputs. I also really appreciate that there are
two Thunderbolt jacks, so you can easily daisy chain gear,
m
like multiple AXR4s (supports up to three units)! I put
together a stellar racked mobile rig with the AXR4 and a
co
500 Series chassis that included eight channels of Classic
Audio Products, Inc. VP28s [Tape Op #95]. This allowed me
to record twelve separate mics to individual channels in
my DAW for some mobile sessions (I’m starting to call late
March the “Tiny Desk Submission Season,” as I get a lot
of fun gigs for that annual contest). When you install the
)
drivers, you get the dspMixFx AXR matrix mixer and
control panel. Once I learned my way around the app I
ot
preferred this as a remote option to set mic pre levels, to
insert the built in zero-latency DSP plug-ins, and to build
my monitor mixes.
Three Yamaha DSP plug-ins run internally, and they all
sound excellent. You get a barebones channel strip that
includes a nice VCA-style compressor, a fun drive knob,
and a three band EQ. The Comp276 seems clearly inspired
by an 1176, which should be familiar to most engineers.
I was impressed with the EQ-601, which is a six band EQ
where all four mid bands are fully parametric – really
sounds fantastic! You can run two inserts on each
channel, which meant I found little reason to the use the
three band EQ on the channel strip, since the EQ-601 just
gave me so much more to work with.
Each channel also includes an AUX send to a single
(global) instance of Yamaha’s (again) zero-latency REV-X
reverb plug-in, which includes a Plate, Room, and Hall.
This seems intended for monitor mixes, which is exactly
how I used it. I found the controls for the different reverb
settings really nice to work with, and the visuals make it
clear what each parameter does. However, since there’s
no easy way to access any of the on-board DSP effects
from a Pro Tools session, I ended up switching back to
something available in my DAW for final mix down.
The four built-in preamps offer a lot of range, both in
terms of gain and timbre. You’ve got up to 68 dB of
digitally-controlled gain, plus two types of a digitally-
modeled version of Rupert Neve’s Silk circuit. It’s even got
his signature on the face, right next to the button that
engages the circuit. It’s been years since I briefly played
with the analogue circuit that inspired these, but it
sounded pretty close to what I remember. I prefer the Red
flavor over the Blue, which adds some lo mid weight to
the sound. A little goes a long way, and because I own
so many flavors of harmonic saturation plug-ins, I chose
to play it conservative when out on paying gigs.
 When the AXR4 first arrived, I was excited to use it in
32-bit integer recording, which is supported by Cubase
[Tape Op #131], Nuendo [#77], and WaveLab [#127].
Note that Cubase AI (a “lite” version of Cubase Pro, also
32-bit compatible) is bundled with the interface. I
downloaded a demo of Cubase and tracked one of my
mobile sessions at 32-bit. I really love everything about
the AXR4, but at this stage in my work, the extra bits on
each sample aren't enough of an improvement in my
opinion to consider switching to a DAW that I'm not yet
comfortable with.
If you are a Cubase user, however, other nice
integrations allow you to control the preamps without
having to switch back and forth between your DAW and
the control panel app. I'd sure love to have that control
in my DAW, but executing a simple keyboard shortcut in
order to move between my DAW and the control panel app
is worth the trouble for me in order to use the fine AXR4’s
converters while working inside the software I'm most
comfortable with. If you're in the market for a premium
expandable multi-channel converter, you should
absolutely place the AXR4 on your short list.
($2,799 street; new.steinberg.net)
-Scott McDowell <fadersolo.com>
PreSonus
Studio One 4.5 Professional
It’s been nearly a decade since we published a review
of the original version of Studio One [Tape Op #76]. Over
the years, the DAW’s feature set has grown significantly,
and, impressively, it remains one of the most streamlined
audio applications in terms of its user experience. Two of
our veteran contributing writers recently switched to
Studio One for music recording and mixing. Previously,
Dana Gumbiner relied primarily on Pro Tools [#126] in the
studio and at home, while he also served as our resident
expert on Ableton Live (which he continues to use for
electronic music production and stage performance).
Meanwhile, John Hong recorded, mixed, and mastered on
his Windows laptop using Cakewalk [#126]. We invited
both writers to tell us about their experiences with Studio
One 4.5 Professional. –AH
JH: I started using recording software, namely Cakewalk
[Tape Op #126], in 1992 – roughly the same year I started
using AutoCAD for architecture. For this reason, I can’t
help making parallel comparisons between the two.
Cakewalk was my musician’s version of AutoCAD. Where
the latter made digital drafting available to the masses,
the former allowed me to move from tape to digital within
the ubiquitous Windows OS. Both programs were game
t)
changers for obvious reasons, but as software
development goes, new products like Studio One don’t just
move the game forward in a linear way, they leapfrog
several steps ahead.
(a
To take the analogy further, mid-2000s software during
the dreaded Windows Vista era became the equivalent of
‘80s gas guzzlers. Programs like AutoCAD and Cakewalk,
with one foot shackled to the analog conceptual world,
became bloated to accommodate new functions within old
e
form. Even as I moved on from AutoCAD, I stuck with
Cakewalk through habit for many years, appreciating its
el
incremental improvements, but realizing that its long-
lived legacy was exactly its Achilles heel. Compounding its
glitches that would munch away at a golden performance,
its attempt to bridge legacy and new functionality resulted
mp
in inane shortcuts; a split-second slip of the finger would
46/Tape Op#132/Gear Reviews/(continued on page 48)
force me into hours of tinkering to recall a mis-toggled
function or hidden window. The end result was a dread for
experimenting, and I would only fire up the program when
the song was mostly written.
Who knows if Studio One will also have to deal with a
weighed-down legacy interface in 2024 when it turns 15,
but for now, it’s a welcome leapfrog improvement in so
many ways. To put it simply, with much fewer mouse
clicks and keystrokes, far less CPU load, and no
momentum-robbing crashes, I can get to the point of
writing and working more creatively. Meanwhile, its
deceptively minimal "flat" interface is intuitive enough to
jump right in. Of course, there are many deep, expert-
level layers, which may require a search online, but Studio
One’s enthusiastic community makes finding these
features easy.
DG: After being an active user of Pro Tools for more
than 15 years, I’d been searching for a replacement
DAW – one that I can quickly and intuitively record and
mix in, and most importantly, that is fast on the editing
side of the fence. I won’t get too deep into why I’m
feeling a bit done with Pro Tools, but my issues with the
platform align with all of the common complaints in the
user communities – instability, arcane subscription fees,
sluggish development, seemingly unempathetic support.
Change is good, right? In this instance, yes! After
spending some time with Studio One 4.5 Professional, I
feel like I’ve found a new "home DAW" – one that doesn’t
just replace Pro Tools for me, but makes recording and
mixing feel freshly creative and super-efficient.
For me, there are several factors that not only made
the transition from Pro Tools to Studio One a no-
brainer, but actually opened up new uses as a go-to
DAW. Some of these factors and features overlap
slightly with my other favorite applications, like
Ableton Live [Tape Op #126], but many stand apart on
their own innovative digital legs.
(d
A crucial element of making the transition smooth is
that all of the primary Pro Tools keyboard shortcuts can
l
be mapped to Studio One via a series of included
mappings. (Mapping schemes are also included for
ai
Cubase, Logic, and Cakewalk.) Over time, I’ve created a
sort of hybrid keyboard shortcut mapping that utilizes my
Pro Tools muscle memory but also takes advantage of
gm
Studio One’s efficiencies. Although I found Studio One
intuitive, the manual helped me to unlock some of its
more in-depth features. Even better are all of the helpful
(free!) online resources, including YouTube channels like
Studio One Expert and Marcus Huyskens Music.
Three tiers of the DAW are available: Studio One
Professional, Artist, and Prime (the latter being free).
Even the full-bling Professional version is affordable,
plus crossgrade pricing is available. PreSonus has great
free support, too. The interface is pleasing to the
eyeballs, and all of the fonts and graphics used are
retina-level nice. Everything is super-customizable,
with a fantastic macro engine, tabbed plug-in
windows, and a full-featured plug-in manager with the
ability to organize/show/hide your third-party plug-
ins. One of my favorite features in Studio One
Professional is seamless Melodyne integration via ARA,
which means that you don’t have to wrestle with the
roundtrip export/import workflow typical of Melodyne
use in other applications. I can select an audio
waveform and hit Cmd+M to analyze and/or alter
pitches non-destructively (and instantly).
JH: Also included with Studio One 4 Professional is a
great bundle of virtual instruments, like the acclaimed
Impact XT and Sample One XT. With that said, I will admit
that I was initially disappointed with the quantity (or lack
thereof) of bundled effects. Where the equivalent Roland
version of Cakewalk Producer came with over 60 effects,
Studio One Professional comes with just over 40. But the
key, as I quickly learned, is what can be done with these –
not how many there are – which speaks to Studio One’s
overall philosophy of doing more with less. While it’s old
news to be able to curate your effects by type or vendor,
Studio One also has a pull-down menu from each mixer
module’s insert where you can drop in some very well-
designed chains tailored for drums, vocals, guitars, etc.
When testing out different EQ and compression settings,
or even reverb environments, this is a big time-saver
instead of starting from the ground up.
Even more interesting is that Studio One’s channel
editor is a convenient graphical interface. Here you can
drag and drop effect orders or even insert multiple signal-
m
chain splits to put effects in parallel. The most obvious
application might be parallel processing using multiple
co
compressors, but it’s also easy to set up multiband
compression, for example, where you can select a parallel
routing by frequency. (The other two split modes are
normal or by channel.) You can also use effects splitting
for a myriad of other creative uses, such as pushing a
guitar signal into two different amp plug-ins, resulting in
)
a really sophisticated sound from a single source.
DG: I appreciate that drag and drop support is extensive
ot
throughout the mix and arrange views. For example,
dragging the insert header in any track will copy over that
track’s complete plug-in chain. Creating sends is as easy
as dragging a plug-in from the browser to the Send
section of the mix panel, which automatically creates both
the send and return channels. Same principles apply to
sidechained plug-ins – any plug-in with a sidechain
assignment to it will carry that allocation over to
whichever track it is drag and dropped. There are tons of
clever time-savers like this throughout the software.
JH: Meanwhile, the incorporation of Macro Controls
takes the efficiency factor to 11; instead of painstakingly
having to double-click an effect to individually adjust it,
you can map the most relevant parameters of any effect
into the knobs and buttons of a single control panel. I
thought I would miss the CPU-busting Nomad Factory
analog compressors that came with Cakewalk, but with
Studio One’s routing options at my fingertips, I can more
easily and flexibly dial up much better options.
MIDI editing is also intuitive and full of useful
shortcuts. Individual or groups of notes can be edited on
the fly, with variations of holding down Ctrl/Alt, or
hovering over a parameter and spinning the mouse wheel.
The Paint Brush tool has an assortment of different
functionalities, including a fantastic Photoshop-like
Transform that allows you to sketch in crescendos or
decrescendos. There are also plenty of macros that can
perform multiple functions at once, with Humanize being
the most revolutionary, as it has allowed me to flip my
inefficient workflow around 180 degrees. As I am
admittedly "tape-era old-skool," I would spend an
inordinate amount of time programming drums organically
through a MIDI keyboard controller to avoid that
quantized sound. Now, I just robotically input the data
into the grid and copy whole sections, but then Humanize
the notes to add some spookily real "feel" (or "error," if
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 you prefer) to the performance. I still can’t get over the
idea that I’m cheating, but just as I recently abandoned
my temperamental tube guitar amps, I’m willing to let
Studio One’s smart algorithm do its thing if it buys me
several hours to make a better song.
DG: I’m impressed with the depth of the MIDI
implementation, which is as robust as Ableton Live in
many areas. I like the inclusion of the Chord Track, which
becomes a powerful way to audition new progressions
and arrangements when paired with Studio One’s built-in
time and pitch–shifting and Scratch Pad features. There’s
a circle-of-fifths tool to help with harmonic editing and
experimentation, which makes me feel like I want to drop
all of my unfinished songs into a Studio One project and
get to work.
JH: Speaking of songwriting, Studio One is continuing to
blow my mind with how powerfully it simplifies the
songwriting process through the Arranger Track and Pads.
The functionality of these tools is so essential and easy, I
wonder why it took so long for a company to invent them.
You can simply paint over sections of your song to define
composition blocks. Studio One automatically smart-names
these as intro, verse, chorus, etc. Although you can change
the names any time, mostly they end up being right. You
can then drag, resize, and edit these blocks as the ideas
develop. Most importantly, Arranger seamlessly interfaces
with the Scratch Pad. Instead of having to save multiple
versions of a song (or lose an idea in Ctrl-Z purgatory), you
can open up a sidebar and non-destructively play around
with different compositions without affecting your original
Arranger track. When you arrive at a sketch you like, you
then drag it to the Arranger or replace an existing section
altogether. It doesn’t matter if there’s a combination of
MIDI notes or sound events – the workflow is fluid.
(d
The above examples are just some of many ways Studio
One provides a "no duh, this should be obvious"
breakthrough for workflow. There are too many to
continue describing them here, so I’ll just quickly mention
a few more of my favorites. First, while track folders are
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old news, Studio One’s additional functionality of being
able to right-click a bunch of tracks and immediately
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create a bus for them is a fast way to simplify and save
on multiple instances of effects. A folder for these bused
tracks can then act as a "parent" (if you so choose) to
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control the volume and pan of the bus, rather than having
to fiddle with each track separately. Secondly, instead of
having to add whole automation tracks to add a splash
effect in one location, event-based drag and drop allows
you to add them to just one clip while having options for
the effects’ tails. Thirdly, take-lane recording and editing
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are rock-solid simple and hugely time-efficient. Where
Cakewalk couldn’t deal with selecting a portion of a take
over the "seam" of previously selected takes, resulting in
more and more fragments, Studio One can automatically
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(and magically) mend these seams by dragging over an
entire portion of a take. Moreover, several steps are saved
because the combined takes appear together as a
complete track in the top lane at all times, instead of
distributed in fragments within individual lanes below.
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DG: Earlier versions of Studio One offered many useful
organizational features, including the ability to create
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nested folders of tracks (similar to Live), but lacked the
grouping features I had become accustomed to in Pro
Tools. Studio One 4.5’s take on groups is so much better,
with customizable track grouping that works precisely like
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Pro Tools (if you want it to). Many of these new features
48/Tape Op#132/Gear Reviews/
in version 4.5 are a direct result of user feedback, which
highlights an important point: PreSonus seems to listen
to their user base. Every release (even free dot releases)
seems to include a significant majority of well-integrated
user requests – not just bolt-on hacks but
thoughtfully implemented designs. And this latter point is
why I’m likely to remain loyal to this platform well into
the future – because it feels like it was built by creatives
who genuinely care about creating.
Importantly, the raw performance of the application
and the included plug-ins are exceptional. Studio One is
stable as hell, and virtual instrument performance is a vast
improvement over Pro Tools. Separate buffers for playback
and recording mean I’m not wasting time changing my
audio buffer settings when I switch from low-latency
tracking to CPU-taxing mixing (or back again when the
drummer wants to overdub a shaker part).
JH: Speaking of tracking, I want to mention Studio
One’s Native Low-latency plug-in Monitoring (or what has
been nicknamed "Green Z"). Maybe I’m saving the best for
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last, because I’m still in a kind of suspended disbelief that
software monitoring can actually work this well. Through
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some mojo-magic, your plug-ins can become part of the
monitor mix as long as the vendor designed them with
less than 3 ms latency. One potential glitch was that the
option to enable Green Z was initially unavailable with my
Roland or Yamaha USB devices, no matter how I adjusted
the buffers or block sizes. As soon as I installed the
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PreSonus Universal Control driver after purchasing the
PreSonus Studio 2|6 USB interface, however, the option
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immediately appeared for all my devices.
One of my favorite guitar amp plug-ins, Overloud TH3,
worked brilliantly through Green Z. Previously, I was
unable to simultaneously run a virtual drum instrument
like Addictive Drums, without first rendering it to an audio
track, due to latency issues; but now, I can easily monitor
TH3 with near-zero latency, while my software drum kit is
playing. This allows me to keep editing the drum MIDI
data while developing the guitar parts and sound. In this
way, the solid performance of Green Z is probably one of
the biggest time-savers within my songwriting workflow.
The secondary benefit is that low-latency monitoring
allows you to converge the creative process of adding
effects while recording the performance, instead of
waiting until playback. A little hurdle, however, is that
with Green Z enabled, tape-style punch-in recording,
where you hear a portion of the previous take, is not
possible. A simple workaround is to create a dummy track
just for Green Z monitoring, while turning off monitoring
on the actual tracks that are armed for overdubbing.
To use one last architectural trope, "God is in the
details," and after using Studio One for a year now, I know
how much effort the program designers at PreSonus put
into really enhancing the creative workflow at the detail
level. Studio One’s intuitive design allows you to jump
right in; within a few sessions, its basic functions become
second nature, which is the ultimate goal of any great
piece of software – to become transparent so we can focus
on the task at hand. Moreover, Studio One has a world of
options for advanced users, and it’s an enjoyable process
going deep into its myriad of functions.
(Studio One Professional $399.95 MSRP, 25% crossgrade
discount; Artist $99.95; Prime free; presonus.com)
-John Hong <jh0st.com>
& Dana Gumbiner <danagumbiner.com>
 Universal Audio
Lexicon 480L plug-in
There was a time in the ‘80s and ‘90s when the word
“Lexicon” became synonymous with reverb. Like Kleenex,
Photoshop, or Google – if you heard, “Just add some
Lexicon to that” in the studio, you knew it was time to
add some reverb to the track. Released in 1986, the
Lexicon 480L was the cream of the crop for reverb
hardware at the time; two independent stereo processors
(“Machines” in the lexicon of… Lexicon!) with 18-bit
A/D and D/A conversion helped give the 480L that
“expensive” sound it was known for. While mostly known
for its glorious, long reverbs, as well as short ambiences
and rooms, the 480L was also capable of delays and
modulation effects, making it one of the first true “multi-
effect” digital units. All this power came at a price; the
3 rack space 480L and the LARC (Lexicon Alphanumeric
Remote Control) cost over $10,000 when it came out, so
it was firmly in the camp of pro studio installs only.
Enter the good folks at Universal Audio, who have
created the only official, Lexicon-endorsed plug-in of
the classic 480L hardware for their UAD platform of
interfaces and expanders. Meticulously modeling the
original 480L algorithms, as well as the sound of the
I/O converters, while using the layout of the LARC as
the graphical interface for the plug-in, the UA 480L
brings the power and sound of the original hardware to
anyone with UAD hardware for only $349.
There are five algorithms in the 480L from which the
Programs are built. These are: Reverb, Ambience, Twin
Delays, Random, and Effects. Each algorithm has its own
group of parameters for shaping the Programs. When
stepping through the Programs, which are organized
under Banks (ten Banks consisting of ten Programs each)
and grouped by algorithm, if you are at all familiar with
the 480L hardware it becomes instantly apparent that UA
have nailed the modeling of these iconic sounds. Vocals
take on a depth and dimension when placed in a Random
Hall patch. Drums get that “big ‘80s ballad” explosion on
backbeats, or sit in a small room that sounds
convincingly real for an algorithmic space. The Programs
in the Ambience Banks were designed for post
production (film, television, etc.) work; these are some
incredibly realistic sounding spaces that are the types of
environments many people use convolution reverbs for
today, but with the Spin and Wander parameters
incorporated in the algorithms, these modeled places
have the subtle movement that occurs in a real space,
rather than a static ambience snapshot of an impulse
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response. The Twin Delays and Effects Programs range
from subtle doublers to wild, cascading delays; you can
use these algorithms to build phasing delays, tremolos,
and modulated reverse/gated effects – definitely more
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than you might expect in just a reverb unit!
I found myself gravitating to the Random
algorithm to create spacious vocal reverbs that have
enough movement in their tails to keep them audible
in a mix (yet not becoming distracting). The Plates
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and Rooms programs (created with the Reverb
algorithm) are fantastic on snares and toms; these
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sounds definitely have a bit of a dated quality to
them, especially when compared to a number of
current algorithmic reverbs, but there’s also
something rather endearing about them, particularly
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having grown up hearing and using the original.
The LARC is perhaps just as iconic as the 480L itself; this wedge
of plastic with its six sliders, chunky buttons, and red-on-black LED
display was instantly recognizable in any photograph of a studio,
