The Creative Music Recording Magazine

Gotye
Ondiolines, Hit Songs, & Enthusiasm
Michael Wagener
Metallica, Dokken, Poison
Dan Molad

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Lucius, JD McPherson, San Fermin

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Chip Young
Elvis, Billy Swan, Jerry Reed
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Christina Kubisch
Discovering Hidden Sounds
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Steve Masucci
Master of Gear Restoration
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Gear Reviews
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Issue No. 124

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Mar/Apr 2018
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Hello and
welcome to
Tape Op
10
12
18
24
Letters
Chip Young
Michael Wagener
Gotye
#124!
32 Steve Masucci
p a g e

36 Christina Kubisch
40 Dan Molad
46 Gear Reviews

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66 Larry’s End Rant

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Online Only Content:
Chris Breest: Recording, Teaching, Working
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Sometimes I feel like maybe I’ve faked my way
into the world of audio recording. I’ll be
talking to a group of engineers, usually
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peers around my age or younger, and they’ll

be rattling off classic, cool gear they own
or use. “Oh, that Neumann U 47, into the
Neve 1073, and mixed on the SSL G-Series.
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It sounded great.” And I’ll be thinking, “I’ve

barely used any of this gear, if at all.
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Maybe I don’t belong in this

conversation? I haven’t earned
the right to be here.”
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My path came up through small studios, prosumer ‘80s gear, and

making do with what I could get access to. No one has ever fronted the cash to put Larry at Jackpot! with his
me in an expensive, classic studio with racks of Pultecs, Fairchilds, and Neve gear, or original Telefunken E LAM 251 Audio-Technica AT4050
mics and vintage Studer tape decks. The best mics I usually have access to are newer, boutique brands that are within and Soundelux ELUX 251
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my financial reach, and my favorite outboard gear is of similar origins. In fact, you’ll see ads in Tape Op for a lot of c Mandy Berry
this equipment. In fact, editing this magazine is how I learned about most of it; including everything from reviewing
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gear to meeting nice folks at trade shows.

I never interned at a high-end, professional studio with the opportunity to use all the classic gear. But eventually
my modest studio has acquired some amazing, new-school gear, and at this point I can get quality sounds that are on
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par with any studio in the world. Sure, there might be some magic in a rare microphone, but I’m getting records done
over here and I think I’ve figured out what I need and how to do it.
None of us need to use the same gear as everyone else, and no one needs to feel insecure about what they have
available. There are a million ways to make a great recording.
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Larry Crane, Editor

c James Johnston
 The Creative Music Recording Magazine

Editor
Larry Crane
Publisher &Graphic Design
John Baccigaluppi
Online Publisher
Geoff Stanfield
CTO & Digital Director
Anthony Sarti
Gear Reviews Editor
Andy “Gear Geek” Hong
Production Manager & Assistant Gear Reviews Editor
Scott McChane
Contributing Writers &Photographers
Cover art by Mike Buffington <mikebuffington.net>
Mandy Berry, Alan Korn, Mark Nevers, Tom Beaujour, Tom Fine, Pete Weiss,
Eli Crews, Alan Tubbs, Thom Monahan, Joseph Lemmer, Garrett Haines,
Chuck Zwicky, Adam Kagan, and Will Severin
Editorial and Office Assistants
Jenna Crane (editorial copy editor), Thomas Danner (transcription),
Maria Baker (admin, accounting), Jay Ribadeneyra (online)
Tape Op Book distribution

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c/o www.halleonard.com

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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.
Editorial Office
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(For submissions, letters, music for review. Music for review is also
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.
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Advertising
John Baccigaluppi
916-444-5241, (john@tapeop.com)
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512-529-1032, (laura@tapeop.com)
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Marsha Vdovin
415-420-7273, (marsha@tapeop.com)
Kerry Rose
415-601-1446, (kerry@tapeop.com)
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@ Democrat Printing, Little Rock, AR
Subscribe online at tapeop.com
(Notice: We sometimes rent our subscription list to our advertisers.)
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Subscription and Address Changes

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Can all be made online at <tapeop.com/subscriptions>.

Back issues can be purchased via <tapeop.com/issues>. If you have
subscription issues that cannot be fixed online, email
<circulation@tapeop.com> or send snail mail to
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PO Box 151079, San Rafael, CA 94915.

