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There's alot of good stuff in Tape Op and some crap. The magazine is aimed more at people who actually have studios with rooms to record - there's lots of shit about mic placement etc.

Some of their interviews with producers and indie bands are good.

Why get your knowledge from anywhere else bar the dubstepforum production forum




tbh i've never got a magazine about production, but i'm sure any of them would be brilliant shitter reading

thesynthesist wrote:

Oz Fritz who writes for Tape Op wrote:The method of High Velocity Sound Engineering is the exacting analysis and synergistic comprehension of all the physical and metaphysical factors that determine the architechture [sic] of the sound field. The sound field is postulated as an informational cyberspace matrix existing in various forms as an electrical/acoustic pattern.

What a bunch of Horse Shit.

People love to string together a lot of words that have no business in the same sentence, just to sound like hot shit.

"High Velocity Sound Engineering" what a presumptious name. Nerds will put anything on thier pocketprotectors to try and look cool, wont they?

Too bad this kind of sound could never be reasonably called music, its more like electro-acoustic concept art.

Yawn.

Hmm
Producer and Engineer Oz Fritz

Oz Fritz has been a professional sound engineer for over 25 years working in both recording studio and live concert environments. He has collaborated on over 60 projects with producer Bill Laswell which included L. Shankar, Material, Ginger Baker, Iggy Pop, George Clinton, Bootsy Collins, Tony Williams, Elvin Jones, Sonny Sharrock, William S. Burroughs and ambient translations of the music of Bob Marley.

Other studio credits include John Cale, D.J. Disk, Digital Underground, Jungle Brothers, Golden Palominos, Information Society, Meat Loaf, and Rick Derringer. His most recent studio projects include the Grammy Award winning Mule Variations by Tom Waits, Anti-Pop by Primus and Wicked Grin by John Hammond Jr. (produced by Tom Waits). He also mixed songs for a VH1 Storyteller’s show by Waits, and recorded and mixed half of Monsters and Robots by Buckethead. He recorded Havana Mood and Imaginary Cuba in Havana and engineered a couple of tracks on the gold record Lado B Lado A by the Brazilian pop group O Rappa.

Date Album Artist
1990 Word Jonas Hellborg
1992 Transmutation (Mutatis Mutandis) Praxis
1994 Ambient Dub., Vol 2: Dead Slow Bill Laswell/ Jah Wobble/Divination
1994 Giant Robot Buckethead
1996 Day of the Robot Buckethead
1997 Transmutation Live Praxis
1999 Antipop Primus
1999 Hey! Ho! Let’s Go: The Anthology The Ramones
1999 Imaginary Cuba Bill Laswell
1999 Monsters and Robots (Bonus Track) Buckethead
2001 Grand Pecking Order Oysterhead
2001 Wicked Grin John Hammond Jr.
2002 Alice Tom Waits
2002 Alta Nova Elena Powell
2002 Blood Money Tom Waits
2002 Charged Life Bill Laswell
2002 Live in San Francisco at Stern Grove Tabla Beat Science
2003 Mule Variations Tom Waits
2003 Ready for Love John Hammond Jr.

selector.dub.u wrote: 1994 Ambient Dub., Vol 2: Dead Slow Bill Laswell/ Jah Wobble/Divination

someone was way ahead of their time!

The Laswell/Wobble is pretty much essential for anyone into dub from outside of Jamaica.

its essential for dub no matter what...

And no one is questioning Oz Fritz's credentials.

The guy has done a lot of work, and much of it with some of my favorite artists.

Doesnt change the fact that the term he has coined is bullshit...

tempest wrote:No comparison was made.... though i accept failure

Now that you mention it, though...

That Dog's starving is really like the Tape Op readership, starving for quality info from notable sources.

Really the lack of Notable sources is leaving the readers and the magazine, for that matter, tied to a stake, so to speak, with no "food" for thought.

Sorry, you asked for it!

thesynthesist wrote:its essential for dub no matter what...

And no one is questioning Oz Fritz's credentials.

The guy has done a lot of work, and much of it with some of my favorite artists.

Doesnt change the fact that the term he has coined is bullshit...

bullshit to you perhaps.

There is nothing in the quote at the start of the thread that doesn't make sense.

"High Velocity Sound Engineering"

That doesn't...

It's a term he has made up which he doubtlessly expounds upon on the article since "High Velocity Sound Engineering" is the subject of the article. So whether it makes sense or not depends on what is in the rest of the article, which I'm presuming nobody on this thread has actually read.

thesynthesist wrote:"High Velocity Sound Engineering"

That doesn't...

hmm

high
–adjective
1. having a great or considerable extent or reach upward or vertically; lofty; tall: a high wall.
2. having a specified extent upward: The apple tree is now 20 feet high.
3. situated above the ground or some base; elevated: a high platform; a high ledge.
4. exceeding the common degree or measure; strong; intense: high speed; high color.
i think 4 applies


Velocity:
1. rapidity of motion or operation; swiftness; speed: a high wind velocity.
2. Mechanics. the time rate of change of position of a body in a specified direction.
3. the rate of speed with which something happens; rapidity of action or reaction.

i think 3 applies


Sound :

Sound is a disturbance of mechanical energy that propagates through matter as a
wave (through fluids as a compression wave, and through solids as both ...


engineering

1. the art or science of making practical application of the knowledge of pure sciences, as physics or chemistry, as in the construction of engines, bridges, buildings, mines, ships, and chemical plants.
2. the action, work, or profession of an engineer.
3. skillful or artful contrivance; maneuvering.