where it was generally given pride-of-place on the center section
of the console. As this was also the only way to control the 480L
(there were no controls on the rack other than a power switch), it
makes sense to use the LARC as the basis for the way to control the
plug-in. The parameters are better grouped on the UA version of
the LARC, as they weren’t limited by the physical capabilities of the
hardware, but I’m not entirely convinced that this is the best or
easiest way to interface with the plug-in; the LARC worked because
you could have two hands on it moving multiple faders
simultaneously while paging through parameters or changing
programs. Without that direct, tactile control of the plug-in UI,
there’s a lot of mousing and clicking involved.
There’s a reason the 480L became one of the most revered digital
reverbs ever, and it’s that sound and the depth of editing that is
available within the algorithms that UA have really captured here.
If you need that lush, modulated reverb that sits in a mix and just
feels “right,” this may be the reverb for you.
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($349 direct; uaudio.com) -Don Gunn <dongunn.com>
Buzz Audio
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DBC-20 Diode Bridge Compressor
When I first heard that Tim Farrant of New Zealand’s Buzz Audio
had designed a new stereo compressor based around a diode bridge
gain reduction circuit, I immediately knew that this was something
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that could potentially rock my world. I have been a huge fan of
Tim’s work for years, as I’ve had the pleasure of using some of his
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other pieces on several mixes and always loved the results. There is
something so cool – so straight up and down – about his gear, and
in my experience I have found that it just does exactly what I need
it to with finesse and gorgeous sonics. What I also love is
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something that’s a little outside of the norm – let’s face it, diode
bridge compressors do not come along every day. For good reason
perhaps... they apparently can be quite finicky to get right at the
design stage, as diodes have a want to distort rather nastily at even
moderate levels, just like your favorite diode fuzz pedal. Therefore,
carefully designed circuits must be applied to achieve the kind of
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results that we know from classic vintage diode compressors like
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those by Neve and EMI. Tim has taken to this style of compressor
with his own new design, and let me just say that he has nailed it.
This unit now gets used on every tracking session and mix.
This is a dual mono/stereo compressor with separate controls for
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each channel. Instead of a threshold knob, we have Compression
knob which compresses the program material harder as you turn it
clockwise. Attack and Release controls are both stepped; the Attack
goes from “fast” to 50 ms and the Release goes from 50 ms to 600
ms (as well as a useful Auto setting for program dependent release).
Next there is a Hard/Soft switch that changes the behavior of the
compressor in exactly the way that you would expect from those
words, as well as a Flat/Bass switch to knock out some low end
from the sidechain for those times when you don’t want the super-
lows to trigger the compression circuit. Lastly there is a make up
gain knob, and a Separate/Linked switch for stereo or mono usage.
If you noticed that there’s no ratio control mentioned, that’s
because the ratio varies according to the amount of gain reduction
applied, a la classic compressor designs from the past such as the
Fairchild 660/670. This is one of the features that I am sure
contributes to the effortless and natural compression action.
Another interesting design feature that I feel is worth mentioning
is that although the compressor is electronically balanced in and
out, Tim has incorporated a transformer of his own design in the
circuitry just before the diode bridge which brings color and
harmonics to the audio the harder you hit the front end.
Gear Reviews/(continued on page 50)/Tape Op#132/49
 So how does it sound? I have found this unit to be the
"all-arounder” that I was hoping for – it can take on just
about any task with fantastic results. I would describe its
overall sound as sweet, open, and punchy. For tracking on
the album Hope Downs by Australian band Rolling
Blackouts Coastal Fever [Tape Op #131], I found the DBC-
20 invaluable as an electric guitar compressor, as I was
able to craft the kind of attack, chime, and sustain out of
the guitars that I had in my head. The tone of the unit is
so smooth yet clear, and never seems to exaggerate any
annoying frequencies in this application, and the attack is
just right – no needle-like pin points here. Acoustic guitars
also can sound really classic through this unit – it tends
to bring an instant ‘70s vibe. In mixing, if it’s not on the
mix bus then it’s on the drums! I mean wow... I’ve had the
chance to compare the unit to a friend’s Chandler TG12412
Zener Limiter [Tape Op #59], another classic diode
compressor that has a way of punishing drums in such a
cool, vintage way that must be heard to be believed. I had
no faith in the DBC-20 keeping up in this application, and
yet with the attack set to Fast, with a medium-slowish
release, and plenty of gain reduction, we were staggered
at how close it got that we began high-fiving. Needless to
say, my friend is now the owner of a DBC-20.
On the opposite end of the sonic spectrum, I have
found this unit to be a fantastic and relatively clean tool
on the mix bus for adding vibe and authority to a track.
The sidechain’s high-pass filter and the release times
really shine in this application – each release time has a
character that can be so subtly enhancing to a track that
it can be hard to choose which one to go with. With the
amount of versatility on tap here, in my opinion the
asking price makes this a no-brainer.
($1550 street; buzzaudio.com)
-Liam Judson <www.liamjudson.com>
Heritage Audio
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RAM System 5000
5.1 monitoring system
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In my mind, one of the greatest shortcomings of the
hybrid/in the box era in which we find ourselves is the
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loss of a coherent, thoughtful approach to the monitor
section of a studio. The center section of a large format
console is almost always hugely flexible and easy to
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use, especially compared to the complication of
integrating a mix of components from several
manufacturers. I needed to find an affordable monitor
controller that was capable of both stereo and 5.1
surround operation and painlessly switchable between
both – a part of the market in which I found
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surprisingly underserved. Enter the Heritage Audio
Reference Audio Monitoring system 5000 (RAM 5000 for
short). The RAM 5000 is Heritage Audio’s flagship
entrant to the monitor controller space. It’s so
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surprisingly affordable and comparatively feature-rich
that I felt compelled to write this review after having
already purchased one for use in my studio.
The four main sets of analog +4 dBu inputs are
presented on standard DB-25 connectors. Main Input 1 on
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the DB-25 connector is additionally mirrored on XLR for
ease of use in smaller setups. There’s also a -10 dBV
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consumer line-level input presented on unbalanced RCA
connectors, a Digital Input with connectors presented for
AES/EBU, TOSLINK, and S/PDIF, and last, but definitely
not least, a Bluetooth input for consumer devices.
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50/Tape Op#132/Gear Reviews/(continued on page 52)
There are five pairs of XLR Stereo Outputs. In 5.1 mode,
the first three sets of I/O gang together to form a monitor
path in the SMPTE channel configuration. In Stereo mode,
they are simply three discrete stereo pairs. Since the
SMPTE spec is L/R/C/LFE/Ls/Rs, your favorite set of
monitors is available on Output 1 in either mode and the
4th and 5th sets of outputs enable the particularly
speaker-rich to still have three pairs of monitors at the
ready for stereo work without the need to ever physically
reset the room. Considering this, Heritage Audio has
configured the LFE output to be useable in both stereo
and multi-channel modes if desired, however there is no
onboard bass management in either stereo or 5.1. I
already employ plug-in based bass management when
working in surround, which simultaneously ensures the
deliverables will be printed correctly and makes a layer of
control at the monitor level unnecessary. For stereo use,
even the most entry-level consumer subwoofers have
onboard controls for crossover and volume, so bass
management feels redundant here as well.
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The Bluetooth input will likely be quite controversial
with some of you luddites, so I will skip any kind of
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qualitative analysis and simply say it does work and is
really cool. The RAM 5000’s Bluetooth circuit
automatically detects the best available codec on the
pairing device and utilizes the highest resolution available
– AAC lossless for Apple devices and Qualcomm’s aptX for
Android. The SBC codec is also present for older devices
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that can’t communicate via either of the other higher
resolution protocols. This, coupled with an analog path
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based around the venerable Burr Brown op-amp design,
results in a wireless streaming connection that is both
extremely convenient and properly good sounding. It feels
like a version of future that’s finally backwards compatible
with our highly prized vision of the recent past. Let the
RAM 5000 be the rocks that I forever dash the ubiquitous
and shitty-sounding 1/4-inch-to-whatever cable upon.
The standout feature for me is the talkback
implementation. The remote has momentary switches
which route the built-in electret talkback mic to the two
available cue feeds. There’s gain control for the talkback
mic built into the remote as well. Engaging talkback
dims the studio monitors as expected, but Heritage
Audio has also added an 8-channel DB-25 I/O
passthrough for third party cue systems which
simultaneously dims all the cue feeds and routes
talkback to every channel of the passthrough. This
feature solves an essential issue I’d been trying to figure
out for years, and to my knowledge no other major
consumer monitor controller has this functionality.
The construction of both the remote and rack unit of
the RAM 5000 feel robust, and all the switches and knobs
are nicely tactile. The switches on the remote are
illuminated and monitor level is displayed on a backlit
screen so you can easily see the current state at a glance
– even in the vibe-iest of lighting situations. One thing
unique to the RAM 5000, however, is that the remote
connects wirelessly to the rack unit. The only physical
connection on the rear of the remote is the USB-B
connector used for charging the unit. The typical and
specialized, multi-pin cable situation is instead replaced
by a jaunty little antenna! If I’m being honest, wireless
connectivity for the remote felt a bit gimmicky until I
handed it to someone across the room so they could use
the talkback system just like the brainstorm remotes from
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 the days of yore. In normal use here, I have simply routed
a USB cable to the controller so power need never enter
the conversation – the remote is also fully operational
while charging. That being said, my remote just made it to
50 hours on a single charge under heavy use.
The RAM 5000 replaced a Tonelux CR2 Control Room
Monitor Module, which I had known and loved for about
ten years; but as soon as I plugged in my new system it
was an old friend. It sounded slightly more modern and
cleaner than the CR2, which made the RAM 5000 feel like
a welcome update to a system I already knew and loved,
rather than something that would require any learning
curve to integrate.
I’ve been working with the RAM 5000 for about six
months now, and in that time have sound-designed two
independent films in 5.1, scored two independent films in
5.1 (one delivered stems in stereo, the other, final mixes
in 5.1), hosted a 5.1 rerecord premix for an outside mixer
that we then finished in 5.1 at a dub stage here in town,
mixed an orchestral score in stereo for Kris Bowers for an
audiobook Kobe Bryant produced, mixed the new Bing &
Ruth record in stereo for 4AD Records, mixed a AAA video
game score in 5.1 (which required a massive and highly
specific set of multi-channel outputs), mixed half an
episode of Kris Bowers’ score for Ava DuVernay’s new show
in 5.1, tendering ten wide 5.1 stems in the style of the
mixer who had handled the bulk of the series, did a week
of production, and overdubs with Heather Christian for the
OST for her musical Animal Wisdom (which will deliver in
stereo), as well as a host of writing sessions, commercial
songs, the occasional mix recall, and more than a few late
night YouTube holes/phone rough listening parties (via
Bluetooth!). This kind of genre, media, and channel
configuration hopping is pretty typical for me these days,
and the RAM 5000 has been flawless through it all.
As far as any complaints, the Master Level knob itself
is not detented. In operation, this isn’t an issue because
the knob is simply a control voltage source that tells the
rack unit which fixed-level output relay to utilize.
Effectively, this means it’s still a “detented” control, but
literally everyone who touched it for the first time said,
“Oh, it’s not detented?” in the same judge-y way –
myself included. Ironically enough, even though the
Tonelux CR2 was a detented, switched network of
resistors in fine old-school fashion, it was also prone to
switching noise – something that no amount of Caig
DeoxIT or exercising could ever really fix. Another thing
I noticed is that engaging the talkback can occasionally
make a large “clack.” This appears to be mechanically-
coupled noise from the switch being depressed, as the
t)
talkback mic is mounted inside the remote. This isn’t a
problem with a light touch, but I could see that noise
becoming an issue in situations where you’re
(a
multitasking quickly with a client who likes to listen to
their headphones at full blast. All that said, the RAM
5000 is a huge winner for me. A massive amount of
connectivity, smarter stereo and multi-channel
interoperation, arguably the most intelligent talkback
integration with multi-channel third party cue systems
e
on the market, and freaking Bluetooth. Best of all, it
sounds incredible and is $1,500 cheaper than the
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closest alternative, with a feature set that rivals some of
the most expensive controllers available today.
($1999 MSRP; heritageaudio.net)
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-Brian Bender <brightandguilty.com>
52/Tape Op#132/Gear Reviews/(continued on page 54)
ADAM Audio
STUDIO PRO SP-5 headphones
Since building my mixing space last summer, I’ve been
looking for a solid pair of headphones for mix referencing
that wouldn’t break the bank. When I heard that ADAM
Audio, maker of highly regarded studio monitors, had
ventured into the headphone game, I had to try them for
myself. Their SP-5 (short for “Studio Pro”) headphone is a
closed-back headphone with S-Logic Plus Technology,
developed by Ultrasone [Tape Op #34, 82]. According to
ADAM Audio, the SP-5s “were engineered with a specific
goal in mind – to allow professional musicians, producers
and engineers access to a portable form of monitoring with
the excellent transient response and tonal balance of ADAM
Audio’s professional monitor speakers.” I have to say;
they’ve really done just that.
For years I have been using my trusty Sennheiser HD 280
Pro headphones for tracking, and the occasional mix
reference. I understand that a pair of SP-5 headphones is
almost five times the cost of the Sennheisers, but I
imagine, like myself, that most people interested in buying
them will be looking to upgrade lower priced headphones.
I used the Little Labs Monotor [Tape Op #117] headphone
amp after an Antelope Audio Orion [#99] converter to
conduct my tests. At first, I did some critical listening to
records I know very well, and the results were astonishing.
I’d never heard headphones quite like this. Because of the
S-Logic Plus technology, there is incredible space and
depth to the soundstage, whereas the Sennheisers felt as if
the music was being shoved right into my ears. It truly
sounds like you’re listening to speakers in front of you. The
SP-5s have an impressive frequency response of 8 Hz to 38
(d
kHz, allowing for a reliable translation from studio monitors
to headphones. For example, in a song I’m currently loving
that was recently released, it wasn’t until I put on the SP-
5s that I realized there was upright bass on the track, not
electric bass. On my Sennheisers, there is low end, but it’s
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undefined and doesn’t have the midrange detail that would
allow for this kind of critical listening. With the SP-5s, I
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could hear reverb tails and delays clearly, and the
instrument “staging” in the mix mimicked almost exactly as
I hear it on my Ocean Way Pro2A [#116] monitors.
We recently held an event at Jackpot! Recording Studio for
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ADAM Audio’s Berry Hill Sessions where we tracked a live
band (Sunday State) using ADAM Audio monitors while the
band used the SP-5 headphones. Toward the end of the day,
I asked the band members how they felt using the SP-5s for
tracking, and they all had wonderful things to say. The
drummer said there was excellent isolation and that they
never slipped off his head while playing. The rest of the band
all said the headphones were incredibly comfortable and
gave them no ear fatigue, which leads me to my next point…
One of the coolest features of these headphones is that
they provide even and balanced power at high and low
volumes, leading to virtually no ear fatigue. Working on this
review has been eye opening for me in realizing how
unnecessarily loud we listen to music on headphones. We use
volume to compensate for lack of detail, but with the SP-5s
I found myself listening to music at lower levels while still
receiving a fantastic and defined sound. This is extremely
helpful when we spend full days in studios listening to music.
The SP-5s also come with a detachable coil cable (via a
twist-lock 1/8-inch connector), which is handy for
customizable options and helps increase their lifespan.
If a studio has the budget to buy these headphones for
their session musicians, it would be money well spent. They’re
comfortable, transparent, sturdy, and well-built, which is
crucial for gear that gets used and abused every day. The SP-
5s are the first headphones I’ve heard under $1000 that I trust
for mix referencing. They’re also comfortable and transparent,
which is crucial during tracking sessions. The imaging and
depth are exceptional, and they’re easy to listen to for hours.
If you’re looking to upgrade from your old, cheap classics, I
can’t think of a better pair of headphones to consider than
the SP-5s – I’ve already got a pair of my own now!
($499 street; adam-audio.com)
-Gus Berry <gusberry.com>
Tone Empire
LOC-NESS plug-in
Tone Empire’s LOC-NESS (aka “the Smash-Box”) is a
dedicated channel plug-in designed for processing
individual drum hits, a drum set’s room sound, or the
entire drum bus. It is touted as a mystical plug-in that
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brings all the right controls and colors for drums to your
DAW. While I have shied away from “all-in-one” plug-ins in
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the past, this thing has some great vibe – it’s like some
sketchy hardware thing you might find in your uncle’s
basement that does this one special magic trick. Needless
to say, I am now a believer in the legend of LOC-NESS.
LOC-NESS has two main processing controls: Crust and
Smash. Crust adds color and saturation while Smash
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provides heavy limiting and sustain in the spirit of
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Universal Audio’s 1176 “all buttons in” setting. Signal flow
is from Crust to Smash via serial configuration. These two
controls give you a lot of flexibility to add edginess (Crust)
and fatness (Smash) to your tone. I will note that the
Smash function is very aggressive, and I often only needed
a touch to get the desired amount of punch. There are also
four Type buttons below these controls that vary the level
of Crust saturation. I found myself using the first two
settings for subtle, yet edgier sounds.
In addition to Crust and Smash, the filter set is also a nice
feature. Low and high cut filters allow you to dial in the range
of sound you want to effect, leaving the rest of the frequency
spectrum unprocessed. LOC-NESS works great in parallel or on
a single track. For single instance channel inserts, separate Wet
and Dry controls allow for in-depth blending of the processed
and unprocessed signal to taste, with a Phase button that
inverts polarity between both signals. Finally, a Trim control
allows for attenuation after the Wet and Dry controls. All of the
settings are intuitive, and 15-minutes was all I needed to get
a feel for LOC-NESS. There are presets of course, but I choose
to be adventurous and just start turning dials!
LOC-NESS is advertised as a drum and percussion processor,
but I also enjoyed using it on a parallel guitar bus to add
some bite to several stacked guitar tracks. What really put a
grin on my face was the tone I got using this processor on
bass guitar tracks. With only default settings and the Type
selector set to position 2, the LOC-NESS really approximated a
classic Ampeg SVT amp setting nicely. Clearly the possibilities
are endless with this plug-in. LOC-NESS worked great for
adding heaviness and grit to lead vocals and could definitely
be used to enhance keyboards or virtual instruments.
Not just a bus compressor, LOC-NESS gives drums impact
– I even used it to breathe life into a stale sounding canned
drum loop. This plug-in is not resource intensive, so you
can use it liberally, and at $79 it provides the bang for the
buck we’re all looking for! ($79 direct; tone-empire.com)
-Ben Bernstein <benbernsteinmusic.com>
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 Valhalla DSP
ValhallaDelay plug-in
Full disclosure; while I’m going to review Valhalla DSP’s latest plug-in, ValhallaDelay, I’m also
one of the two product designers of the plug-in, along with Valhalla DSP founder Sean Costello.
This may lend my review towards a more Behind The Gear flavor while also talking about the
product, its features, and how it fares under heavy use. [For the record, Don is one of our senior
gear reviewers and has done many pieces for Tape Op. We asked him to do this review in order to
learn more about the process of building a plug-in like ValhallaDelay. - Ed.]
I’ve been involved with Sean and Valhalla DSP for the last seven years, originally starting as
someone to lend Sean my ears (and my studio) for performing deep analysis on new algorithm
designs for ValhallaVintageVerb, and, since then we’ve continued the process for the subsequent
plug-ins that have followed.
We started talking about what would eventually become ValhallaDelay almost four years ago,
even before we had finished and released ValhallaPlate. Much of the original design brief centered
around the desire to make the most accurate digital representation of the tape echoes we both
love (Sean is especially obsessed...), particularly the Roland RE-201 Space Echo. There are already
some excellent delay plug-ins that come close to the sound, but none that made either of us
think we were hearing the real thing, especially when compared to a well-maintained original
unit. Funnily (or depressingly), this maintenance situation became one of the hurdles we had to