Please do not email or call the rest of the staff about subscription issues.
Postmaster and all general inquiries to:
Tape Op Magazine, PO Box 151079, San Rafael, CA 94915
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(916) 444-5241 | tapeop.com

Tape Op is published by Single Fin, Inc. (publishing services)
and Jackpot! Recording Studio, Inc. (editorial services)
www.tapeop.com
8/Tape Op#124/Masthead
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A great End Rant [“Set and Forget?” issue #122]. It
dawned on me as I read your editorial that it’s probably no
coincidence that the breakdown of this “system” would
occur just as YouTube makes available so much task-based
learning that I would have killed for, back in the day. But I
have several concerns about the prevalence of videos now
on the web:
1. Call it sour grapes, but as a sometimes music
teacher I regularly see how students see no reason to pay
me for lessons. In fact, I often fall into this trap myself,
deciding that I can do things myself that could be
handled more easily by paying a professional. For some
reason we can’t see the abstract value we bring to the
table as “professionals.”
2. Today there are precious few kids who even want to
learn to play an instrument or learn to record properly. I
don’t mean this to be snarky, but there is a general
expectation that music production will be
a one-button affair, in the same way that I expect
low, I live in a slightly
higher altitude, my husband
keeps the kitchen kind of
cold during the winter, and
the kid I’m teaching to
make the apple pies has
ADHD and needs to read
directions aloud twice in
order to absorb them. All
that, plus my grandmother would add pinches and dabs of
things like vinegar and salt to the pie crust. It all depends
on trial, error, weather, and lots of experience to know how
to combine it all on any given day to achieve a great result.
Good results, I think, are fairly easy to achieve with
technology. But great things are borne of
wisdom, experience, and the magic that tends
to flourish in “old” things (usually people).
Missi <mojoholler.com>
I am an avid Tape Op reader and independent audio online Archive access. Visit <tapeop.com> today! -LC
engineer in Olympia, Washington. I have been struggling
to answer a simple engineering question, but cannot
seem to figure it out, no matter who I talk to. My
question is: if an artist pays me for a studio session and
they record a cover song, do I need to get permission
from the copyright holder of the song they are recording?
I understand that as the artist they need to get the
mechanical licensing paid for, but do I have any
responsibilities as the engineer?
I’ve been reading your magazine for years and I
absolutely love it. It has helped me improve my audio
recordings immensely. I am constantly amazed at the
quality of your magazine, as well as the quality of the
interviews that you get. Your love for what you do is
obvious. I also think it’s pretty amazing that you offer a
free subscription to anyone who asks. I’ve had a free
subscription for years and always feel guilty about
receiving the magazine every other month. I’d like to
help support you in your efforts. How can I make a
contribution?
Johnny Demonic <leftfordeadslc@gmail.com>
Free subscriptions are courtesy of our wonderful
advertisers. Buy their products, and tell them you saw an
ad (or review) in Tape Op. If you wish, we have several
books available for purchase, as well as Archive
Subscriptions, or the “Complete Box Set” with unlimited
personal downloads of all available digital issues plus
I just wanted to drop a note and give a big, hearty
thank you for the Tape Op Spotify playlists! I had been
taking notes of music mentioned in the articles, but I
don’t get around to listening as much as note taking.
With the playlists I can just scroll it up and listen. If I
like something, I add it to my own “new music” playlist.
An added bonus I’ve found is that when the playlist runs
out, Spotify will run on with the best guesses of other

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computers, cars, and hotels nowadays to have certain songs that fit those in the playlist, and I am finding more
Sam Scarpelli <steamboatislandrecords@gmail.com>
conveniences. If they don’t, I tend not to use them. music that way as well. Just awesome. Also, thanks so

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You don’t need to ever worry about this, unless you’re the much for your mag and everything you do! It’s great to
It’s funny that we so worship the trope
one releasing it to the public. The artist only has to worry look forward to print.
of Luke Skywalker or Neo – the hero who goes
about that as well, and mechanical licensing is only needed John D. Fauller <rock_turnip@hotmail.com>
through a painstaking apprenticeship in order to achieve
when a product is created for sale or distribution. But you, as
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enlightenment – when so few of us now actually want to We’re glad to finally have a way to share music related
a studio owner, can record unreleased covers the rest of your
put in the 10,000 hours in order to make great music. to interviews with readers. Visit <open.spotify.com/user/
life if you wanna, at no extra charge, as long as these are not
What this has created is a real “gentrification” of music tapeopmag> and check out the different playlists. -LC
released to the public in any way on your behalf. I’ll let my
education, which is to say that only rich kids or outliers
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(what we’d call “oddballs”) now tend to learn a musical
instrument, or learn to record properly. Everyone else
reaches for the loops or “construction kits.” That
approach has real consequences, not just for music
lawyer friend, Alan, chime in here. -LC
It’s up to the record label (or artist, if it’s self-released)
to obtain a mechanical license prior to public distribution
of a cover song. The incidental copying of a song does exist
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Just wanted to say how much I really enjoyed the Dave
Cobb interview. [Tape Op #122] It was one of the best
interviews I’ve read (and re-read). It reinforces
that you don’t have to have a “follow

production, but for music itself. in something of a gray area, as far as copyright goes, but the crowd” mentality when it comes to music
it generally isn’t a problem as long as the purpose is to and production. I do have my own home studio, and
@g