More like High Falutin' Bullshitery

Haven't read thru all this thread but Tape Op is fucking ledgendary, throughout the 90's they were the guys demystifying and simplifying engineering - they aren't up their own arse as you say and i reckon that bit you quote with lots of big words must have been writen with tongue firmly planted in cheek, no?

Microphone museum article! Awesome I would have read that first! What ribbons does he have? I assume he had U47's, C12's and shit but what, do they just sit there? Surely he puts them to use occasionally! Don't tell me he had Georg Neumann originals and shit OMG!! I wonder what kind of dynamics he has? Mmmm

I have never read tape op, however, have heard of it. Given the info in this post, I can completely understand why many would regard it as "up its own ass".

I went to LIPA, where I took a degree in Sound Technology.

If you spoke like the guy who wrote the article quoted from in the original post, they would kiss your ass for the entire course, even if you were a complete bigot ass hole with absolutely no respect for anyone but yourself.

The chief tutor on the sound technology degree had a degree in English Literature as well as a Sound Engineering or related Degree.
In my opinion, he was also completely up himself.

Remember that this magazine is aimed at exclusively Sound Engineers, who, in my experience, can be arrogant, obnoxious, condescending, conceited bunch of ass holes.
So, you see, they would cum over the pages if you gave them tape op.

I put this unusual and perverse phenomena down to the fact that most sound engineers aren't musicians, and in their creative inferiority they psychologically compensate by projecting the illusion that they are the ones who are superior by using the most complex language as possible, thus giving the impression to uneducated bystanders that they are intellectually superior to everyone around them.

Often, when a sound engineer does such a thing, he is communicating a very straight forward snip of information or concept, but, by using complex language, he mystifies the content of his communication and in doing so alienates his audience.

Paul White of sound on sound however, is capable of communicating on many different levels.
He can explain concepts in simple terms for those who are simply less experienced, and he can also explain concepts in sophisticated complex language as well, for those who have the understanding to decipher its meaning.

I have a great deal of respect for this man for his writings, I have learnt much.

As for tape op. As one other forum member mentioned above, I would not completely rule it out. As their may very well be some gems of info in such places that could be used for great effect.

Just try and overlook the pretentiousness of the style of writing and try and abstract any info that can be used effectively.

As Bruce Lee used to say:

Use what is useful
and
disregard that which is not

Jeet Kune Do of Music Production.

Also, think yourself lucky. You don't have to live with a group of condescending, arrogant, conceited, obnoxious ass holes 24/7/

I recommend, do not do a Degree in Sound Technology.

Peace.

Tape Op is the best sound engineering magazine out there. It is not designed for people who make dubstep or electronic music..you're barking up the wrong tree. The magazine has a massive amount of good information despite what you may think.

^ yeah, i'm reading the original post again and thinking tha he comes off as extremely close-minded... there's a world of recording and production outside of wobbles and sub drops.

^^
amen. +10.

the best thing one can do for their production chops, is to learn techniques from other styles, genres, disciplines, and eras.

Justin Roche wrote:I have never read tape op, however, have heard of it. Given the info in this post, I can completely understand why many would regard it as "up its own ass".

I went to LIPA, where I took a degree in Sound Technology.

If you spoke like the guy who wrote the article quoted from in the original post, they would kiss your ass for the entire course, even if you were a complete bigot ass hole with absolutely no respect for anyone but yourself.

The chief tutor on the sound technology degree had a degree in English Literature as well as a Sound Engineering or related Degree.
In my opinion, he was also completely up himself.

Remember that this magazine is aimed at exclusively Sound Engineers, who, in my experience, can be arrogant, obnoxious, condescending, conceited bunch of ass holes.
So, you see, they would cum over the pages if you gave them tape op.

I put this unusual and perverse phenomena down to the fact that most sound engineers aren't musicians, and in their creative inferiority they psychologically compensate by projecting the illusion that they are the ones who are superior by using the most complex language as possible, thus giving the impression to uneducated bystanders that they are intellectually superior to everyone around them.

Often, when a sound engineer does such a thing, he is communicating a very straight forward snip of information or concept, but, by using complex language, he mystifies the content of his communication and in doing so alienates his audience.

Paul White of sound on sound however, is capable of communicating on many different levels.
He can explain concepts in simple terms for those who are simply less experienced, and he can also explain concepts in sophisticated complex language as well, for those who have the understanding to decipher its meaning.

I have a great deal of respect for this man for his writings, I have learnt much.

As for tape op. As one other forum member mentioned above, I would not completely rule it out. As their may very well be some gems of info in such places that could be used for great effect.

Just try and overlook the pretentiousness of the style of writing and try and abstract any info that can be used effectively.

As Bruce Lee used to say:

Use what is useful
and
disregard that which is not

Jeet Kune Do of Music Production.

Also, think yourself lucky. You don't have to live with a group of condescending, arrogant, conceited, obnoxious ass holes 24/7/

I recommend, do not do a Degree in Sound Technology.

Peace.

spot on

edit:

Although not all sound engineers are stnuc!

TeReKeTe wrote:^ yeah, i'm reading the original post again and thinking tha he comes off as extremely close-minded... there's a world of recording and production outside of wobbles and sub drops.

Word. I think the electronic music community would be a better place if people embraced the world of analog recording and audio engineering..nothing wrong with being a serious audio nerd.

The more you know..the better.