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overcome during our research and analysis phases; 40-plus-year-old tape delays have an
impressive tendency to break down no matter how well-maintained. Nearly as much money was

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spent on repairs as purchasing units to measure and analyze!
Much of our research time was spent listening to things like distortion, the tonal character of
feedback, finding noise levels, analyzing noise colors, and discovering where in the signal path
it occured or was generated – truly riveting stuff! Eight to ten hours of that in a day left both
Sean and I feeling a bit like we’d been hit by a truck. Some of those days yielded huge
breakthroughs, and we felt really good about the work done. Other times we’d realize that we had

)
been heading down the entirely wrong path, and all of the work got discarded while a new
approach was conceived.

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With that background information out of the way, let’s talk about ValhallaDelay! Like all of our
products, ValhallaDelay is a 32- and 64-bit VST/Audio Unit/AAX-compatible plug-in for both
macOS and Windows (10.8 and above, and Win7 and above, respectively); it’s also the first

(d
Valhalla plug-in to be released in the VST3 format, which we will roll into the other plug-ins
through updates later this year.
ValhallaDelay is built around Modes and Styles. Modes are effectively the “machine that was
modeled,” so this is where you’ll find Tape, Hi-Fi, BBD, Digital, Ghost, Pitch, and Reverse Pitch.
Lest you think “making a tape delay” was all we were trying to do, au contraire! Tape is exactly
what it says on the tin – this is our RE-201 with all the noise, dirt, and tape-splice goodness of
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the real thing; Tape (as well as all the Modes in Delay) can self-oscillate, so you can send yourself
to dub heaven. Hi-Fi is a cleaner variation of Tape; imagine an idealized, digital version of a tape
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delay, with all the character but less of the noise/dirt. BBD is a dark, noisy bucket-brigade delay,
lovingly modeled on one of Sean’s favorite BBD guitar pedals; during our analysis in the final days
of initial development, we couldn’t tell which was the pedal and which was BBD mode in Delay
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in blind tests, so that was a nice victory during the process! Digital is modeled on some of the
classic digital units from the ‘80s, with the lower bandwidths and delicious grit they are known
for. Ghost is an analog-style delay with frequency-shifting; perfect for creating scary-movies
voices and reverbs you’ve never heard anywhere else. Pitch and Reverse Pitch are both digital
models with forward and reverse pitch-shifting, respectively.
Common among all seven Modes are the Diffusion controls (both Amount and Size); this is the
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secret to turning your delay into some of the most interesting and useful reverbs. Sean and I went
back and forth a lot about whether to include the ability to add diffusion, but once we both started
realizing we liked the reverbs we could make in ValhallaDelay more than most of our usual suspects
(including some other Valhalla products!), it had to remain. Also common are the Color parameters
(a

of Drive and Age. Drive is an input saturation control that is gain-scaled so the output level stays
constant even with boosts of 24 dB of gain. Age is Mode-specific and changes things like asperity
noise and tape splice artifacts in Tape, to bit-depth in Digital, to bucket-brigade noise in BBD.
The Modulation parameters vary between the Modes and are model-specific, thus Tape has Wow
and Flutter, Hi-Fi/BBD/Digital have standard sine-wave Rate and Depth, and Ghost and the two Pitch
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modes have Frequency Shift and Detune.

The ERA control subtly changes the overall character of each Mode depending on the era chosen,
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generally moving from darker and noisier in Past, to cleaner and brighter in Present and Future.
The Style control is where you choose the number of delay voices; the choices are Single, Dual,
Ratio, Ping-Pong, and Quad; each Style also has additional, unique parameters that appear when
one is chosen. Single is one stereo delay voice with feedback, but the addition of a Spread control
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offsets the single delay between the left and right output when used in a stereo output
56/Tape Op#132/Gear
54 Op#131/Gear Reviews/(continued on page 56)
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 configuration. Dual gives independent delay values for left and right channels, while Ratio uses
the Delay time parameter to set the left delay and then the Ratio control to set the right channel

Unit is pictured
as a ratio of the left – it sounds tricky, but in practice can yield some really interesting textures
that would be difficult to achieve in other styles or other delay units and plug-ins. Ping-Pong
sends the feedback of the left delay into the right delay, and then to the left, and then to the
right, and then… you understand. Setting the Width control to -100% reverses the direction of
the ping and pong, so it starts on the right channel and moves left (Pong-Ping?). The Quad style

at actual size*
is our emulation of multi-headed tape echoes; you are given four tape heads, any of which may
be turned on or off. There’s a Spacing control to adjust the ratio of spacing between the heads
and this is a bi-polar control, so values greater than 0% move the spacings closer to the shortest
delay/head, while values less than 0% move the taps closer to the longest delay. There is a
Repeat/Swell button in Quad mode that affects the behavior of the mode by taking the feedback
from tap D when in Repeat, or from all Taps that are switched on when in Swell.
You can clearly see that we pushed this far beyond the initial concept of, “Let’s make a
shockingly good tape delay plug-in!” In practice, I find myself using instances of ValhallaDelay
all over my mixes; it’s not uncommon for me to have at least 10-12 aux tracks set up with
Delay used for micro-shifted delays and pitches on vocals, reverbs on drums, slap-back delays
on snare, a send with an instance of Ghost mode doing some crazy reverse frequency-shifted
reverb for strings, multiple tempo-synced delays for guitars and vocals, and on and on. It’s also
really fun to then automate many of the parameters in ValhallaDelay so the output is constantly

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shifting and evolving. We wanted the plug-in to invite experimentation and knob twisting; all
the presets in the world won’t give you the pleasure of making the sound into your own that’s

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tailor-made by you, for your music.
Do I wish there was anything added to ValhallaDelay? Sure. I wish there was a Tap Tempo button
for times when I’m using it in a session that wasn’t tracked to a click (one of my favorite features
of the now-classic EchoBoy from SoundToys [Tape Op #62]), or I just want to tap and have it set
the time based on the beat division I’ve selected while being unlinked from the host clock. This
isn’t a deal-breaker, and I have apps on my phone where I can tap in a tempo and have it calculate

)
the delay time for various beat divisions, but it would be handy in the plug-in itself.
One of the great features of Valhalla plug-ins is that accommodations are always made within

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the architecture of the code for future expansion as new algorithms are developed. Without giving
anything away, there are many updates to ValhallaDelay planned in the pipeline to add even
greater value to the purchase – also, these updates have historically been provided free of charge.

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Yes, I’m biased, and think this is a stunning plug-in, as well as being an incredible value at
only $50. But even if I wasn’t involved in its development, I’d have purchased it the day of
release and would still be using it in every mix exactly as I do now because – for me – it’s the
right tool for the job. It’s a deep plug-in that doesn’t scare away the user with a convoluted and
confusing interface; it’s inviting rather than off-putting and doesn’t get in the way between your
ideas and their execution. There’s a fully functional demo available on the Valhalla site (it fades
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the output every 45 seconds, but won’t time-out on you), so do check it out!
($50 direct; valhalladsp.com) -Don Gunn <dongunn.com>
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Sony
C-100 microphone
Sony, widely known for their consumer entertainment products, takes pro audio very seriously.
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In the professional microphone market, Sony previously produced three remarkable

microphones: the C37A from the ‘50s became a staple for symphonic recording, the C38 (‘60s)

*Actual sound
and the C38B (2000s) known as wonderful vocal and piano microphones, and the iconic C-800G
(1990’s) revered as a very special vocal mic that has been featured on singers like Mariah Carey,
Eminem, and Alison Krauss. For the C-800G, Sony developed new technologies, specifically
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liquid Peltier cooling for its main tube and a dual-tube-rectified power supply. So when Sony
announced a new lineup of studio microphones this year, I was expecting something special.

is much larger
The C-100 is described as a high-resolution mic developed for vocals and critical instrument
recording. In short, it’s a condenser mic that features two newly developed capsules with a
(a

body that borrows some technology from the C-800G. The remarkable specification of the C-
100 is that its frequency response is quoted as ranging from 20 Hz to 50 kHz! This mic is aimed
at the high-end recording market, but is reasonably priced, whereas the C-800G fetches over
$10,000. The hi-res label placed on the C-100 infers that this mic is also suited for high sample
rate, audiophile recording applications.
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The C-100 uses two different capsules in tandem: one large, dual-sided condenser capsule, and
one smaller, single-sided electret condenser capsule. The idea behind the dual capsules is that the
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larger capsule captures full range audio frequencies while the smaller capsule captures frequencies
above 25 kHz. It may be debatable how much audio above 20 kHz humans can perceive but
capturing audio above 20 kHz certainly has some very practical merits. Even beyond high
frequency temporal effects, capturing ultra-high frequencies proves useful in sound design where
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w w w. r e t r o i n s t r u m e n t s . c o m acoustic sounds are often pitch shifted down an octave or more. Imagine pitch shifting a sword-fight
56/Tape Op#132/Gear Reviews/(continued on page 58)
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 impact down an octave, where the fundamental frequency may now be 1 kHz while still
retaining useful audio at 15 kHz or higher! This is a sound designer’s dream microphone.
The all-black microphone body is compact and lightweight, measuring about 7-inches high
and about 1.5-inches in diameter. The mic is packaged in a foam-lined Pelican-style case,
and includes a well-designed circular plastic mount that clamps firmly around the C-100’s
body. On the mic body are three switches; one for selecting between cardioid, omni, and bi-
directional patterns; one for employing a high-pass filter; and another for activating a -10
dB pad. Like all Sony products, the fit and finish of this mic and its accessories are first class
and inspire confidence in the quality and robustness of the product.
In cardioid mode the microphone’s frequency response reflects its intended use as a vocal
mic, with a flat midrange and slightly boosted highs around 10 kHz. The omni and bi-
directional settings provide a slightly flatter high frequency response, but retain a very slight
boost below 100 Hz. The high frequency capsule only picks up from the front side of the mic,
so for omni and bi-directional patterns you could expect the highest frequencies to be more
directional and slightly attenuated.
On both male and female vocals I found the mic to be very smooth, without any harshness
in the upper mids or sibilance in the high frequencies. I auditioned the mic on pop songs
and classical recitals. I especially liked the C-100 on the classical voices where it was placed
a few feet in front of and below the singer’s mouth. On pop songs, I used a generous amount
of EQ to open up the high frequencies in order to create a more “pop” sound. I wouldn’t

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describe the vocal sound as dull, but I would call it relaxed and natural, as opposed to
forward or present. This mic would be an excellent choice for vocals in an acoustic, folk, or

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Americana setting, but maybe a bit too nice for intense pop and rock vocals – then again,
it could be just the right trick for an overly sibilant or piercing voice.
I used a pair of the C-100s on a traditional Arabic classical record that I recorded at the
Evergreen Stage in Burbank at 176 kHz sample rate. Here I employed the mics on acoustic
guitar, oud, qanun, and violin. The guitar player remarked during the first playback that he
had never heard his guitar sound so good. I was pleased with the articulation, frequency,

)
and dynamic response of the C-100 on all the instruments, and as a result will probably use
only minimal (if any) EQ during mixing for this project. Violin in particular is sometimes

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strident and difficult to close mic, but the C-100 presented a natural, well-balanced sound
for the instrument when placed about two feet above and slightly in front of the player’s
head. In my experience, the closest mics in sound to the C-100 on these instruments would

(d
be a Neumann KM 54/56, a KM 86i, or perhaps the Schoeps CMC 6 or Sennheiser MKH 800.
Though each of these mics have their own distinct tone, they all fall into the articulated,
slightly flattering, and almost never harsh category.
On grand piano I usually try a few different stereo setups, starting with an X/Y pair about
six inches above the hammers. On a particular Yamaha C7, this position proved too bright for
a solo piano recording though might have fit well in a dense pop production. The positioning
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that felt just right was a Blumlein arrangement just over the edge of the curve of the piano,
looking towards the middle of the strings. Here I found a perfect balance between articulation,
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size, and room ambience for a piano-featured pop song. On a studio upright piano, placing
the two C-100s in cardioid behind the piano with each one about a third of way from the sides
and 15 inches off the floor provided a wonderful and realistic piano presentation.
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The C-100 handled acoustic guitar well and, compared to both Neumann U 87s and AKG
C451s, the Sony produced a more balanced and “folky” sound rather than a mid-focused rock
‘n’ roll sound. A stereo pair of the C-100s, with one mic pointed at the 14th fret and one
pointed just below the bridge, produced a very realistic stereo image with balanced tone and
would work well for pop as well as classical recordings. On electric guitar amp, the C-100
easily handled extremely loud levels and produced an excellent sound when placed a few feet
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from the cabinet, pointing straight at the speaker.

Additionally, I used the C-100s for some field recordings, along with a Sound Devices
MixPre-6 recorder, and I would highly recommend this pairing for high sample rate location
recording for music performances, or for film and TV production. I found the C-100’s tone
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stayed consistent regardless of the preamps that I used, and even the battery powered
Sound Devices recorder had no problem providing phantom power to a pair of these mics.
Sony also produces a portable DSD recorder that would be an excellent pairing for the C-
100 microphones.
Overall, I would say that the C-100 is a natural sounding and accurate mic, without the
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typical low frequency colorations of many large diaphragm condensers. The C-100 would
quickly become a staple in any microphone collection and find a wide range of uses among
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even the most revered microphones. At $1399 street, the C-100 competes with mics well
over twice the price and will surely become a studio standard. In addition to the C-100,
Sony has also released the C-100U and C-100N, the C-100’s small diaphragm uni-directional
and non-directional cousins.
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($1399 street; pro.sony) -Adam Kagan <mixer.ninja>

58/Tape Op#132/Gear Reviews/
 Arturia
3 Compressors You’ll Actually Use plug-in bundle
Hot on the heels of their affordable “You’ll Actually Use” plug-in bundle series featuring 3
Filters and 3 Preamps [Tape Op #125], here is Arturia’s latest batch of software effects: models
of the venerable UREI 1176, Gates STA-LEVEL, and dbx 165A compressors.
Installation was easy enough, although I found it faster to download and install the software
directly from Arturia’s website and then use Arturia’s Software Center (ASC) app to authorize the
plug-ins. The plug-ins (AAX, AU, VST 2, and VST 3) are 64-bit and CPU-friendly, with
skeuomorphic hi-res designs that mirror the hardware which they are modeled on but inflate
certain interface elements in service of better ergonomics. I liked the click-through tutorial
content that appeared after the first instantiation of each of the plug-ins – in just a few simple
steps I felt like I had unlocked a deeper understanding of how the plug-ins worked without even
cracking the manual. Why doesn’t every developer feature this?
These three plug-ins appear to be calibrated differently than some similar emulations when
under direct comparison. Notably, the FET-76 differs in my testing from the UAD version of the
UREI 1176, primarily in the input gain stage. Similar sonic results are easy enough to achieve,
but applying the same settings via the GUI of each plug-in yields different results. I’m not sure
why this is, but here again, I’m not looking (to either manufacturer) for a dead-accurate
recreation, as much as I’m looking for some degree of usability and unique character. The Arturia

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plug-ins deliver tone and style in abundance.
Although there are other similar modeled plug-ins available for these classic compressors,

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these Arturia versions are worthy of your consideration for many reasons. One, they sound
phenomenal – straightforward, yet meticulous – and each has undeniably authentic “vintage”
character. Two, the designs are purposeful and smart, with easily-accessible modern features
like multi-mode detection sidechaining options, and adjustable compression range settings. I
dig simple, time-saving tweaks like the ability to link input and output ratios. A colossal
differentiator here is the Time Warp parameter (available on the FET-76 and VCA-65

)
compressors) that allows you to manipulate the compression envelope, allowing for greater
control over transients. I found that a slight nudge of this knob towards Snap or Loose made

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a massive difference in the character of more extreme compression settings. It’s those simple
controls leading to new sonic discoveries that keep these plug-ins in the, “Hmm, let’s try
THIS” shortlist. Yes, we will actually use these; a lot. A crazy bargain at this price! ($199 street,
$99 individually; arturia.com)
-Dana Gumbiner <danagumbiner.com>

The Bakersfield Sound (book)

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Robert E. Price
The children of Dust Bowl migrants who’d resettled to Southern California in search of farm
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and oil production jobs redefined their cultural significance (c. 1951) and fostered a music
scene born from the worker’s camps, dance halls, and dive bars in and around the Bakersfield,
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California area. These first-generation Californians, often referred to as Oakies, spent their
evenings and hard-earned cash dancing, drinking, and fighting to a soundtrack of local
musicians performing their unique, displaced brand of country music that would ring in the
golden age of honky-tonk.
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In Robert E. Price’s The Bakersfield Sound, we learn that Buck Owens had more number
one hits than The Beatles, but before that we get his theory on what sonically might
define the Bakersfield sound: the ‘50s Fender Telecaster guitar. At that time, this cheap
bolt-on neck electric guitar was not a fixture in most Nashville recordings. Price purports
that the Telecaster introduced an iconic harmonic signature in many Bakersfield artists’
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recordings by providing a noticeable bite-y twang in spite of the arguably mellower, jazzier,
and traditionalist flavor heard in Nashville recordings of that time. Buck Owens, Merle
Haggard – and later Dwight Yoakam – are obviously the more popular names we attribute
to Bakersfield, but the importance and influence of Roy Nichols (the “Chicken Picker”),
(a

Don Rich, Bonnie Owens, "Lefty" Frizzell, Gene Moles, Billy Mize, Rose Maddox, and many
others are also covered here.
The Bakersfield Sound is a documentation, study, and field guide to this once burgeoning
music scene in the middle of California’s forgotten nowhere (between Los Angeles and Las
Vegas). As laid out in historical anecdotes, articles, and references, Robert E. Price
(columnist for the Bakersfield Californian) educates us on the history of Bakersfield’s music
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scene while at the same time arguing its impact on American music in general – expertly
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supported and endorsed with a thoughtful foreword from country music icon Marty Stuart.
But this book isn’t just about country music. The Bakersfield Sound breaks down a “perfect
storm” scenario of how a music scene comes together, flourishes, and then dies –
accompanied by analysis and theories that try to explain the music scene phenomenon and
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American art movements in general. It’s this recurring secondary theme that kept me
engaged as a reader.
Gear Reviews/(continued on page 60)/Tape Op#132/59

Extensive Notes, Appendix, and Bibliography sections prepared by the author are all
executed in the manner of a well-written history textbook, and I found it important during
my read to be able to quickly gain context on certain subjects. The book doesn’t unravel as
a story about any single performer – it’s really a collection of published articles and papers
presented as a historical reference guide that slowly builds a case for Bakersfield’s importance
in American music history. The Bakersfield Sound doesn’t cover recording processes or studio
techniques, but for music enthusiasts and history buffs, it’s a key guide to have in your library.
A favorite chapter of mine, called “Landmarks,” includes a written tour guide of historical
locations to visit accompanied by playlist suggestions from the author. Though I did not visit
Bakersfield during reading, I did download and purchase many of Price’s suggestions to play
while reading – “They’re Tearin’ the Labor Camps Down” by Merle Haggard definitely
transported me! At times I would’ve liked to see more pictures – especially of the clubs where
artists performed, but the book implies on many occasions that the best way to get a handle
on the history of Bakersfield’s music is to listen to the music and come visit – a crafty way
to bring it back to the locals! There’s a wealth of additional information sources listed in the
book, and Bakersfield has its own Music Hall of Fame with regular events.
($20; heydaybooks.com) -SM
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60/Tape Op#132/Gear Reviews/(continued on page 62)
TASCAM
Model 24 Multitrack Recorder, USB Interface,
& Analog Mixer
My first impression of the TASCAM Model 24 was of the classic design. From the red,
blue, and orange Gain, EQ, and Aux knobs, to the faux wood sides, this is a classy-
looking piece of gear. It wouldn’t look out of place among the classic cassette
multitrack recorders that TASCAM was famous for. The line of succession from the late
‘70s TEAC 144, the first cassette 4-track ever released, to the present day Model 24 is
now complete. It’s beautifully retro, while providing all the comforts of a modern 24-
track digital audio workstation. This is a piece of gear that can fit into a wide variety
of recording situations. Let’s dive in!
The Model 24 is primarily a great sounding analog mixer with the convenience of an
all-in-one digital multitrack track recorder (via built-in SD card) that also functions as
an interface by pairing easily with your DAW. The channel strips are analog, but with
both USB and Bluetooth connectivity, and built-in digital effects (like reverb, delay,
chorus, and flange) it offers the best of both worlds. Using the SD card (not included)
you can record up to 22 tracks simultaneously, plus a stereo mix down track (in 16/24
bit, 44.1/48 kHz, WAV format), and/or hook it up to a computer through the USB 2.0
port. I found that for my situation, someone who normally records track-by-track,
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connecting it to my DAW via USB was both intuitive and complimentary. With four
stereo and 12 mono channels, the Model 24 is perfect for those looking to either put
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together a live rig or introduce an analog desk/multitrack into their home studio (at 22
lbs. it can easily be moved to accommodate both situations). All 16 mic preamps have
50 dB of gain and feature 48V (global only) phantom power. The 12 mono channels
have an analog one-knob compressor and 4-band EQ, a 100 Hz high pass filter, a Pan
control, and Aux sends for effects and monitor buses. Channels 1 and 2 have the most
features, with additional dedicated instrument and 1/4-inch TRS inputs. The four stereo
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channels (13-20) differ in that they’re without compressors and equipped with 3-band
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EQs. Channels 21 and 22 offer a stereo input with both RCA and Bluetooth 4.0
connectivity. And lastly, every channel offers PFL, and can be routed to the main Mix
bus or a single stereo Sub mix bus. At first, I didn’t really see why I would need the
Bluetooth connection, but I soon discovered that it gave me the freedom to easily
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record tracks such as software drumbeats from my iPad to the Model 24 quickly – with
the added convenience of having one less cord hanging around. Each channel can be
set to one of three input sources: Live for signals coming from a mic or line source; USB
for sources coming from your computer; and MTR (monitor) for when you want to
playback sounds previously recorded to the SD card. All the inputs and outputs are
located on the face above each channel strip, making them super easy to access.
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During my first recording session, which featured a vocalist, acoustic and electric
guitar, synthesizer, bass, and the aforementioned Bluetooth-connected drum machine,
I decided to use nothing but the onboard effects, EQ, and compression that the Model
24 offers while both tracking and mixing. I recorded straight to SD card, and then sent
the finished session via stereo outs to both analog tape and Logic Pro [Tape Op #74].
I wanted a piece of music that represented what the Model 24 could do with no outside
influence, and at the end of the day I was really impressed by the results. The finished
product was sharp, focused, and musical – all without the help of a DAW – and the
finished track had a rawer feel to, it which I felt complimented the overall sound. This
process doesn’t work for everything, but it definitely inspired my workflow and was
super enjoyable. The included digital effects are adequate for most situations and will
sound great when applied in a live setting (which I feel is really where they shine). I
found the reverbs to be especially pleasing when used in moderation. My main concern
was the one-knob compression, and how it would perform to suit certain sounds that
I was going after while not having attack or release controls. I found it to be a very
versatile tool that adds a subtle taming of transients in a vocal performance, or a heavy-
handed compression style that sounded awesome on synth bass. The compression is
represented via green LED lights, and may take some testing in order to get a feel for
it, but once I got accustomed to the character I felt confident to let my ears decide
how much was required. It was refreshing to be able to grab real control knobs instead
of having to use plug-ins. At the end of the session I made great use of the stereo
seven-band graphic EQ on the main hardware output, and had a complete mixed track
in just 20 minutes. This EQ can also be assigned to the monitor outputs as well, so
along with the ability to use it as a mixing board during a live show while
simultaneously recording the tracks to SD card, it makes Model 24 a handy live tool.
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Please Support Our Advertisers/Tape Op#132/61

 Lastly, I wanted to see how the Model 24 performed as If you’re thinking, “Blah blah blah, buzz words!” then
Gear Geeking w/ Andy… an analog summing mixer. I took a previously-recorded don’t read the manual for this plug-in! It’s like reading
After reading Tom Fine’s informative review of the Mini
track done totally in the box and, using only a low pass the Instagram comments from a millennial influencer’s
Maglite Pro [Tape Op #130], I realized that it’s been a while
filter, ran the mix through the Model 24, then back into wedding post (note: I’m a millennial). But how does El
since I’ve talked about flashlights. My favorite task light is the
Logic. The subtle glue and depth this process added really Rey sound? Excellent!
Bosch FL12 Max LED Worklight <boschtools.com>, because
complemented the mix, and after some A/B comparisons Using El Rey is pretty straightforward. You’ve got Input
it offers a wide spread of evenly distributed light, and its
I preferred the summed version – something I hadn’t gain, Threshold, five fixed Attack and Release settings
built-in magnet and carabiner-like clip make it easy to
often experienced with my current mixer and setup. The (ranging from “slow” to “fast”), Make Up gain, a Dry/Wet
mount — with plenty of articulation for pointing the light
build quality of the Model 24 is fantastic (especially the knob, a sidechain filter (ranging from 50 to 250 Hz).
where you need it. But it does require an investment in a
100 mm faders), and I felt like I was working on a board They’ve also included a cool Auto Gain switch, which allows
Bosch 12 V battery and charging system [#102]. I also have
two times its price. you to drive the Input of the plug-in while inversely
a couple beautifully engineered, but relatively expensive
I make music primarily by myself, while occasionally reducing the output gain so there is no perceived volume
penlights [#85] in my toolbox. Unfortunately, penlights are
recording live shows in cramped Brooklyn clubs, and this change. This is useful when trying to dial in compression
like pens; they’re often borrowed and never returned.
is a desk more than suited to any project that might tones without being tricked into thinking louder is better.
Therefore, over the years, I’ve purchased a bunch of affordable
come my way. I feel the Model 24 is perfect for those My initial reaction when loading up El Rey on a female
compact flashlights for my studio and home, and my current
looking to own a vintage-inspired mixer/recorder without lead vocal track was how smooth it sounded and reacted
favorite is the UltraFire SK68 Single-Mode Tactical LED
having to apply for a loan. I’d say TASCAM has made when getting 12 to 15 dB of gain reduction. With the
Flashlight <ultrafire.com>, which I buy in three-packs for
another future classic! (tascam.com; $899 street) Attack set to medium-fast and the Release set to
$11.49. Like so many products sold on Amazon, lookalikes are
-Jay Ribadeneyra <johnjay26@gmail.com> medium-slow, I was reminded of how the Retro
available under countless brand-names, but I’ve had the best
luck with UltraFire — zero duds so far. The switches in Acustica Audio Instruments 176 Limiter Amplifier [#66] (my go-to when

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mixing or tracking at Jackpot! Recording Studio) sounds
particular, which seem to be the most common failure point, El Rey plug-in on vocals but with a little more grit. You can slam this
have been faultless. Speaking of the switch, the single-mode

version of the SK68 turns on and turns off — and that’s it.
There are no SOS or crazy-blinking modes to frustrate you
when all you want is a steady light. The projector-beam lens
slides forward and back in a simple one-handed operation —
no awkward twisting required — and the beam can be
The debate between hardware versus plug-ins has
cooled over the last couple years as plug-ins are getting
better and better. However, Acustica Audio seems happy
to stoke the fires with their El Rey compressor plug-in,
gaining a lot of attention and buzz for rivaling its tube
hardware inspiration. Developed in conjunction with
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plug-in without really getting any ugly grabbing or
pumping artifacts, and it remains musical even in
extreme settings. Next, I tried El Rey on a bus consisting
of about ten cello tracks. My biggest challenge when
working with large cello sections, is being able to control
the booming low end while letting higher melody lines

)
focused from a wide, evenly distributed circle, to a laser-tight producer/engineer Greg Wells [Tape Op #123], the El Rey cut through without being harsh. I was extremely happy
image of the LED chip itself. At maximum zoom, I can easily compressor was meticulously modeled after the famous with how well the El Rey held things together while still

spot birds in trees 500 ft away, when I power the flashlight
with a single 3.7 V Li-ion cell. I use an EBL Protected 14500
Li-ion Rechargeable 800 mAh Battery <eblmall.com>,
which I charge with a four-channel MiBoxer C4 Smart
Charger <miboxer.com>, in each of my “keeper” SK68 lights.
In the SK68s that might walk, I use a regular 1.5 V AA
alkaline battery; there’s less light output, but more than
enough for looking behind racks, inside guitar amps, or
whatnot. The SK68s have proven themselves durable; they’ve
survived drops on the studio floor, dog walks in the rain, and
rinses in the sink after night fishing. If I had to complain
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RCA BA-6A Limiting Amplifier. Greg’s goal was to create allowing the dynamics of the arrangement to move – the
a mixing “secret weapon” that would provide analog filter on the sidechain works great in these scenarios!
weight and body to a single track or even the mix bus. It wasn’t until I strapped El Rey on my drum bus that I
(d really started to hear the “glue” factor that everyone keeps
raving about. With a medium attack, fast release, and the
filter set to about 100 Hz, I noticed an instant thickness to
the drums. The same can be said when used on a bass track.
The squishy reaction of the compressor gives the low end a
rich tone that fills things out in a mix without getting
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muddy. The vibe and sound it emits are retro enough that I
probably won’t find myself reaching for it on pop drums, but
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about anything, it would be the SK68’s spring clip; the clip

it has already become one of my favorite compressors to use
has so much tension that it’s hard to slide onto the pockets
on electric or upright bass and both male and female vocals.
of clothing or nylon tool bags. On the upside, the clip is
El Rey uses a sampling technology “based on the
replaceable, and because it has so much tension, you can slip
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Vectorial Volterra Kernel Series” which allows Acustica Audio

a keyring underneath it without fear of the ring sliding out.
to faithfully sample the hardware at all input stages and
••• Speaking of keyrings, clips, clothing, and bags, if you’re
settings, thus recreating a perfect tridimensional response
like me, you probably use carabiners to clip things to other
of how audio passes through a piece of gear (including
things. I love my dual-gate Nite Ize S-Biners [Geeking #95]
phase variations and quirks of the hardware at all
for attaching keys and other smaller items, and I also have
frequencies, all dynamically represented). They also sample
t)

Nite Ize carabiner-lanyards on various lightweight cases for in-

harmonic distortion variations as well. Perhaps due to this
ear monitors, iLoks, etc. For larger items, I prefer the Black
technology, El Rey seems to require more system resources
Diamond Hoodwire Carabiner <blackdiamondequipment.com>.
than I expected – I started getting CPU usage alerts after
Yes this made-for-climbing carabiner has a 24 kN closed-gate
loading about five stereo instances of the plug-in. My only
(a

rating and CE 0333 certification, and yes that’s utter overkill

other critique is that the controls lag a bit on my system,
for attaching a water bottle to my backpack, or my eyeglass
making it hard to perform a smooth bypass of the plug-in
case to a belt loop; but the Hoodwire has one killer feature
to A/B your compressed verses non-compressed signals.
that makes it better than any other wire-gate carabiner. A
Other than that, this is a fantastic tool that really does
patented, stainless-steel “hood” around its hook prevents this
sound thicker than almost all other compressors in my plug-
carabiner from snagging, and both the gate and the hood
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in library. It imparts tons of vibe, does an incredibly musical

utilize wire that’s been precision-shaped to mate perfectly
job of reining in dynamic instruments, and really glues a
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every time. The Hoodwire, and its smaller Oz and larger

mix together. I highly recommend downloading their free
LiveWire siblings, are the only truly snag-free wire-gate
trial version of El Rey to see for yourself! Special thanks go
carabiners I’ve ever used — in any of my indoor geeking
out to Aaron Hellam <hellamsound.com> for bringing this
endeavors or outdoor sporting expeditions. A six-pack of
plug-in to our attention.
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Hoodwires costs $60. –AH

(€269 direct; acustica-audio.com)
62/Tape Op#132/Gear Reviews/(Fin.) -Gus Berry <gusberry.com>
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64/Tape Op#132/Put your ad on this page: https://www.tapeop.com/mediakit/

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The Panoramic House is the ultimate VRBO for musicians. A live-in residential studio in West Marin, CA
overlooking the Pacific Ocean with API & Neve consoles, 2” tape, Pro Tools HD, and an echo chamber.
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Each room of the house is filled with musical instruments except for the gourmet kitchen with a Wolf range.
Plenty of room and solitude to get into a creative space but only 30 minutes from San Francisco.
Rates start at $350 a day.
mp

panoramic-house.com • bookpanoramic@gmail.com • 916-444-5241

Please Support Our Advertisers/Tape Op#132/65
 Letting the Process Happen
by Larry Crane

I don’t remember a time while growing up when there wasn’t clay, glaze, and kilns in my
house. My mother had studied art when I was a baby, and she began producing a series
of decorative and useful ceramic items in the ‘60s while we lived in Oakland, and later in
the Nevada County foothills of California. She had a distributor in San Francisco who would
order these pieces by the gross (144), and several friends of hers served as employees when
the orders came in and the workload increased. Even my dad would take a bag of clay on
his work voyages as a Merchant Marine and make beads or such to bring home later to finish
off. Part of the process of working with this material involves firing the once pliable clay in
the kiln, after making sure the moisture has dissipated. For the type of clay my mom used,
the pieces would go through an initial bisque firing in the kiln and then glazed – where a
substance is fused onto the surface of the ceramics in the next kiln firing.

Applying glaze to ceramics is an interesting process, and that’s what I want to focus on here.
Most glazes, unlike paint, don’t appear anything like their final color when they are applied.

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This is because the heat of the kiln will change the structure of the components in the glaze,
forming bonds and such that create the new colors and textures that we only see after the

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main firing. Artists learn to predict, through learning from others, testing, and trial and error,
what a glaze will do during the firing process. One of the most exciting parts of working in
ceramics is opening the kiln (gradually, over time, so the pieces don’t crack from rapid
temperature change) and seeing how everything turned out. Glazes may run together and
create new colors. One piece might collapse onto another and fuse into something quite
unintended. If glass or metal has been used in the art, it will have melted and reformed in

)
new, unexpected ways.

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The artist has to let go. The process of making the art will sometimes be taken out of the
When making any art, control
artist’s hands for a moment.
should always be a variable. Complete control can lead to
stagnation, with the artist closed off from new, accidental ideas. The vision we all have
for a recording project can turn out to be far different from the final result at
times, and that can be okay. Control and predictable results are only small
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parts of the process, and staying open to new sounds, directions,
and ideas is important.
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Put your music in the “kiln” and see what happens!

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Ceramics by Carolyn Crane

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photos by Larry Miller

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This issue is dedicated to the memory of Richard W. Crane, the man who gave me life and taught
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me a heck of a lot about many things, but mostly how to live life honorably and fairly. -LC
66/Tape Op#132/End Rant/
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 The Creative Music Recording Magazine

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Extra Bonus

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Articles!

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Ryan Bingham
Crazy Heart, Acting & Singing
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Mitch Dane
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Sputnik Sound, Jars of Clay, Nashville
Dave Cook
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King Crimson, Amy Helm, Ravi Shankar

Avedis Kifedjian
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In Behind the Gear

More Gear Reviews

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Bonus No. 132

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A u g / S e p t 2 0 1 9 One last outtake photo of Jeff Tweedy by Zoran Orlic

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<www.zoranorlic.com>

Behind The Gear
Avedis Kifedjian
This Issue’s Overlord of Op-Amps
Part of my job with Tape Op is
talking with our advertisers, and I
particularly enjoy talking with the
smaller, boutique audio makers. Of
that group, Avedis Kifedjian is one
of my favorite people to chat with.
I have to be careful with Avedis, as
our conversations can stretch into an
hour before I know what happened to
the time, and my head ends up
bursting with new knowledge. Avedis
is a smart guy, with equal measures
of knowledge and experience that not
too many people can match. I figured
it was time to chat with him on the
record, so we met up at his shop in
his dad’s garage in Tujunga,
California.
So how did you get started doing this?
It started with cars. When I was 13 years old I was
fascinated with cars and how they worked with the
mechanical and electrical systems. I bought my first
car when I was 14 for $250 and would constantly to
take things apart, clean it, and put it back together.
There was still music on the radio and that was when
MTV played nothing but music videos. It was music
and muscle cars every day throughout my teenage
years. My brother and I would listen to all kinds of
records, which were often just given to us from
someone who didn’t want them. I was always
fascinated with the sound. I’d listen to records and
say, “That sounds cool. How’d they do it?” I was
t)
playing the guitar by ear and didn’t know the chords
I was making. I wanted to record myself, but I didn’t
know anybody who had a studio. When I was 18 years
old, I saved up and got a Tascam 4-track cassette
(a
recorder. I didn’t have any good mics, but I realized
that I could just use my headphones backwards. I
would plug the headphones into the mic input, place
it on the guitar body, and record. Then I’d plug it back BAE Audio].
and listen; it sounded a little boomy, but it worked. I So, both you and Wade were working
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was going to college with no real direction as to what
to do, and I was working full-time at a job I didn’t We did, but only for the first week or so. When I met
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enjoy. By 1995, I thought I’d follow what I really
loved with music and recording so I went to school at
the Recording Workshop in Ohio, and after months
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back home, I got a letter in the mail for an opening
70/Tape Op#132/Mr. Kifedjian/
he had everything labeled and it made things more
efficient. I learned to work on API modules. I
wanted to make my own op-amp, because Brent was
running out of 2520s, and I didn’t want to buy old
2520s. After months of working on it, I made a
by John Baccigaluppi discrete op-amp; Brent liked it and I got to update
the 312A mic pre with some improvements. Then I
designed a 500 Series EQ that eventually became the
E27. It was actually the first 500 Series EQ that had
a transformer-balanced input and output. Older API
550As were unbalanced on their inputs and the
other modules, like the 554, 560, 550A1 had
electronically-balanced inputs. At the time, the 500
Series was not popular. There was only API, Brent
Averill, and me with the new EQ who were making
to work as an intern at Grandmaster Recorders in
500 Series modules.
Hollywood. That was when I first saw a Neve console
To backtrack a little bit, at any point did
and met Geoff Tanner [Neve expert at Aurora Audio].
you go to school or anything? Or are
Working there as an intern was great, and I learned a
you totally self-taught?
lot because it was an old, well-used studio and a lot
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I’m self-taught. The only electronics class I had was in
of equipment needed fixing. If you really want to
the eighth grade. We used to make buzzers and little
learn as an intern, it’s best work in a studio that’s not
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motors and have practical jokes in class.
so perfect. I was in heaven because I could take these
Did you at any point decide that you
things apart and try to learn them. I’d work on
needed to learn theory and start to
microphones, headphones, power amps, guitar amps,
dig into electronics texts?
and the Neve 8028 console with Geoff. He would
Oh, yeah. I have a lot of books on the subject. You still
hand me a schematic and a bad amp board and say,
)
gotta learn the engineering and try to understand it.
“Here, fix this.” Or he would draw up a schematic with
I did go to college, and I took math to figure some
the power supply, hand it to me, and I’d have to build
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things out. It’s not just by experience – it’s
it. I had a skateboard at the studio because it was
textbooks as well.
easier to get around in Hollywood, so I’d skate down
So, the only school you did was the math
to Yale Electronics [on Sunset Blvd.] and pick up
to self-study the electronics?
components. David Langford worked at Yale; he was
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Geoff’s boss from back in their Neve days and I’d ask
him questions about my Neve projects. It was funny,
Yeah. There are many applications to things, like Ohm’s
Law, and knowing math certainly helps because you
need to manipulate formulas to make the circuit
as these two really smart guys would try to correct
work. There’s only so much guesswork you can do if
each other’s Neve knowledge with their sense of
you don’t work out the numbers. I’d study various
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humor. When I worked at Grandmaster, I wasn’t really
schematics and think of how it works. I would take
into being an assistant engineer, so I found ways to
notes and eventually build an experiment to try new
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keep busy in the tech shop. The studio manager,
ideas. There was a lot of failure, but I’m stubborn so
Jeorgia Anderson, who had originally hired me as an
I just kept trying. I’ve come back to projects and
intern, brought Wade in to take my place as an
prototypes I started years ago.
assistant and they put me to work with Geoff full-
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So, you basically self-educated yourself,
time. We’d work on various projects and would service
as opposed to tinkering and figuring
Neve consoles in L.A. We even traveled to the Middle
out things without really learning
East to modify a Shep console. Looking back, I was
the theory behind it?
fortunate to be there, and I knew it; but I had to get
Right; I try to learn the theory while I’m tinkering. The
a consistent paying job, so I worked at Guitar Center.
good thing about tinkering is that if you get stuck
That only lasted a month or so. That’s when Wade
on a problem, you can hit the textbooks and learn
[Goeke of Chandler Limited, then working at Brent
about that particular subject. Get stuck on enough
Averill] saw me there and said, “What are you doing
problems and there’s a lot of potential to learn.
here? Come work at Brent’s!” I knew him from when
Linear power supplies are a great way to start. It’s a
he was working at a studio up the street from
great way to learn about components such as
Grandmaster, and he told me he was working at Brent
transformers, diodes, caps, regulators and how they
Averill’s [which Brent eventually sold; it morphed into
work together. It’s not always as difficult as it seems
when you break it down. I don’t love electronics. I
love music. I just do electronics to get music to
together at Brent’s? sound the way I like. I never thought of myself as
an electrical engineer or anything like that.
Brent for the first time in 1999, he hired me on the
You seem like one of the smarter guys in
spot when he found out that I knew how to build
the industry about electrical
the difficult three-deck Neve gain switch. Brent’s
engineering. Do you still play music?
place was really organized. If you needed a part,
Yeah, I play guitar just about every day, and now You want to use epoxy though, right? related to this topology, except that I use small Class
especially, with my baby. It seems to catch his Because it actually helps it heats up A amps instead of ICs, and I use the 1122 op-amps for
attention. I can see he loves music, too. evenly. If it’s just the components boost/cut, as well as for the output-stage driver
So, the first product was the op-amp, open to the air, that presents a through a Jensen output transformer. Plus, there’s a
right? different set of problems? Jensen input transformer and another Class A amp, so
Yes, the first product was the op-amp that I originally made It does, but it depends on the op-amp design. You have if the transformer sees the load it likes, and the EQ
to fix older API modules. The 1122 op-amp also helped to thermally couple some of the diodes to the circuit sees the source impedance it likes, it’s a happy
me come up with ways to use it in my own designs. transistors so that when the transistors warm up, it unit. This allows more freedom for the filter EQ part of
Tell me about your op-amp and the warms up the diodes that are biasing them in a kind- the circuit to add its characteristic sound. The API 554
design of your op-amp. It’s not just a of thermal relationship. In un-potted op-amps, you is a state-variable EQ, using three IC op-amps for each
copy of a 2520, right? sometimes see some components glued to each other band, with capacitors, to change your tuning. It
No, but I had to learn how the 2520 was designed and for this reason. sweeps around instead of locking into a specific
certainly drew from it. I looked into what circuit After the op-amp, what came next? The frequency. It’s versatile, but it causes more phase shift,
designers may have used as reference in some mic pre, or the EQ? and, coupled with the series of IC op-amps, your signal
engineering books from the ‘60s and ‘70s. Early After the op-amp, Brent wanted to use it in a 312 is passing through, [and that] results in that very EQ’d
transistorized op-amps were first made by George preamp. So, I redesigned it with some improvements sound. I like it sometimes, and on certain problematic
Philbrick and his company [George A. Philbrick and that became the 312A. I made adjustments to frequencies, it can squeeze into tight spaces in a nice
Researches, GAP/R]. They were also the first to put the pad impedance and gain, and I exclusively used way and solve issues. Many parametric EQs are also the
them in a 1-inch square modular box, as early as Jensen transformers. I remember drawing up the same topology, with some variation – lots of control

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1962. So, anyway, I learned the 2520 and figured out circuit board using Photoshop at that time. with the frequency sweeping around, but also lots of
the different variations over the years. I was even <tapeop.com/reviews/gear/45/bae-312a-mic-preamp/> phase shift. Another rule to keep in mind: when we see

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lucky enough to talk to [API co-founder] Saul Walker Then I decided to experiment because I wanted an an EQ shelving curve, we don’t call it by the frequency
at an AES show about it one time. That was a equalizer, but I didn’t want to copy the 550A. So, I point where it peaks, but where it’s down −3 dB. So,
fascinating conversation I’ll never forget. He’s a real found a topology that I liked and tested some with a Neve 1073 high-frequency at 12 kHz, that’s
engineer. When I built my first 2520-style op-amps, I frequencies and the Q [frequency bandwidth] going where it’s supposed to be, theoretically speaking, down
tried experimenting and took notes with small all the way to 28 kHz. I still have the working −3 dB, which means its effect will be greater at higher

)
changes I made. I retested it over and over. Brent prototype. That became the first EQ I made, which frequencies. With a bell curve, two −3 dB points are
really liked the op-amp. That was really important, was really different than anything else out there. It taken at the sides of the peak, and this determines the

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because he was stressing the circuit in various ways used similar amps that you’d find in an API 550A,
to see if it would fail. He said, “This works really well. but it used a filter design with characteristics you’d
We should make it.” So, I showed him how I made it; find in an inductor-based design, like a Neve or a
he hired another tech to try and make it for him, but Calrec. That was the earlier model E15. I quickly
it didn’t work for whatever reason. It’s just hard to
make a discrete op-amp with all those components in E27 which we still make today.
a 1-inch square. Brent came back to me and said, <tapeop.com/reviews/gear/121/e27-500 Series-eq/>
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added more frequencies to it and that became the
“You’ve already done this; why don’t you make it? I’ll Older Neve modules have an active Baxandall and an active
just buy them from you if you promise to sell it to me LCR-type equalizer. The Baxandall just makes use of
l
for a good price. And why don’t you use your first capacitors for tuning the LF and HF, both of which
name for your company?” I’m very thankful for his share the same card inside – the B205 (or B180 in
ai
. If you divide the peak frequency by the bandwidth of
the −3 dB points, the result will be the Q number. For
example, if you’re EQ’ing at 2 kHz peak, and the −3 dB
points are at 1000 Hz and 3000 Hz, then bandwidth
is 2 kHz. Divide peak frequency by bandwidth, and you
get Q = 1. If bandwidth was narrower, you’d have a Q
higher than 1; with a wider bandwidth, Q would be
smaller than 1. The guys who bought the first E27’s
were some rappers in L.A. because they liked the big
low-end and the higher top-end. It started with Warren
G, who came in to buy something else at Brent’s shop

support, and for the company name idea. older 1066 modules). An LCR circuit is used in the MF and saw my EQs there in the 500 Series rack. He was
You mentioned to me that you went with the B211 card (or B181 in 1066 modules). Inside asking me about prices, and I said, “Well, these EQs are
through a lot of experimenting with of most electronics textbooks, you’ll see mention of . $750 each,” [which was the introductory price at the
gm

the epoxy, or whatever the compound
is that houses it. Can you tell us about
that aspect?
The epoxy that I first used was really hard and it
caused problems. When components warm up, they
need to move a little bit. The small diodes are
t)
= inductance, = capacitance, and = resistance. If you
put the three together, with some feedback around
either a discrete or IC-based amplifier, then you can
tune to a frequency. The API 550A uses a twin-T filter.
It’s a way of super-tuning, using resistors, capacitors,
and feedback around a discrete op-amp. It can sound
time]. He said, “No, just this little thing (pointing to
the E27). Not the whole rack.” I said, “It’s $750.” He
said, “Just for that? Are you kidding me? Why?” And I
had to tell him it had discrete components, as opposed
to ICs. and nice transformers. Plus it had expensive
custom rotary switches, custom knobs, etc., and it all

made out of glass, and you can’t cement them in. very nice and clear. I would think it’s great for costs more to manufacture. He ended up buying the
That caused some op-amps to go bad early on. I mastering, as long as you had all the frequencies and whole rack. From there, I got more guys coming in
quickly learned that I needed to change boost/cut steps you need. Not as colored as you’d think asking for the same thing. That really helped me out
(a

something, because you can’t fix a potted op-amp
once it goes bad. It’s a big waste of time and
money if you don’t get it right in the first place. I
started using a softer epoxy. I learned that from
John Hardy [Tape Op #15], actually. He uses it in
his 990, and he was kind enough to share that info
e
– but the coloration will come from the other
components, such as the op-amp interacting with the
output transformer, each with their own limitations.
The API 560 graphic EQ uses a type of active gyrator
filter, using IC op-amps for each frequency, and another
early on because there wasn’t enough demand for 500
Series, so I’m very grateful for that.
I think I was one of your earlier
customers.
Yeah. 12 years?
Over a decade ago! They’re just so

IC for boost/cut. The 2520 in the oldest 560s drives the

long ago. He was right, and that epoxy is what we output transformer, but in the 1980s, API removed the durable, which I really appreciate.
el

use today. It’s softer, and it’s thermally conductive
so the op-amp warms up evenly. You don’t have hot
spots in there, and it allows the components to
flex. It’s simple, but it’s a big deal.
mp
2520 and even the output transformer (optionally), and Servicing a lot of vintage gear over the years taught me
put in a couple of push-pull transistors instead. I like a lot about component failure and reliability, and I’m
it, and it does have a certain sound and characteristic thankful to have worked on so much broken gear early
that’s different than the 550A. The is somewhat on. It feels good to design equipment that’s reliable.

Mr. Kifedjian/(continued on page 72)/Tape Op#132/71

It’s probably more work if you have to
service it too.
It is. The shipping and servicing end up wasting time that
could have been productive for the client, and for us.
So, what came next?
The MA5 preamp, because my friend asked if it was
possible to have a Class A amplifier like a Neve Class
A, but to put that in a 500 Series format. That was
an interesting challenge to make it work on bipolar
16 volts, giving a 32-volt potential instead of the
original 24 volts. You have more voltage, so there’s
more headroom. I remember what Bill Whitlock of
Jensen Transformers [Tape Op #104] would say –
electrons don’t read schematics – so, with that in
mind, I designed the circuit the way I thought it
would work best. That became the MA5; it was really So, a DI, especially a passive one, will
successful and proved to be ultra-reliable. After that
we made the MD7, which is kind of like the op-amp
based API 312 / 512 world, but it’s got a send and A passive DI will put your sound through a transformer,
return, stepped gain, and no input pad because I
don’t like how an input pad can weaken the sound
before you get to the input transformer.
<tapeop.com/reviews/gear/116/md7-500 Series-mic-
preamp-pedal-interface/>
I haven’t used these, but I remember we
reviewed them.
Yeah, it’s what I wanted to do because I don’t feel
comfortable making clones that I see so much of
nowadays. I designed a lot of gear for BAE Audio –
like the 10DCF compressor, the 1023, and the A lot of times, you’re going through a small capacitor
1073MPF – that share similarities to older gear but
weren’t really clones of anything. I want to keep
learning, so I’m always interested in going in a
different direction. Now we’re making an electronic
instrument preamp called the KeyPre. I didn’t know
about the world of keyboards and synths. I didn’t
think about it as much until someone came by our
booth and suggested it at an AES show in New York.
I soon learned that keyboards had different output You lose a lot of the bottom-end.
impedances, different levels, and different ways of You lose a lot of the details on the very low-end. A lot
interfacing with balanced and unbalanced. So why
are most of us using a DI to interface keyboards,
synths, and drum machines? It didn’t make any sense Tell me a little bit about your most
to me. I studied a bunch of electronic instruments
that my friends had; I made the KeyPre so that it
interfaced nicely with all of them.
Anything you throw at it keyboard-wise, Well, I’ve had a Neve console since 2000, sitting here in
it’s gonna handle it?
t)
It will handle it. Balanced or unbalanced, with any line
level and with any sub low-frequency you can
throw at it so you get the full bandwidth of your
(a
instrument through.
Some synths have super-hot outputs.
They’re almost line level.
Yeah. Sometimes you don’t need extra gain, so you can
set the KeyPre at unity or less and get that nice,
balanced output.
e
Will it handle low-level high-
el
impedance things, like a passive
Rhodes electric piano?
It should be able to with 32 dB of gain, but for that I’d
use the DI input of the MD7 which has a higher input
mp
impedance of 10 M (megaohms) since the output of
72/Tape Op#132/Mr. Kifedjian/
the Rhodes is similar to that of a guitar pickup. We a console to put in there. They asked me about
tested unbalanced outputs of the Farfisa and the
Juno-60 which had an output impedance 2,000
ohms. That’s pretty high, but it works well with the [laughs] So, it’s there now, and I’m happy to see it
KeyPre. There’s a lot more variability in electronic being used every day. It’s rare for a 45-year old Neve
instruments than for microphones. Most microphones
are about 150 to 300 with some older ribbons being
lower, like 30 to 50 ohms. But with electronic
instruments they are all over the place. The KeyPre’s had the console, I really hadn’t heard it until it was
input impedance is an optimized 48 kilohms and will
happily interface with all of it. You certainly don’t they had in storage were found and put back in, and
want to bottleneck your sound going through a DI.
That was the purpose of making the KeyPre. It took How often do you have to go in and do
me about a year to find the right combination of
input and output stages.
mess with the impedance and change
the frequency response?
so it depends on the quality of the transformer. There
are only a few transformer manufacturers that know
how to make a good-sounding DI transformer. But,
due to physical and electronic limitations with
winding transformers, your input impedance cannot
be as high as an active input DI would be. You can
get about 150 kilohms, but never as high as 1
megaohm, which is what you need for things like
piezo pickups.
Bottlenecking what, exactly?
placed to protect the input stage of the DI, and
capacitors naturally act like high-pass filters,
bottlenecking your bandwidth and causing some
(d
phase shift. It may be fine for the guitar or bass, but
electronic instruments can have a much wider range
and need to plug into something that has a
frequency response wider than itself so you don’t lose
l
anything.
ai
of keyboards can have notes with very low
frequencies.
gm
recent venture at Sound City. What
are you doing over there, and how did
that come about?
this garage for the last 18 years. We didn’t have a
place for it. After the Sound City movie came out, a
friend of mine said, “Don’t you have a Neve console
sitting in your garage? Why don’t you do something
with it? Let’s make it work.” I wanted to work on it
at night, so I thought to take it to my house half a
mile away from here. I asked my wife if it was okay
to have the Neve in our house for a while, and she
said it was. She didn’t realize it was a 9-foot long
console that ended up in the middle of our living
room. I had it there for six months, put it all
together, and tested all the channels. It was already
in great condition, for something made in 1973.
Then my friend, Bryan McCurry, turned me on to
Blake Mills [Tape Op #115] and Tony Berg [#121].
They wanted to lease Sound City and were looking for
leasing my console, and I said, “Sure. Get this thing
out of my house, please!” My wife was really happy.
console to have everything working; but, with
regular maintenance, it seems like everything is
working and it sounds really good. All these years I
in Sound City. The old custom JBL far-field monitors
they sound amazing.
maintenance? Do you deal with
anything else besides the Neve
console, or does your responsibility
end at that console?
I’ve got a lot of outboard gear there as well, so it’s those
things and the Neve console. That’s really it.
m
Maintaining it. Cleaning switches, cleaning contacts.
You don’t have to worry about any gear
co
that’s not yours?
Right, I only maintain the gear that’s mine, which is a
lot of vintage and some new outboard gear. I’d rather
see it be used than to sit here. Plus, I have access to
it if I need it. Blake and Tony have a lot of great
instruments and amps, and they have their own very
)
qualified techs for all that.
ot
I guess what I’m asking is: is this an
active relationship, or is it just like,
“Send me my check at the end of the
month!”
No, I’m there as needed, and I can use the space myself
as needed to test things out. If we need to take
something there to test and evaluate it, we can. It’s
really nice that they’re very supportive of new things
that come out of here.
So, you enjoy the relationship?
Yeah, they’ve been great and I’m happy working with
them. I was just there listening to one of Blake’s
tracks they’d recently done, and it sounded
unbelievable.
Both those guys are super-talented,
super nice people.
Yes, they are. Tony’s got Studio B with his vintage API
console in there. It always makes me happy every
time I go to Sound City. I love seeing the progress of
the studio, as well as seeing the dedication and hard
work of the entire staff.
What’s next for you?
We have a box called the TransDrive, which can house a
variety of different audio transformers so you can put
your audio through it to get that nice transformer
fingerprint on your tracks.
I remember seeing that at NAMM.
I love comng into work, building prototypes, and
working on new things. There’s got to be a
compressor in the future for us. I see more rackmount
gear beyond the 500 Series gear in our future.
How do you balance the, “I love to make
new things” side with the, “Damn,
I’ve got to run a business and keep
things moving out the door” side?
That’s been the biggest challenge in my life. And, also, how do you balance it with
family time as well? That’s been really tricky. It’s just been whatever’s the priority
that week, that’s what we have to do. But, I’d say coming into work, what I really
enjoy doing is building new gear. I love to come in and work on prototyping
things, getting stuck on the prototype, being able to think about it overnight,
coming back to work the next morning, figuring it out, and getting stuck on the
next problem. Problem-solving is what I really enjoy. I don’t find as much
enjoyment from doing service and repair work, which I never really did, except
for friends and close clients, but it’s not that fun for me. I’m not learning
anything new.
What about distribution and marketing? Who else works
here, besides you, Jeff [Watson], and your dad?
My wife helps with accounting, and I have some friends who come in and help me
out as needed.
So, the full-timers are you, Jeff, and your dad?
Yeah.
Does Jeff handle more of the business stuff?
He does. He takes care of a lot of the orders, and I take care of the technical side of
things. Jeff definitely takes care of all of the business side of things.
It’s good to have someone like that.

m
Yeah, we both wear many hats here and we don’t have a marketing department.

co
Sometimes we put pictures up on Instagram and Facebook of new and old vintage
gear, which is more educational than it is marketing. We put a lot of effort into
the design of our gear while trying out new things, then we figure out in the end
what we’re going to sell it for. Whereas, I think some larger companies start with
a budget and have to design backwards from that amount. Nowadays, you don’t
even have to be an audio designer because companies in Asia have already done

)
it for you, with pro-audio products ready to ship. All you need to do is design

ot
your company logo and place a large order. It’s not that one’s right and the other
is wrong, because everyone is trying to find their place in the audio market.
Is everything more or less made in southern California? I
assume you’re not making circuit boards here?
Yes, everything is made here, and our circuit boards are manufactured in Northern
California. All the boards get populated by my dad. My retired dad was a welder,
back in the day, who’d worked in off-shore oil platforms and the metal industry
(d
in Detroit. We joke now and say he’s still doing welding, but miniature welding
with a soldering iron. But just not as dangerous, or bad for your eyes.
l
He enjoys it?
Yes, he does. He’s retired, and he wants something to do. He’s like me, a workaholic.
ai

It’s a great help, and it works out for us. If we find out that something’s not
right, we can immediately get it fixed and move on from it. Part of the reason
why the gear is reliable is because of the attention to detail. Being a smaller
company, we can really see what’s going on at every step of the way, with every
gm

component. My dad’s been really helpful with it. Otherwise I’d have to outsource
it and get an assembly company to do it. And I’d probably have to deal with a
greater chance of errors, especially if they put our boards through a wave
soldering machine with the temperature too high, cooking the components and
shortening their life. The way that he solders it, the components don’t get heat-
t)

stressed. Everything gets done here. We’re a productive little shop. r

<https://avedisaudio.com>
(a
e
el
mp

Mr. Kifedjian/(Fin.)/Tape Op#132/73

 m
co
)
ot
Mitch Dane
(d
l
ai

You had an accident when you were So much of what we have to do in the
Carving a Path Through the Wilderness young that affected your throat,
and you couldn’t talk for two years?
studio is to listen to music and to
what others are saying.
gm

interview and photos by Larry Crane Yeah, that’s right. In general, I think people take Even now, I have to force myself to keep my mouth
talking for granted and forget the importance of shut. It’s a challenge.
silence for so many facets of their growth and life. Amazingly, after many operations,
When I visited Nashville and interviewed
Whether you call it a blessing or a curse, it was you got your voice back. You started
Vance Powell [Tape Op #82] years ago, I met
given to me. I learned how to listen to the way doing music and playing as a
his buddy, Mitch Dane, who shared the
t)

things sound and how sounds are put together, songwriter and a singer, with a
Sputnik Sound studio space with him. Over the
but also how to listen to people and what they’re voice that’s limited. What were the
years Mitch and I have spent many hours
actually saying. circumstances?
hanging out, and his calm, focused demeanor
You were a teenager then, right? It was a weird situation. My doctor publicly said that
(a

and wise thoughts always inspired me.

Yeah. I remember my friends would take me to game it was a miracle that I could talk, so I started
I figured it was time to chat with this amazing,
rooms, put quarters in the jukebox, and play pool. getting these calls from churches saying, “We
Grammy award-winning producer and find out
I couldn’t talk, but I’d listen and play. It was fun heard that God did a miracle in your life. Can you
more about my friend.
for me, even though I couldn’t speak. come tell us about it?” They would ask if I’d sing
How were you interacting socially at a song, and it developed into a career of playing.
e

that time, as far as communication? I performed at a lot of colleges, high schools, and
Well, I didn’t have a lot to say. When you break it youth camps. Through the process of doing that,
el

down, you only have to say, “I’m hungry,” and “I I made my own records and sold them. I didn’t
have to go to the bathroom.” I learned to not have know much about the industry. I ended up
an opinion about where we’d eat or where we’d go. recording to MIDI, printing that to a DAT [digital
mp

audio tape], and then going into the studio and

recording my vocals and guitar on top of it.
74/Tape Op#132/Mr. Dane/
 I made my own tracks and sang on top of them. I
had an [Akai] MPC60 that I used quite a bit; I loved
the old soul and “Motown” drum loops. I
incorporated those with my acoustic guitar.
Eventually I put in a little studio booth and had a
place in my garage that I worked out of.
Did other people start seeking you out to
record with?
Yeah. After a show, people would come up and ask how
I got started. Occasionally they’d ask me to help
them do a record. I didn’t take long to realize that
it’s really where I enjoyed the music; in the making
of it. Less of the performance, and more, “Let’s
figure out how to make this song better and get it
down on tape.”
What was your later studio like?
I had ADATs and a 32-channel Mackie board. I often
threatened that if I had that console and 12 [Shure
SM]57s I could make a record.
You slowly taught yourself how to
engineer?
To call myself an engineer is a stretch. I can get good
sounds, but there are so many great engineers in this
town who know why the gear works, not just how the
gear works. I don’t claim to be that at all. For
producing, I come from more of a musical
background. I have a knack for melody and
arrangement. I’ve grown into my engineer ears as I
continue to grow into the production part. I’m always
learning something.
One of the projects you were known for
early on was Jars of Clay. How did you
first meet those guys?
I didn’t actually meet them until I moved to Nashville.
I believe one of them went to one of those youth
camps that I was playing at, saw me, and bought
one of my records. Later, in Nashville, we were at
the same church and started having lunch together.
We hit it off pretty quickly, and they started asking
me to do these one-off songs for endorsement deals
or little things that weren’t part of a record; just a
single song. That morphed into doing a record with
them. Steve Mason [guitar] from Jars had an
unfinished basement, and I had a bunch of gear. I
helped him finish out his basement, brought my
gear over, and we started making music. We called
it Sputnik Sound. That’s where we did The Eleventh
Hour, which happened to win a Grammy. You never
t)
think when you’re tracking something that it’s
going to be Grammy-worthy.
What do you think were some of the
(a
factors that made that record worthy
of a Grammy?
Great songs and great talent. Vance Powell was at the
helm most of the time. I was the second engineer; I
filled in a couple of times for him. That’s when People don’t realize that it’s practically
Blackbird Studios was being built, so Vance was
e
going over there and working a lot.
What did that lead to for you?
el
You can with millions of dollars, which we didn’t have!
I think I quickly learned how to make records fast,
because those guys work really fast. They have short Your start was mostly through
attention spans. If they come up with an idea, you’ve
mp
got to be able to get something down really quickly
or else it’s gone. Doing that led to another record Yeah, I would say so. I never was known as the Christian
with them, and then another. Just having my name “radio” guy. I think labels skirted around me. Most
on all these records, people started calling me up and artists really liked what I was doing and thought it
asking me to help them. I’m very fortunate to have was vibe-y. There are some “label” records where I
worked with Jars of Clay. They helped me carve out a might do the six songs that aren’t the singles and
career, and I’m very thankful. have someone else do the singles. Whatever. That’s
Did you continue to run Sputnik Sound fine. I do very little Christian music now. Not that I
out of there for a number of years? don’t like Christians, [laughs] but Christian music has
Yeah. I worked out of that basement for a good bit. become somewhat of a stylistic thing.
Eventually they had to sell their house, so I took Which seems weird, in a way
the gear and moved into House of Blues Studios Yeah, it is very odd. I don’t particularly enjoy that
with Jacquire King [Tape Op #88]. We were “style.” But there are a lot of artists who come to
partners together for two or three years. Then me – folk artists who sing about their faith – and
Vance got the itch to find his own place, and that’s great. Or a rock band that might have some
Jacquire was moving out. spiritual overtones; that’s awesome. Being
So, Vance moved in? pigeonholed is never fun. Even if it’s great music,
Yeah. It’s always challenging renting a place and having you’re still pigeonholed for it. It’s still limiting. It’s
a landlord. After renting for 11 years, it was like, still telling you that you can’t do something else.
“What am I doing with my money?” I found the No one wants to hear that.
Singing
m
opportunity to buy something of my own, and I had
Vance jump in on it with me.
co
How long did this place take to build Unless they’re trained, or have this odd, instinctual
out? ability, most people end up being sharp on low notes.
About nine months. Vance and I have always been really One of my pet peeves is when a vocalist does a run and
great about taking a normal, existing building and puts an “h” in all of the steps because they can’t control
turning it into something that’s actually workable as their voice enough to hit it. I try to tell them to let their
a studio. It’s fun working so closely with Vance. Even voice do the work, not the “h’s”. There are a lot of quirks
)
though there’s some genre overlap, there’s definitely that singers have, like where they fall off of every note.
a difference in our production styles. There have been I’ll say, “Let’s try to keep those straight.” Or they use
ot
records that have come through that Vance has been vibrato as a crutch because they can’t find the pitch, or
like, “You need to work with Mitch on this,” and vice they can’t hold it very long. There are so many things to
versa. I appreciate that relationship. It’s been really look out for.
easy. I’m not as strong a personality as Vance or
doing my own thing and keep my nose to the
(d
someone like that. I’m okay with that; I’m quiet… Most of your jobs are album projects at
this point, top to bottom?
Gear Yeah. Albums or EPs. I’ve done a couple of singles, and
I don’t enjoy it as much. I feel like you don’t get to
l
I often ask myself the question, “If I didn’t buy know the artist as well. For me, that’s so much a part
another piece of gear, could I continue making records of how I treat the record; to get to know them. Even
ai
for the rest of my life?” Of course, I could still make when I’m mixing, I know who they are and I’ll think,
records. I buy most of my gear as an investment. I try to “Oh, they’ll love this,” or, “They won’t like this, so I’m
buy either used or boutique-type equipment that is not going to do that.”
going to appreciate. A vintage piece is going to As a producer and engineer, do you ever
gm
appreciate. My savings account is in this room! feel like you get something out of a
grindstone. I’m just trying to keep my clients happy. session that you weren’t expecting?
Your tracking rooms are as far away Oh, yeah. I’m 52 years old. I’ve used every production
from each other as they could trick that I know. When an artist comes in who
possibly be. doesn’t know the rules, or has a different set of tricks,
It is intentional. We tried to separate the foundation of I’m quick to listen. At first, I might hear something
what we built on his side. Even since we’ve been that really throws me off, and I’m like, “Wait, can you
here, we’ve had to tear down some walls and pack in play that chorus again?” It takes me a little bit to be
rock wool. If Vance is tracking, especially in the like, “Oh, that’s really great. I never would have
hallway or close, I can hear it in my control room. thought of that.” I guess my pop instincts would be
Luckily, I can’t hear it in my tracking room; it doesn’t to change it. I try to listen, and if it rubs me the
bleed into my tracks. wrong way, I ask myself, “Why? Is it wrong, or is it
just different?” If it’s different, is it a good different
a myth that you can separate rooms or bad different? I don’t want to ever “fabricate” the
acoustically. music. But if their music is a forest or wilderness, my
job is to carve pathways through it to make it
[laughs] accessible. I don’t want to lose the raw wilderness of
what they’re doing, but I want to make it accessible
the Christian music world in ways, for their audience. I worked with an artist a couple
I assume? months ago who was reluctant to change anything.
Mr. Dane/(continued on page 76)/Tape Op#132/75
 “If their music is a forest or
wilderness, my job ish to

m
carve pathways througibleit.

co
to make it access e
I don’t want to lose th

)
raw wilderness of wha.”t

ot
they’re doing
(d
They wouldn’t let me do anything with it. The verse I probably do six or ten a year. The rest of the time is How do you select what you work on?
sounded like the chorus; I couldn’t tell where they either filled in with small, two- or three-song deals I try not to make the budget the key factor as much as
l
started and ended. No dynamics. I ended up saying, or EPs, or I’m out on my motorcycle doing trips. I try their talent and work ethic. If they’re out there
“Let’s just do one song.” It was tragic, because to save time for that. working hard, they’ll sell some records. Of course,
ai

there’s a great talent there. But the wilderness was Someone told me that you typically work budget is a factor, but I’m more willing to flex if
too thick. nine to six on weekdays. they’re really hard-working artists.
Do you find yourself doing mixing jobs Yeah. Most artists really like it, especially if they’re from Is there any money from points these
very often?
gm

out of town. They get to go and enjoy Nashville. I’m
I very seldom do just mixing. There are so many other, really focused when I’m working, and I require the
great mix people who are in my price range. That’s artist to be focused. When six o’clock rolls around,
what they do. They mix. I can mix, but if I’m mixing we’re exhausted. It’s nice for them to relax and grab
it needs to be a 24-track kind of record. If it’s 98 a drink and dinner.
tracks, I don’t know what to do with it. I don’t have Does it also help with family life?
t)
days on the projects you’re doing?
Yeah, the way I work my contracts is there’re no points
unless they sell a certain amount of records. If they’re
going to sell a couple thousand out of their trunk, I
don’t need to be part of that. To be honest, most of
my records sell maybe only 3,000 to 10,000. It’s not

a lot of interest in sorting through all those tracks. Oh, of course. I have two kids and a wife. Keeping a worth even the conversation. But I get to make really
When you’re doing pre-production, are family together takes a lot of work and intentionality. cool records. That’s my niche that I’ve carved out; I’m
you also spelling out arrangements Consistency helps with that, greatly. grateful, and I love it.
(a

and instruments to use? How do jobs come to you? What does the future hold?
Yeah. I came up with this production sheet that has the I don’t have any management. I get lots of artists who The future? If it doesn’t change from now, I’ll be happy.
song title and spots I can fill in. It has the typical come through my email. I check out a lot of demos. Let’s make something fun and new! r
instruments at the top that I can circle, like drums, Some are good, and some aren’t.
<mitchdane.com> <www.sputniksound.com>
bass, and electric guitar. There are some oddball things, What do you ask for when a client wants
like strings, which has their own space on the sheet. It to send you a demo and work with you?
e

also is a mark-off sheet, so once I do the background Sing into an iPhone; that’s all I need. There are so
el

vocals, I can mark them off. It’s really handy.
That’s pretty awesome. How many
records a year do you think you are
producing, as far as full albums or
mp
many tricks one can do now where I can’t tell if
they have talent or not. I can hear [Antares] Auto-
Tune obviously, but I don’t know how much of that
is put together. I want to hear them sing into a

partials? cheap microphone.

76/Tape Op#132/Mr. Dane/(Fin.)

Dave Cook
ai
How did you first come to work at Dreamland?
Landing at Area 52
gm
I moved up river from New York in 1985. I heard that a new studio was being built in a church in West
by David Rothenberg
Dave Cook, recording and live engineer
t)
extraordinaire, has worked with The B-52s,
King Crimson, Cindy Cashdollar, David Bowie,
Amy Helm, Ravi Shankar, Mamadou Kelly, Maya
Beiser, Suzanne Vega, and many other artists
(a
in many genres of music. He inspires confidence
and ingenuity with all who have worked with
him, from the famous Dreamland Recording
Studios near Woodstock, New York, in a
converted church, to his own Area 52 Studios
e
in the Hudson Valley, to life on the road all
over the world. How did this humble man behind
el
the boards move from the big drum sound of
‘80s new wave to becoming the go-to guy for
desert blues from Mali?
mp
m
co
)
ot
(d
l
Hurley. I called the owner, Joel Bluestein. He explained to me that he had bought the building, and
he had a crew who was supposed to be building the studio but that crew abandoned the project,
leaving him stranded. At the time, I had some tech experience, as far as wiring, patchbays, and putting
racks together. He hired me as a chief engineer right off the bat. I remember the day when we fired
up the console. It was a mid-‘70s API with a little 36 input by 24 monitor section, which was dubbed
“The Jukebox.” Very classic console. We fired that up, started troubleshooting for a couple of days, had
a few test sessions, and we were up and running. That was the beginning of my time with Dreamland.
The first session that we did there was great. During that period, my engineering friends in New York
and I were listening to Peter Gabriel’s Security record, trying to figure out how they did it. Jerry Marotta
[Tape Op #33, drums] was on it, Larry Fast [#33] was on keys, and David Rhodes was on guitar. All
these great guys. I was in the studio one day by myself, and the phone rang. It was Tony Levin [#33],
Peter Gabriel’s bass player. He’s one of the world’s best; having played with King Crimson, Paul Simon,
and Stick Men. I had heard he was living up here, but I hadn’t met him up to that point. He said, “Hi,
this is Tony Levin. I’d like to come over and see the studio.” He came over and checked it out. It was
for a project that he was producing – a woman from out west – and they were gonna do a handful of
songs. He said, “The band I’ll be bringing in, it’s gonna be me, Jerry Marotta, Larry Fast, and Sid
McGinnis.” He was playing guitar then, not David Rhodes. But essentially Security’s rhythm section. I
was an assistant engineer on this one, but the fact that I was in the room with these guys and seeing
how they did their thing was pretty stellar.
Mr. Cook/(continued on page 78)/Tape Op#132/77
 You wouldn’t necessarily think that a
church is the best space to have a
recording studio.
Actually, most were built to have the pastor or the priest
stand there and speak to the whole congregation
acoustically.
Is that a good thing?
Well, this was the ‘80s, so it was all about big. The big
drum sound, the big snare sound in particular. It was
the days of Bruce Springsteen’s “Born in the U.S.A.”
– one of the loudest snare drums on record. The
bigger the drum sound, the better. Everyone wanted
to come to Dreamland and record drums. The main
church room wasn’t very insulated, so climate-wise
it was very tough to deal with. It wasn’t sound
isolated either, so there were trucks and things that
would go by that were
tricky to deal with at the
time. We’d put four or
“Dave is truly a bridge between the older engineers –
who ran tape, knew wiring, mic technique, grounding,
eight room mics around
the place, trying to figure and proper structure in a recording studio – and the more
out the best spots for
them, then we’d modern engineer, who is mainly a computer operator.
compress the crap out of
those and make them as
Throw in his vast experience doing live sound and a great
big as we could. The main deal of natural talent, and you have a consummate
professional. A rare combination these days.”
draw of that studio was
the big church space and
-Joel Bluestein, owner and founder of Dreamland
its acoustics. Probably
the biggest record to
come out of there at that time was The B-52’s record
Cosmic Thing. At the beginning of “Love Shack” you
really hear the sound of the church; those room mics
were used a lot in that mix. For years I would get
questions about how we got that drum sound. Don
Was [Tape Op #113] produced four tracks on that
record and Nile Rodgers did the rest. I don’t know
how Don found out about the studio, but the buzz
was going around about the place. Two of The B-52s,
Keith [Strickland] and Kate [Pierson], lived in the
area and they wanted to stay local. It wasn’t a big
budget record; it was a comeback thing. They
weren’t bringing in an outside engineer either; they
just needed to use someone good who knew the
studio. I sent Don a cassette of some work that I
had done. He loved it and said, “Yeah, great. Let’s
do the record.” I was hired to do three weeks of
tracking with them. “Love Shack” was the last track
t)
we did out of the four. At the time I felt it was
almost a throwaway; an afterthought. Charlie
Drayton, the drummer, wanted to experiment and he
(a
took down the standard drum set. Dreamland had
this collection of ridiculously cool marching drums
and African [percussion]. He collected a bunch and
set up a drum set out of these drums, which sounded
a little bizarre. We continued to get some sounds on
it, then Don came back from a break and listened to
e
him play the groove. He’s like, “No, that’s all wrong.
el
We need to go back to standard drums.” We went
back to that and started doing the tune. Everyone in
the control room, once the lyrics started happening,
knew that this was something special. It was loads
mp
of fun to track. In the end, of course, it was the most
78/Tape Op#132/Mr. Cook/
successful tune on the record. In the middle of it, We didn’t have a choice. We had to move forward. I
there’s a stop, and Cindy [Wilson] yells out, “Tin roof
rusted,” which is a signpost for the whole tune. By
today’s standards it would be a miracle to be able to
spend that much time. It was a much more relaxed
schedule back then. You took tea breaks, you
swam... There was a pool at Dreamland. A lot of stars
swam in that pool. Bobby McFerrin swam naked in
that pool. Yo-Yo Ma might’ve jumped in as well, but How did you come to open your own
I can’t confirm that! Nick Cave certainly swam there.
That’s something that a lot of us who came from My studio, Area 52, came about eight years ago. I never
that era miss... that laid-back attitude. It was more
creative. You got to sit back and listen to things a
little bit and really take it in. Instead of just, “Get it sound equipment that were in my house. I needed a
done. Get it done. We’ll fix it later.” A bit of the
magic is gone. That being said, I say to people all
the time that the way the technology works now,
that you can send 192 tracks down [an ADAT]
magic, but it’s a different type of magic. It’s
(d
Lightpipe, for example, is insane. That’s the new
technical magic. It isn’t creative and mystical magic.
What were some other Dreamland
examples of this old-school
l
creativity.
How about Suzanne Vega’s record, 99.9F°? The engineer
ai
on that was Tchad Blake [Tape Op #16]. He was one
of the most innovative engineers that I’ve ever met.
He was doing things with particular pieces of gear
and mic’ing techniques that I had never seen before.
gm
He had just come from India and a lot of the street
musicians and singers were using these PA systems How did this studio become the North
by Ahuja. It’s basically a big plastic horn with a
power amp. He loved the sound of it. He bought one
of these Ahuja’s, and he started experimenting with A very cool guy named Chris Nolan, of Clermont Music,
running Suzanne’s vocals through the Ahuja, which
has this narrow 3 to 4 kHz bandwidth. He’d be
mic’ing it from a distance in the church, and then
running that back into the track as a vocal effect.
You’ll hear this vocal all over the album.
What did you do after you left
Dreamland?
I ended up being hired as a chief engineer for an
ashram.
Why does an ashram need a chief
engineer?
Well, because they had an amazing studio. There was a
heavy focus on music, on chanting. The ashram
introduced me to Pro Tools.
That ashram was a high-tech place!
started veering away from the ashram gig back in the
early 2000s. I got into touring as a front of house
guy. Over at Bard College, the Richard B. Fisher Center
[for the Performing Arts] was opening up and they
started hiring me to do shows that would come
through. I did Elvis Costello with the Mingus Big
Band, which was a one-off and a great show.
studio?
really owned tons of gear, but I started to acquire
some casual recording gear and some racks of live
place to keep it. This complex we’re in, Markertek,
had this room available. It’s about 15 by 30; a small
room. I was gonna use it as a
storage space and an office
outside of my house, just to
m
clear out clutter. The room
itself was an open space with
co
a poured gray concrete floor.
The owner of the building saw
that we were doing music in
here, got very interested in
that, and was excited about
the prospect of something
)
musically happening on
ot
campus here. We started
talking about the possibility
of an actual tracking room. I pictured it as a small
vocal booth, just to do some overdubs in. He said,
“Okay, let’s do it.” He helped out with the
construction considerably. On the other side of the
wall was an open warehouse space, so we built out
into that space and created the main room, put the
glass in, put a floor in what is now the control room,
put this wall in, and painted it. It was pretty bare
bones in the beginning. Again, I didn’t have a whole
lot of gear. Very quickly, people started wanting to
come and do projects here. The minimal gear at the
time didn’t seem to matter. They were coming to
work with me, trusting I had what I needed for their
project.
American center for African desert
blues recording?
lives not far away. He was involved in the Festival au
Désert [Festival in the Desert] in Timbuktu [Mali]. He
came back with some recordings from that concert
about five or six years ago; just on a little handheld
thing. Some were actual field recordings, made in a
tent somewhere, but the majority of them were feeds
from the console. He needed someone to edit,
master, and figure out what to do with these,
because he wanted to release a compilation record.
Almost all of them were in really bad shape, with
distorted feeds from the console or just bad mixes to
begin with. We spent weeks filtering, compressing,
EQ’ing, and restoring. We also went through hundreds
of recordings, editing the recordings that he was
deciding to use, and then doing whatever I could.
 Over the course of that, I was learning that Chris also
managed a few other artists from Mali, like Khaira
Arby, Mamadou Kelly, Oumar Konaté, and Leila Gobi.
He’d do a North American tour with one or two of the
acts simultaneously. He had it in his head, “Let’s start
doing some of the recordings here, and get some
fresh American-cut tracks.” Khaira Arby was the first
artist that he brought in. We did her record and a few
days, and after that we did Oumar Konaté, who was
her young guitar player. It’s been going ever since.
Chris counted recently how many releases we’ve done
from here, and I think it was 22.
How do these musicians like it here?
They go into the room, they play their music, and it’s
great. If we’re looking to do something that’s a little
more appealing to the Western ear – where it’s more
produced, rock-solid time, very consistent, and
perfectly in tune – we’ve gotta coax them along a
little bit. Sometimes they play with click tracks, even
though they’re not used to that. That’s a bit of a
challenge, because they usually just go in there and
play. They listen to a take, and they’re like, “Okay,
great. Move on.” The musicians are all Muslims. Some
of them are very devout, so there’s no alcohol. They
all speak French, and Chris is fluent in French, so he’s running the business at the time, “I think we should
an interpreter as well. They’re very interesting
sessions. With some of the artists – two or three
times now – we’ve incorporated some of the local
players here. Guitarist Cindy Cashdollar is on a
couple. Violinist Iva Bittová was on one of them with
Mamadou Kelly. Drummer Susie Ibarra as well.
Excellent players. We’ve had ten to twelve people in I got a request to do a clarinet and guitar duo record.
these two rooms here. It’s a circus, but it’s loads of
fun. The place gets trashed!
You said adding the click track takes it
to another level. Why?
They will traditionally start in one tempo, and end in
about double the tempo. It’s what the music is. In a
live setting, of course, with the audience throwing
their hands over their heads dancing, that’s what
happens. They’ll build the excitement, and the tempo
will build. That’s what they do. It makes editing a
challenge.
In general, do you find music more or
less click-tracked today than when
you started?
It really varies. For the projects that need it, whether it’s
for overdubbing or building tracks, it’s just a matter
t)
of course. People understand it, and they use it. But
yeah, it really just depends. I did most of Amy Helm’s
solo record, Didn’t It Rain. I don’t think there was a Even after years of experience, you still
(a
click on that entire record. Very organic, roots,
Americana-type music. It feels great. She’s keeping it Being in my own environment, with my own gear for so
going. Her father, Levon Helm, played on a few tracks
on that record; the last recordings he ever made. I
came in about midway through the process.
Everything was recorded at Levon’s barn [Levon Helm
e
Studios]. I mixed about half the record here. I think
el
it’s an excellent record.
How do you feel when musicians come
in and try to tell you what equipment
to use?
mp
Live Sound
I started working with Maya Beiser, the New York-
based cellist. I would get calls to start heading up
larger international and national tours. I took on a
Ravi Shankar tour, back when he was still alive and
playing his butt off! They wanted the shows loud, but
it was quiet acoustic instruments. It needs to be loud
and powerful. Trying to get a quiet sitar amplified
enough, where I wasn’t gonna have feedback issues,
was tough. We’d use a combination of microphones. I
was experimenting with Neumann KM 184s, all the way
to Shure SM57s and things in between. Of all the mics
out there, I ended up with an Audio-Technica ATM450
– a small side-address condenser – and one or two
contact pickups. I would tweak from there. Some of the
instruments could be harsh if you’re not careful.
Looping back to the ashram, I came from a number of
years recording similar instruments and being very in
tune with what was happening. At the end of our first
m
soundcheck in Chicago, Ravi comes over to me in the
co
green room. He sits down and says, “Dave, I must say,
you have a very good ear for this music.” I said, “Thank
you so much, Ravi.” He says to his wife, who was
keep him.” His daughter, Anoushka, would help out
considerably during soundchecks for him. We’d work in
)
tandem with getting him what he needed. He wouldn’t
ot
really speak too much at checks; he would close his
eyes and his head would bob. You would know he was
happy when he would do this.
I was way into it. The guitar player uses Royer (d
microphones live. Pretty quickly he started asking me
what kind of microphones I have and what we were
gonna use, which is fine. As I mentioned earlier, I
don’t usually even have to answer those questions.
l
People book me, knowing, “Dave’s gonna have what
we need. I don’t care what it is.” So, I’d finished a
ai
classical guitar record recently. On that we ended up
using an AKG C414, and a couple of [Neumann] KM
184s, which is what I told him. His immediate
gm
response was, “The 184s don’t work. Too bright for
me.” I was a little taken aback by it, but it was fine.
He said, “I’m gonna have some Royers sent.” John
Jennings from Royer sent an SF24 stereo ribbon to
use on the session. I have since fallen in love with
that mic. This incident taught me to take in a little
bit more when someone wants to suggest using some
new equipment that I don’t have.
can take some unsolicited advice?
long, I find that I can stagnate. I’m doing things my
way, and with my gear. When I’m in other places I
can pick up tips and techniques that I wouldn’t
necessarily learn. Just go with it, and you’ll learn a
little bit. r
<www.area-52-studios.com>
Mr. Cook/(Fin.)/Tape Op#132/79
 From humble beginnings in Hobbs, New Mexico,
and a childhood spent moving from oilfield to
oilfield for his father’s jobs, Ryan Bingham rode
bulls and eventually learned to play a guitar
given to him by his mother for his 16th birthday.
From a first gig at a biker party, to every
roadhouse in the nowhere South, he honed his
songwriting and playing, which eventually
landed him a deal with [Universal Music Group
Nashville’s] Lost Highway Records. His big break
came appearing in the film Crazy Heart, alongside
Jeff Bridges, and his song from the film, “The Weary
Kind” earned Bingham an Academy Award, Golden
Globe Award, and Critics’ Choice Award for Best
Song in 2010, as well as a Grammy in 2011. The to do?”
Americana Music Association also named Bingham I said, “Man,

m
2010’s Artist of the Year. Almost a decade on, Ryan is Lightnin’ Hopkins, Terry Allen,
still writing, acting (most recently in the Netflix Beggars Banquet.” He’s like, “Oh, yeah; come in.”

co
series Yellowstone), and making great records. An important part of collaboration is
having those references. You already
have a common language. Where did
What was the process of making American also incorporating that into a live performance. I think
you make the record?
Love Song, your new album? the acting has come into that. I come on stage and
tell my stories in between the songs; what they’re We moved around a bit. Charlie was on tour with Bob

)
It was a bit of a process. I was seeking to work with a
about and what they could be about. I went and saw Dylan, and back and forth in the studio. We wanted to
producer on this album. I wanted to collaborate with
do everything at Arlyn Studios in Austin, Texas, but it

someone on this thing, and it took me a while to zero
in on someone to work with. The songs were so
personal to me, but, at the same time, I wanted to
step out of my comfort zone and not be afraid to go
in a different direction if that’s what the songs called
for. I ultimately ended up calling Charlie Sexton in
Austin, Texas, and saying “I want to make a country-
blues album, in the vein of Beggars Banquet with Terry
Allen-esque themes.” The songs are part
autobiographical and part fictional. It’s a love story
that takes place in all the different spots throughout
Springsteen on Broadway several months back, and it
was such a mind-blowing performance. I’ve always
been a fan of Bruce Springsteen, but after seeing that
performance – and how he used his life story and wove
(d
that in with the songs – it was really inspiring and
something I wanted to explore. Writing new songs and
performing them for people, you’re really out there
telling your story and trying to find ways of getting
that across. I appreciate that songs are meant for
l
people to interpret in their own ways, and with their
own stories as well. But sometimes songs are
ai
ot
was only available for a certain time. Charlie called up
and said, “We can do it right now if we get in there.”
We did some of it at Public Hi-Fi [Tape Op #27] in
Austin as well. We finished it up with my friend Justin
Stanley in Los Angeles, but the majority we did there
at Arlyn.
How much pre-production time did you
get with Charlie Sexton?
I’d been writing songs for the past couple of years. I’d
done pretty extensive demos at my house. I actually

interpreted in the wrong way. They’re taken out of took some recording gear to a buddy’s ranch out in
the southwest where I grew up – in Texas and all – and
context, and it might be something completely New Mexico. He has this little cabin in the middle of
moving my way out to California along those highways
opposite of what I intended. I think it’s nice to be able the desert. I had the songs quite far along, as far as
and roads. Each song takes place in a different setting.
certain elements I wanted on them. Whenever I sent
gm

It not only represents where I was living or staying at to explain where the root of where some of that comes
from. those to Charlie, there wasn’t really any preproduction.
the time, but the people I was hanging out with, the
I wanted help with some choruses and arrangements
kind of music I was listening to, the food, and the Ultimately, as an artist, you cede control.
When I first put American Love Song on some of the songs. Even songs that I might have
cultures. There’s a lot of different kinds of shit going
on, I noticed immediately how Stones- already had a chorus for, or had some bridge or
on in the south, and Texas in general. It’s such a big
y it is. instrumentation on it, I’d take it to him and leave it
place. All the swing music, country in the south along
t)

really bare-bones. I wanted to have his input and for

Louisiana and the coast, the Houston hip-hop scene, I’ve always been into a lot of the Texas guys, like
Lightnin’ Hopkins and Townes Van Zandt. But really, him to express his musical direction when it came to
Cajun music, and jazz, as well as the Tejano and
I fall more on the blues side. I always loved playing the band and everything. I think we got together for
Conjunto music on the border and in New Mexico and
maybe a week and played with guitars and piano. I
(a

California. It was about documenting that journey. acoustic slide guitar, and the way that the Stones
played country music. Those records – Beggars sent him the demos, so he had time to listen to those
You’ve been acting for a while, and your
Banquet and Let It Bleed – where there are fiddles songs. We went into the studio, and the band had
wife, Anna Axster, is a filmmaker. How
and steel slide guitar, there’s that mix of those never heard them before. We sat down; Charlie talked
much of that process has been
sounds that I grew up familiar with in different areas to those guys, and was like, “Let’s get it!”
brought into making records like this
of Texas where I was living. I think I always wanted Did you put the band together or did he?
one?
e

to make this kind of record, but never knew quite He did. J.J. Johnson [drums] and Scott Nelson [bass]
I think more than I realize. I’ve always looked at songs as
were the rhythm section in Austin. I wanted to leave
el

if I’m looking at an image and describing it. Writing how to communicate that. One great thing about
working with Charlie was that I didn’t really have to that up to Charlie. I wanted to put all that into
down and describing the images in my head of places
explain to him what I was hearing in my head. He Charlie’s hands. For me, it was to be able to focus
I witnessed growing up, or traveling around the world.
was like, “What are you hearing? What do you want on the songs and perform them. We tracked a lot of
Weaving the stories into it. It’s not only with the
mp

that live, so I didn’t want to really have to think

songwriting and recording an album as a whole, but
about that. My wife and I have our own record label,
80/Tape Op#132/Mr. Bingham/(continued on page 82)
 m
co
)
ot
(d
l
ai
gm
t)
(a

Ryan Bingham
e

Making Records
el

interview by Geoff Stanfield

mp
 and I finance my own records. The only part of that
which makes me nervous is that I don’t always have
a ton of money to spend in the studio. I try to get
as much work done as I can before I go in so that I
can really make the best out of my time. It was
definitely a process of having to hold myself back
and being like, “Let it go. Let it be what it’s going to
be.” Not to try to plan everything out. I let Charlie
take it into whatever direction it was going to go. It
really took the songs to places I couldn’t take them.
The references I had given him – the Rolling Stones, Wow.
Terry Allen, Lightnin’ Hopkins, or the acoustic Texas At the time I had my long-time buddies, The Dead Horses,
Blues – I don’t necessarily know if I could go in with
a band. I don’t have the musical knowledge or lingo
to be able to communicate that to a band. I’m the
guy who started playing guitars at the rodeo on the
back of a pickup truck. I don’t have any formal
training. Charlie could really get in there. He could
really communicate all that and make it happen.
I still feel like I was not really able to soak it in so much.
It was all happening so fast. We recorded that album,
Junky Star, in five days. First, we went to T Bone’s
house; me and my band. We sat down in the living room
and he said, “Play them all for me. I want to hear what
they all sound like when you’re playing them live.” We
played them for him, and he said, “We’re going to record
them like that.” We went over to The Village, set up, and
did one song right after the other. Probably two or three
takes of each song, and that was it.
that had been in my band forever. We had a couple of
records out, and then the movie hit. After that, I got
all the pressure from my manager, and even from T
Bone. They wanted me to do the next record with their
guys. I wanted to too; the opportunity to do a record
like that with all those players. It would have really
broken the hearts of all those guys in my band if I had
How about Jim Scott [Tape Op #75]?
Jim’s great. I’d been a fan of his work. I knew he lived
in Los Angeles, but I didn’t know how accessible of
a guy he might be to get in touch with. I don’t know
where I got his number, but I got his phone number
from someone, a called him up, and asked if he’d be
interested in working. He said, “Hell yeah. Come out
to my place.” He’s got a studio in Castaic Lake,
[California]. It’s a big fucking warehouse that he’s
been collecting gear in for 30 years.
Gear and tie-dyes!
All kinds of cool shit. He’s a great guy. I had an amazing
time working with him. He’s another guy where you
can reference a sound, record, instrument, or
anything, and he’ll know how to get the sound
immediately. It doesn’t take him half an hour to get
a mic set up. He turns it on, and there it is.
I think that’s a huge part of production;
keeping the wheels going.

m
What did Charlie bring to the songs that shrugged them off and said, “I’m going to do this right Yeah. We did Fear and Saturday Night fairly quickly. We
surprised you?

Definitely different grooves. He and J.J. have worked a
lot together. He brought this [Roland CR78] that you
can program click tracks out of; old-school ‘80s
analog. He would come up with these crazy beats to
use as a click, and then I would play along to it.
now.” I remember talking to T Bone. We went out for
dinner. T Bone said, “I think we should use these guys
for the record, and it’s going to be amazing.” I said, “I
hear you, all the way; but I can’t do this to my guys
right now, at this moment. It’s going to have to be a
longer process.” He’s like, “All right, let’s get in there
co
tracked two or three songs a day, pretty much live.
We did that whole record in a week or two. We could
roll on to the next. If something wasn’t working, he’d
say, “Hold on, guys! I want to change the sound of
this over here.” You wouldn’t even notice him doing
it, but a month later – when you’re listening to the

)
What they would bring into it would be completely and get it how we can get it.” None of us were session record – it’s like, “Oh, damn!” I could tell where he
different, just from the way they were hearing it and players. We were young kids who played in bars and was making those moves. r

ot
what Charlie wanted to get. I really found it honky-tonks. Not to say we didn’t have a vibe. There
<www.ryanbingham.com>
interesting, and a lot of fun, to be around that. was something special going on between us when we
How do you capture demos, and what’s played; but there’s a difference between some of the
your home studio like these days?
I have one of those Tascam 8-track reel-to-reels and a board, and my band at that time.
but for all of the demoing I was doing I was using Pro Whether you downplay it or not, you
(d
players that T Bone has on records, versus guys like me

Tools and a little laptop. I brought two or three guitars, guys had a thing going.
a mandolin, and a keyboard, and did all the demos on We definitely did. I’m not trying to downplay it at all.
l
that. I kept it very bare bones and minimal. But I was a young guy at those crossroads.
How many tunes did you present to How about Marc Ford? You did Mescalito
ai

Charlie? and Roadhouse Sun with him.

I think maybe 16 or 17. I think I had 30 or more, It was just me and my drummer. We were a two-piece
altogether. I’ve got enough [leftover] that I want to band. I was a huge Black Crowes fan and so was my
do another album, but acoustic solo. It’s a lot of drummer. I think that was right when Marc had got
gm

ballads. I had a pretty clear idea of what I wanted on
this album, and then on the next one.
You’ve worked with a bunch of
producers over the years. I wanted to
read you a few names. What about T
t)
back with them and started to tour. We were pretty
stoked to work with him. He really taught me how to
play music with a band. I’d never played with a band;
I’d only played with a drummer before. I had a
handful of songs, but I didn’t know a whole lot about

Bone Burnett [Tape Op #67], who you
worked on Junky Star with. Did that
collaboration come out of the film,
Crazy Heart? [T Bone produced the
(a
arrangements, or playing with the band and all this
space and timing. He was teaching me how to count
the song off. That basic of shit. He even went on the
road with us for a bit and played guitar. I’d never

soundtrack] played electric guitar. I didn’t even know how to set

That whole experience was such a trip for me. It all came it up on stage. He bought me this Old Kraftsman
through that film. It’s one of those things you can never guitar for $100 off eBay, gave me a slide, and put
really be prepared for; I wish I had been a little bit older acoustic strings on it for me. He got me some little
and experienced when I got into that situation. I was boutique amp with a 10-inch speaker that had two
e

working on the soundtrack with all the musicians that knobs. He said, “You can’t get into too much trouble
played on that, sitting in a room with my heroes; with this! Turn it all the way up and play.” He really
el

people I heard play on records for decades. Now I was cultivated things for me, probably more than
sitting in a recording studio and they’re playing my anybody else. I really had no idea what I was doing
songs. It was pretty magical and surreal. To continue on out there. I was a kid with a guitar and a handful of
mp

and get to do another album with T Bone, I don’t know. ballads. He was teaching us how to play rock ‘n’ roll.
82/Tape Op#132/Mr. Bingham/(Fin.)

PSP
SpringBox plug-in
There are plenty of great emulations of upscale vintage
reverbs out there, from plates and chambers to coveted early
digital units. While there is a time and a place for these
elegant designs, many times I crave the dirty attitude that
only a spring reverb can offer. Enter my new favorite reverb
plug-in from PSP, SpringBox; “an emulation of a hardware
spring reverberator.” PSP won’t give away exactly which unit
was modeled for this plug-in, but I can tell you that it’s quite
close to hardware that I’ve used from Roland and Orban. The
GUI is straightforward and features
two sets of identical parameters
with an A/B switch for easy
Bonus Reviews!
comparison, as well as a few global
controls. Both channels A and B
have a high-pass filter, a Presence
control that broadly boosts upper
midrange frequencies, and a Damp control that sets high
frequency damping. Below this is a Time parameter for
setting the length of the reverb, and Trim for gain
adjustments. Next, we have the option of configuring the
reverb as mono in/stereo out or stereo in/stereo out and the
ability to utilize anywhere from two to six of the virtual
springs. The amount of springs used plays a big part in the
sound of this unit – experimentation is encouraged here.
Other parameters that affect both channels A and B are
Diffusion, a Spread control for setting stereo width, and a
Pan/Balance. Finally, we have individual controls for both Dry
and Wet signals and a button that engages either a Low CPU
mode with slightly attenuated high end or Brilliant mode
with an extended response.
On a recent session with the New York-based
singer/songwriter Julia Anrather, I captured an electric guitar
with both an amp and DI. The ‘60s semi-hollowbody paired
t)
with a Fulltone Supa-Trem2 pedal had a rich and woody tone
that everyone agreed was working well. At the end of the day
when I was putting together a reference mix, I found that
(a
the amped sound was a bit too gritty for the song and opted
to use the direct signal. I loved the unique tone that the DI
offered but immediately missed the spring reverb from the
amp. SpringBox to the rescue! I instantiated the plug-in
directly onto the guitar track in my DAW and within minutes
had a sound that fit perfectly into the mix.
e
I brought the high-pass filter up to 60 Hz to eliminate
any subsonic junk and decided that the II Spring setting in
el
mono paired best with the electric guitar. Toggling back and
forth between II and III Springs gave me some insight into
what these settings have to offer. II Springs offered a
mp
brighter, leaner quality with a slightly more pronounced
boing-y character while III Springs provided more density, a
lower midrange richness, and less metallic ringing. I wanted
to hear the spring as an effect in this scenario, so the II
Spring option was perfect.
Next, I adjusted the Presence parameter in conjunction
with Damp in order to achieve the tonal character I was after.
I settled on a Presence setting of 6 and a Damp setting near
2 kHz. This gave me a midrange-forward tone without all of the
zingy higher frequencies that would overly excite the springs
and result in distracting flutter. I left the Time parameter at 5
and eased the Mix control up just above unity. The result was
a sound that reminded me of my favorite guitar amp-based
units and complimented the track beautifully. Think Nancy
Sinatra’s “Bang Bang” and you’ll be in the ballpark.
I often lean on spring reverbs to add character and
dimension to vocals, so I was curious to see how SpringBox
would fare. I found the III Spring setting in stereo to be
most effective in this role. With the high-pass again at
around 60 Hz, the Presence at 2, Damp at 1.8 kHz, and
Diffusion at 5, the tone was dark and enveloping. A slightly
longer decay time of 7 imparted a richness that really
flattered Julia’s airy, articulate vocal. I also loved how
SpringBox added width without calling too much attention
to itself in the mix. The best way I can describe this effect
is that it gave the vocal a halo that was immediately missed
when the plug-in was bypassed.
I so enjoyed the sound of SpringBox that I wouldn’t
It convincingly models all of the unique and wonderful
(d
hesitate to use it as a primary reverb in many of my mixes.
artifacts of spring-based reverb systems but is also capable
of subtler spatial enhancement. Tweaking the plug-in’s
thoughtfully laid out parameters was intuitive and quickly
l
lead to usable sounds on each source that I auditioned. More
than anything, this plug-in nails the character of the
ai
outboard units that I know and love. I have yet to hear an
emulation that comes anywhere close to what SpringBox has
to offer.
($89 street, free 14-day demo; pspaudioware.com) -Vince
gm
Chiarito <hivemindrecording.com>
Ferrofish
A32 converter
Admittedly, I’d began this review with a bit of frustration
by hooking up the MADI optical outputs of my interface to
the MADI optical inputs of the Ferrofish A32, routed 16
channels of audio and… only two channels came through…
What gives? After a bit of head scratching, I figured out that
the 32-channel limit of my native Pro Tools software was the
culprit. I was well aware of this limit, but because I rarely
work with I/O channel counts higher than 32, and because
Pro Tools allowed me to route to all of the available I/O, I
thought that I would be able to at least choose which 32
channels I could use; not so. I was stuck with the first 32
inputs and the first 32 outputs available. I couldn’t even trick
the system by deleting I/O paths. The more you know…
Ferrofish’s A32 has 32 channels of analog I/O, 64
channels of MADI I/O, and 32 Channels of ADAT I/O; all
packed in to a single rack space unit. The analog I/O is all
DB-25, both coaxial and optical are provided for the MADI
Gear Reviews/(continued on page 84)/Tape Op#132/83
I/O, and a single headphone output allows you to monitor
any channel or combination of channels. All in all, 128
different inputs and 130 different outputs. The unit operates
at all sample rates (32 kHz to 192 kHz), although the ADAT
and MADI channel count is cut in half at double samples
rates. At quad sample rates the MADI I/O is reduced to 16,
and the ADAT is reduced to a single stereo S/PDIF. A version
of the A32 with an additional 64 channels of Dante I/O is
available as well.
There are four small high resolution color TFT screens on
the face of the unit that default to displaying sleek looking
bar graph meters for the analog I/O, a jog wheel for
changing settings, a single headphone output, and just two
buttons: one for menu functionality and one for power.
Simple but not limiting in the least. I found the menus and
setting parameters to be intuitively laid out. There are also
seven separate user defined mixes that can be saved and
recalled for monitoring specific groups of channels via the
headphone output. Each of the screens display meters for
16 channels (unless the menu is open), which takes over
m
the third and fourth screens and packs the 32 analog ins
onto the first screen, then the 32 analog outs onto the
co
second. This sounds like cramming a lot into a small space,
but I’d much rather have the screens a bit packed than not
be able to see all the analog I/O when using the menu,
especially in live recording situations. As of this review,
Ferrorish’s RemoteApp,
)
designed to control the A32
via computer, Android, or iOS
ot
device was still in beta, and I
did not test it.
The A32 feels well-built,
with a bevy of well thought out features that convince me
it was designed with live recording (which I do a lot of) in
mind. For instance, when the unit is on you have to hold
down the power button for three seconds as it counts down
to turn off, making it nearly impossible to power off the
unit inadvertently. And although power is provided by a
line-lump power supply, there are two screw-locking coaxial
DC connectors, meaning a redundant power supply can be
connected. Thirdly, the unit can be configured to treat
either the optical or coaxial MADI connection as the
primary connection and switch to the other automatically if
signal is lost. And as if that weren’t enough, the A32 makes
sharing signals a breeze by allowing you to route the same
inputs to multiple outputs, thus essentially using the A32
as a splitter.
So how does the unit sound? After loading up a session
in an alternate DAW, I was able to feed the unit an optical
MADI signal for testing. To my ears the unit has a slight
midrange focus, without overcrowding that vital frequency
range, while revealing detail in whatever source material
passes through it. The signal to noise ratio of this unit,
quoted at 114 dB, falls a bit short of current state of the art
converters – perhaps the sacrifice we must make for the A32’s
small footprint and high channel count, but this isn’t a deal
breaker for me by any means, especially with its round trip
latency (at base sample rates being an impressive .5 ms)! I’m
particularly fond of units like the A32 that offer a wide range
of I/O options with ridiculously high channel counts, and I
can attest that the Ferrofish certainly earns its keep as a
high-quality mobile recording interface.
($2399 street; ferrofish.com)
-John Bologni <johnbologni.com>
 Audient
iD44 interface
Audient jumped headfirst into the premium class interface
market with their release of the iD22 [Tape Op #104]. The
premium classification gives more attention to component and
design quality than what may be found in standard prosumer
interfaces. Less noise, crosstalk, and superior preamps are the
results here. With its iD44, Audient has continued to refine and
expand on their original iD22 – especially with regard to I/O.
The iD44 is their latest and greatest with a total of 20 inputs
and 24 outputs in a 4x4 analog configuration. The iD44’s four
Class A Audient console preamps (designed by David Dearden
of DDA fame) offer 60 dB of gain. On the digital side, high-
quality Burr-Brown AD/DA conversion chips are implemented
for superb conversion quality (up to 24-bit/96 kHz). The four
analog channels provide for easy routing to outboard gear,
unlike mere stereo units – and guess what? The iD44 also has
balanced inserts on channels 1 and 2, allowing for tracking and
mixing with your favorite analog outboard gear. I love options.
The iD44 synced perfectly to my tricky-to-configure larger
interface, giving me more channels while taking advantage of
the Audient’s superior conversion quality. And, with its BNC
connection, I can set the iD44 as my master clock.
The Audient’s preamps delivered an even, un-hyped sound
with just a little color – but not a transformer-thickened, tube-
enhanced larger than life tone. Nothing spikey, either – even
when driven. It is all very analog and natural sounding, and I
felt that I could do professional-level work with the iD44’s
preamps – a rare thing to say of an interface’s built-in pres. In
addition to the balanced mic/line combo input jacks located
on the rear panel of the interface, the first two channels also
offer discrete JFET instrument inputs on the front panel. Again,
these provide a nice and firm, yet naturally smooth sound.
Guitars work well naked or, if you need air or hair, re-amped
later. I usually task transformer-coupled outboard gear for such
capture, but the Audient provided enough meat for a solid
sound. If you’d prefer to skip the preamp circuit entirely (a big
hygienic plus for many engineers), you can send a line level
source directly into the AD via the first two channel’s line
inserts. On the other hand, running your sound through lots of
high-quality, analog circuitry more or less defines that elusive-
to-get console sound – without a console, anyway. The point
is; if you want more options that way, it’s there for you on the
first two channels. If not, use channels 3 and 4 (no insert
points). Each of the four channels offer independent phantom
power, -10 dB pads, and 100 Hz high-pass filters.
As noted earlier, the iD44’s excellent conversion quality is
on par with its preamps. Like with the pres, you may prefer a
different sound and more color (or less), but that is a matter
t)
of taste at this level of quality. Audient’s conversion style feels
more relaxed than those in other desktop interfaces I’ve
owned. For instance, I have another interface I use regularly
that offers a clean, sharp sounding conversion – and if
(a
something in the mix isn’t fitting, it will stick out like a shark
fin! The Audient’s conversion has a smoother, more pleasing
sound to my ear, providing an elegant detail for fine
brushwork. In short, the iD44 provides a pleasing, analog-ish
tone from the preamp circuit through digital conversion. It’s
e
easy to work with, and everything I’ve mixed through the iD44
has translated well to other systems.
el
The iD44 supports USB 2.0 or above and comes packaged
with both standard USB and a USB-C cables – nice touch.
Latency performance is good on my older but capable Windows
7 tower (4-5 ms roundtrip) and was about the same for my
mp
smaller Windows 10 computer. For zero-latency monitoring you
84/Tape Op#132/Gear Reviews/
can use Audient’s iD mixer (low latency DSP software
application) that feeds the independently controlled
headphone outputs on the iD44’s front panel. The software
mixer features controls for the iD44’s four mic inputs on the
left side of the GUI, while the master section resides on the
right. Software input channels can be opened and closed in
sections – the four mic inputs, digital inputs (from the iD44’s
optical inputs), and the eight DAW returns (signal playing back
from your computer), keeping the expandable panel as small
as possible with its large faders and meters. The master section
is thorough. Using the three different channel types (mic
inputs, digital inputs, and DAW returns), one can assemble the
main monitor mix, up to four different cue mixes, plus any live
mic/line or external digital ins. You can set the gain for each
cue mix, name it (for those of us with short-term memory
issues), and solo each cue. At the bottom of this section are
buttons for engaging monitor controls like a talkback mic,
mono playback, alt speakers configuration, dim, cut, and
polarity flip. Incidentally, the large monitor control knob on
the iD44’s face doubles as an encoder (when engaging the iD
button) that can be used for scrolling or be assigned to control
virtually any DAW parameter.
In the iD mixer app, a second pop-up utility panel can be
accessed for routing, with the matrix in the center to assign
outputs for the main monitor mix or cue mixes to physical
outputs 1-4, or either of the independently controlled
headphone outputs. Here you can also configure a second pair
of monitors, dim volumes, and master clock. The talkback mic
source is here, too. The iD44 doesn’t include a built-in TB mic,
but here is where you chose a talkback source, like tapping into
the computer’s internal mic for instance – handy for the less
endowed home or project studio. Lastly, this is where the
iD44’s three assignable function buttons (located on the face
(d
of the iD44) unit can be configured. The iD44’s four balanced,
line level TRS outputs provide connection for a main and alt
set of monitors, outboard gear, or any combination of both. If
you already have your own monitor controller, you can skip the
iD mixer entirely for line level signals directly to external
hardware. Bonus to iD44 owners: a free pass to Audient’s
l
software download site (ARC), where you can download Cubase
LE, loops, LANDR, and Waldorf’s collection of softsynths
ai
(including their PPG emulation).
Audient has hit a real sweet spot with the iD44 by offering
a high level of sound quality, while providing easy options to
gm
integrate your favorite outboard. The iD mixer application is
easy to grasp, yet eminently flexible, while providing the deep
functions of a professional monitor controller. The whole
package is nicely integrated into a small, tabletop interface
that’s very affordable, considering the options and quality of
sound. As Goldilocks reportedly said, “It’s just right.”
($699 MSRP; audient.com) -Alan Tubbs <bnoir-film.com>
Antares
Auto-Tune Access & Auto-Key plug-ins
Antares has just upped its game by releasing a lower-
priced version of its Auto-Tune [Tape Op #126] line of pitch
correction plug-ins called Auto-Tune Access. I have been a user
of Auto-Tune since the ‘90s, beginning with the ATR-1 Auto-
Tune hardware box and I’ve owned every version of Auto-Tune
software since then. I can honestly say that quite of few of
my productions would not have seen the light of day were it
not for the power of Auto-Tune. When I use Auto-Tune, it’s
mostly in an invisible way, where even the artist may not
notice that they have been pulled a bit more in tune, but I’m
also quite comfortable using Auto-Tune to smash a vocal into
a robot à la Cher or T-Pain (my apologies to Steve Albini).
Other tuning programs have become popular over the years,
but Auto-Tune remains my go to plug-in for quickly and
gently tuning lead and background vocals, and also for
creating unusual or extreme tuning effects. One of my
favorite uses of Auto-Tune is to place it on the input of a
delay plug-in to create a vocal delay throw that occasionally
plays a different note than the singer actually sang.
Auto-Tune Access, the most recent release from Antares,
provides the necessary controls to use Auto-Tune effectively,
without all the knobs and settings that rarely get used by the
average user. In probably 90% of my sessions, I only touch
two or three settings on the Auto-Tune plug-in in order to
get it to do what I need. Auto-Tune Access provides controls
for Key, Scale, Retune Speed, and Humanize. The Retune
control has been simplified to only three settings of Fast,
Medium and Slow, which I found to be effective during my
use, and the Humanize function helps deal with maintaining
or removing natural vibrato and pitch drift. Auto-Tune Access
also offers a Hold button, which freezes what’s being shown
in the Note Read Out Display. The fresh display shows, in real-
m
time, the note that is being detected, along with the amount
of tuning being applied.
co
Antares touts low latency with low CPU load for this plug-
in, and I found that to be true. On my 2013 MacBook running
Pro Tools 12, I opened a mix with about 20 audio tracks and
a few effects tracks. When I added Auto-Tune Access to eight
vocal tracks, the computer didn’t even notice. I found the
sound of Auto-Tune Access to be as transparent as I could
)
expect from any version of Auto-Tune, and while I could also
make it glitch pretty hard, it was perhaps not as hard as the
ot
classic Auto-Tune 5 robo-voice. I would recommend Auto-
Tune Access to anyone with the caveat that it does leave out
the Scale Detune knob, which is often useful for
performances where the acoustic instruments are not exactly
tuned to A440. This, however, rarely happens in synth-based
or programmed music tracks.
I really like the updated look of the new Auto-Tune
products and find the controls much easier to read than the
older plug-ins with light-colored backgrounds. Also new to
Auto-Tune Access is that no iLok is needed, as it uses the Wibu
software licensing system. Auto-Tune Access does not provide
Throat Modeling, Formant Correction, or MIDI Control, so if you
need those features, you may need to upgrade to Auto-Tune
Pro. Auto-Tune is a mature product with an experienced user
base, but I find that Antares could do with a bit more
information in their downloadable user manuals, as the
manuals provide only basic control descriptions. I would like to
see information about automation settings, MIDI setups, and
maybe some basic setting suggestions. The plug-in does
provide a help button and pop-up tooltips for users that wish
to avoid reading the manual.
Along with Auto-Tune Access I also tried out the new Auto-
Key plug-in (included with Auto-Tune Pro), which is
compatible with Auto-Tune Access, Pro and EFX+ versions. Auto-
Key, when inserted on a musical track or master fader, will
automatically detect the key of a song, and by pressing one
button on the plug-in, it will set any Auto-Tune plug-in in your
session to the correct Scale and Key. Additionally, Auto-Key can
directly examine a sound file on your computer and determine
its Key and Scale. This plug-in saved me a bit of time on a few
mixes, where I didn’t produce the track, nor did I have a guitar
or keyboard handy to figure out the key. Auto-Key is only used
to determine the key, after which it can be removed from the
session. Handy!
(Auto-Tune Access $99 street; Auto-Key $49 list;
antarestech.com) -Adam Kagan <mixer.ninja>
 FabFilter
Pro-Q 3
FabFilter’s Pro-Q 3 is the best sounding, most powerful, most
flexible EQ plug-in that I’ve ever used. If you’re familiar with FabFilter’s
line of products, you’ll be glad to know that the Pro-Q 3 continues their
tradition of excellence and innovation, with the same informative and
intuitive style of user interface that you’ve come to know and love.
An evolution of the Pro-Q 2, Pro-Q 3 pushes the boundaries of what
an EQ is expected to do by incorporating dynamic equalization into its
already overflowing toolbox. Some of the other new features include
per-band stereo channel selection, so you can EQ just the sides on one
band, but the middle of another, (as well as full surround support –
check website for details), the ability to view the spectrum of another
instance of Pro-Q 3 while you’re working in your current instance
(seeing the bass guitar spectrum displayed against the kick drum
spectrum while you’re EQ’ing the kick drum), brickwall slopes, flat tilt
filters, and a handful of other goodies. Just when you thought Pro-Q
2 was as good as it gets, FabFilter hits you with these new features you
didn’t know you needed.
Speaking of which, let’s talk dynamic EQ. FabFilter isn’t the first
manufacturer in the dynamic EQ arena, but by combining their
already formidable EQ with the option to utilize dynamic EQ is
something special. If you’re not familiar with dynamic EQ, it’s
essentially the same as a multiband compressor, but it uses EQ filter
shapes to make very accurate adjustments rather than broad
brushstrokes. It doesn’t seem like a big difference, but once you use
it, you’ll understand. In use, you create a band as you normally
would, except there’s now a little wheel around the gain knob that
allows you to control the amount of dynamic EQ applied. There’s
even a little bypass button for checking your adjustment against
the original sound to see if you’re helping or hurting. Now the Pro-
Q 3 doesn’t offer the ability to change the attack and release like
some other plug-ins, but its Auto mode is naturally transparent in
most cases. I’m new to the dynamic EQ game, so I didn’t find
myself distracted by the sound, but you may want to download the
demo and take it for a test drive if you suspect this may be a deal
breaker. I should add that there is an independent threshold control
should you want more flexibility.
The takeaway is that having an amazing EQ with dynamic EQ
capability in a single plug-in is seriously powerful. For someone
who’s regularly trying to minimize the number of plug-ins that I’m
using (with the aim of maintaining the tone that I worked so hard
to achieve in the first place), this is key to my workflow. I
regularly use the FabFilter’s multiband compressor plug-in Pro-MB
[Tape Op #101], so eliminating an unnecessary plug-in instance
on occasion is music to my ears. It’ll be up to you to decide if the
Pro-Q 3 is giving you sound you want, or if you need to bring out
more to get your desired sound. FabFilter offers a 30-day trial, so
if any of this sounds remotely interesting, or if you want to see if
the new features and streamlined workflow are worth upgrading
from your current plug-in situation, give the Pro-Q 3 a fair shake.
t)
($179 direct; fabfilter.com) -Dave Hidek
Softube
Weiss DS1-MK3 bundle
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Softube is one of the most acclaimed emulation developers, so it
was a surprise that their release of the Weiss DS1-MK3 mastering
compressor was not a model – it’s a line-by-line source transfer of the
real thing. Somehow, Softube convinced Daniel Weiss to hand over the
code block for his digital hardware Weiss DS1-MK3. Normally this would
be sufficiently big news, but Softube did not stop there. As of writing,
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three additional titles (the MM-1 Mastering Maximizer, the Deess de-
esser, and Compressor/Limiter plug-ins) are part of the product line. All
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use the Weiss processing engine, but Softube has developed
streamlined controls with never before seen graphics for each version.
The main DS1-MK3 GUI embodies the $10,000 hardware right down
to the graphic display. Known for an ergonomic one-button-per-feature
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interface, the plug-in can be controlled via mouse or scroll wheel and
is mappable to a suitable controller (e.g. Softube’s Console 1). Users
who wish to type values for controls can enable “Bob Ludwig Mode.”
Honestly, using this plug-in for a week made me start pricing a real
one. The sound quality lives up to the reputation, hype and all.
That said, coaxing the maximum performance out of this engine
can be tricky with the original interface (hardware owners are
doubtlessly accustomed to navigating the unit). But having the other
three titles are the real reason I suggest this bundle. Softube spent
considerable effort presenting the Weiss DS1 processing power in a
way that allows users to get sounds quickly, while adding modern
graphic representations. Power users need not fear the simplified
interfaces. All of the “sub-titles” maintain access to the full power of
the device. Simply click on the Expert Parameters button and a
detailed control menu affords access beneath the hood.
MM1 is called an Intelligent Mastering Maximizer. Amount, Parallel
Mix, and Limiter Gain are the only control knobs. Attack and release
profiles are chosen via five profiles buttons: Transparent, Loud, Punch,
Wide, and Deess. The MM1 does not sound like any of the other limiters
in my collection. I suspect this has to do with the release functions of
the original unit. Across different genres I liked either a small amount
of limiting, say 1.5 dB and full power or blending in 25 percent of the
wet signal for greater changes. These observations were project
dependent, but the common theme is that the MM-1 is very useful to
top off a mix or as a parallel limiter. It’s worth noting (for those who
work at maximum levels) that intersample peaks are possible. As long
as users understand this, and make provision after MM-1, all is well.
The Deess plug-in features two independent bands and was
originally suggested by Softube’s own Paul Shyrinskykh who worked
directly with Daniel Weiss to polish and include with the bundle. Daniel
Weiss is famous for contending that many sibilant sources have
multiple problem frequencies. For example, “s” sound resonances
usually reside in the 7 to 9 kHz area, while “ch” and “sh” sources can
be below 4 kHz. Hence, two processing bands are available
simultaneously. The lower band includes Notch (which I do not believe
exists on the original hardware), Band, and Shelf focus, while the
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higher band is Band or Shelf. Solo lets you hear the only the processing
band. Monitor provides the difference. A scalable FFT display and
graphic control of parameters means you can target offending sounds
quickly. In my experiences, the only other digital de-esser that comes
close to the quality of the Weiss is the DeEsser engine in the TC
Electronic System 6000 [Tape Op #43]. Prior to Softube’s release, users
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had to spend five figures for this level of performance. I can’t say
enough good things about this de-esser. The notch filter can be as
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close an approximation to going back in time and moving the mic as
any automated processor can do. Unfortunately, the real hardware will
go down to 20 Hz vs. Deess’ 2 kHz. I would love to use this guy to sit
on bass instruments, so I was bummed about this – until I realized
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such power was built into the next title.
Originally, I used the Compressor/Limiter least of the group. I
defaulted to the main interface for compression. However, getting
sounds fast is valuable in a production environment (sometimes you
don’t want to adjust all five Weiss release parameters). Then I noticed
you can compress selectively, with low and band-pass filters.
Customizing settings is rapid with the Frequency display. You can
change the frequency, threshold, and width of the filters. Each
parameter has its own click area on the widget. To change the value
setting, click and drag the selected click area. Done.
If you’ve used the DS1-MK3 hardware version you will be
comfortable with this software version. If not, you’re probably going
to want the bundle anyway. Softube’s presentations are attractive
and offer both a fresh perspective and controls that are not available
in the real world incarnation. With a higher resolution than the
original (32-bit/192 kHz) and as many instances as your CPU will
permit, the Softube Weiss DS1-MK3 mastering bundle is one of the
most important tools for high-fidelity transparent mastering on the
market. I can’t function without the de-esser. I’m sure one or more
of these titles will be as useful to you as well.
(bundle $549, individual $299, free demo; www.softube.com)
-Garrett Haines <treelady.com>
Audified
Synergy R1 500 Series reverb
Audified is a hardware and software company from the Czech
Republic that may be somewhat unfamiliar as a brand name in the
US, but for more than 20 years they have been creating audio
products under various names, including DSound and Audiffex, often
as custom software for companies like TC Electronic and M-Audio.
After rebranding as Audified, they have released about 20 plug-ins
along with a 500 Series hardware reverb unit called the Synergy R1.
The unique R1 reverb includes both DSP-based reverb along with an
analog saturation section, as well as physical and app-based control
of the 500 Series module. I recently test drove the Synergy R1 reverb
in the studio.
The R1 occupies two slots in a standard 500 Series rack, allowing
stereo input and output along with a doublewide faceplate for
comfortably spaced control knobs with a large display. The unit
produces reverb via an Analog Devices SHARC processor and also
provides saturation effects via a trio of analog circuits. In short, the
R1 may be used as a reverb unit, a saturation/distortion processor,
or the reverb can feed into the saturation processor in series to
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provide various reverb textures. Signal routing and the wet/dry mix
of both the reverb and saturator can all be controlled independently.
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The six front panel knobs may be pressed to engage certain functions
or to change which parameter they adjust and can be rotated to
adjust the chosen parameter. The retro-styled but informative front
panel display indicates which parameter is being affected and the
current values of about a dozen parameters. The user can select a
reverb preset and then choose between seven reverb types (small
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room, room, hall, long hall, spring, plate, and tunnel), and then
adjust Decay, Predelay, Color, and Mix of the chosen reverb. The
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saturator section allows the user to choose from among FET,
germanium, or discrete op-amp circuits, and then dial in the amount
of Drive and Wet/Dry mix. Finally, each section may be bypassed and
the overall output level may be adjusted. The unit can handle a wide
range of balanced line levels up to +24 dBu, so overloading the input
is not really an issue. There is no Hi-Z instrument input as this unit
is meant to connect directly to a DAW interface or analog mixer.
Audified provides both a plug-in and a standalone application,
which allows for control of all the R1’s parameters from a computer
via a USB connection. I loaded the plug-in and connected the
provided USB A to micro USB cable and explored the plug-in with
PreSonus Studio One [Tape Op #86] and Pro Tools [#126] – both
worked very well. My workflow became using the plug-in to choose
a starting preset (including reverb and saturation type) and then
dialing in the sound using the R1’s front panel knobs. This operation
gives the user the best of both worlds: the ease of selecting settings
via software and then fine-tuning the sound using physical knobs.
The plug-in saves all the settings and instantly recalls the preset
when a DAW session is opened or a preset is recalled from the
standalone app.
I found the reverb sounds to be competitive with many DAW
plug-in reverbs, and I particularly liked the dry ambience and
dimension created when the decay times were turned down very low.
Overall, I would characterize the R1 as excellent for ‘80s’ style synth
and drum reverb. The sound reminded me of the dense and
sometimes metallic sound of the Lexicon PCM 60 reverb. The color
knob provided broad tonal options and each of the saturation circuits
offered a unique flavor. As far as the Saturator goes, Audified spared
no expense when they chose to use a socketed 8-pin discrete op-
amp, a discrete FET, and germanium circuits. I do wish an input gain
knob was included to allow even more saturation range as I especially
enjoy the synthy overdrive characteristic of an extremely overloaded
API 2520-style op-amp. Saturating the output of the reverb provides
a surprising amount of variation to the reverb’s character and adds
to the R1’s flavor palette. The R1 draws a considerable amount of
power for a 500 Series module, but both my API and Lindell
lunchboxes [Tape Op #119] handled the unit with no issues.
($1399; shop.audified.com) Adam Kagan <mixer.ninja>
Gear Reviews/(Fin.)/Tape Op#132/85
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