JC Harris <jchmusic.com>
make an authorized copy. Otherwise copyright only enjoy being in it every chance I get. I have nothing
I really enjoyed reading the column in the last issue
implicates public performance and distribution of a work, against MIDI; it’s an awesome tool, and I use it to
[#122] talking about the different ways we learn
not something created for private enjoyment. “scratch” ideas even though I’m not a piano player. But
(especially as we become accustomed to learning via the
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Alan Korn <alankorn.com> I really love live instruments, and am grateful I have
internet). As a musician, I appreciated it, and as a tutor of
I’ve never written a publication before, but after some great musicians in my own family. Also, I know
special needs kids, it resonated. One of the strange, and
what my singers’ (my family, again) potential are, and
frustrating, things about marrying the new world to the reading Larry Crane’s intro [Tape Op #123] I felt
how to encourage them to “reach” for it. I make sure
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old, in terms of technology delivery in education, is the compelled to write. I was duly impressed by the humility
anyone I bring into the studio is comfortable, and we
constant need to remind parents, students, and sometimes of the letter. He doesn’t need to be in the front, or on the
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have fun getting the best recordings from them, even if

even the educators themselves that ease of access to stage anymore. He’s just happy to see the bands perform,
we end up doing a few takes! This article will be in my
information is good, but it doesn’t supplant the need for and to hear the music he helped to create. Thank you,
studio somewhere, maybe even tacked up on the wall.
quality, individualized instruction. I liken it to making an Larry, for your dedication to the art of making “good”
Thank you, Dave, for the information/inspiration. And
apple pie: Amazon Prime delivery can get me high-quality, music. I hope you continue to have a great success with
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thank you Tape Op for sharing it.

organic apples delivered to my front door (along with all your chosen vocation.
Ruth P. Elmendorf <ruthel@fullcompass.com> Darlene Bush <dbassist98@yahoo.com>
the other ingredients) in an hour or so, and YouTube can
show me videos of someone making a fantastic apple pie, I just wanted to drop a compliment to you on how
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step by step. I can quickly choose between hundreds of perfectly laid out and well-balanced this issue [#122] is. Send Letters & Questions
recipes online. But only I know the confab of Very inspiring. The ads and other content are all
circumstances and preferences that create a stellar apple “grooving together” for an excellent read. Thank you. to: editor@tapeop.com
pie for my situation: my oven consistently runs 10 degrees James Simonson <leavejamesamessage@gmail.com>

10/Tape Op#124/Letters/
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 Chip Young
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interview by Mark Nevers Chip was one of the best and hardest-working session guitar pickers/
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producer/engineers that Nashville has ever seen. But he was even better at being a
photo courtesy of granddad, family man, and a Christian. Nashville misses him dearly. I married his daughter Megan,
Megan Bare and she and I provided him with his only two grandchildren, Bella and Beckham Bare. But the best
& Diane Young part of our relationship was in the studio. My secret weapon as a producer was Chip. While hiring
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a band for the studio, I would always include him as the session leader, which made me look like a
total badass. He would do the charts, and his charts were always dead on right. On sessions with
Bobby Bare Sr., Ray Price, and My Morning Jacket, his thumb picking inspired the other players and
made us all look good. Just try and imagine Dolly Parton’s “Jolene” without Chip Young’s thumb –
it’s impossible. His smile and positive energy is greatly missed, and we all learned so much.
-Bobby Bare Jr.
What brought you to Nashville?
I was in the service. I got drafted from Atlanta, Georgia,
in December 1961. Jerry Reed and I were real close
friends, along with Joe South. I’d worked on the road
with Joe back in the ‘50s. Ray Stevens was another guy
who was from Atlanta, as well as Freddy Weller, Pete
Drake, and Tommy Roe. When it got time for me to get
out of the service, Jerry said, “I want you to move to
Nashville and work with me playing guitar.” Both of us
are thumbpickers. We went on the road for six or eight
months. He decided he wanted to get off the road so
he could work more on his picking, instrumentals, and
writing songs. Jerry had success right before I moved
up. He wrote “That’s All You Gotta Do,” for Brenda Lee
[in 1960]. He’d written “Bottom of the Bottle,” for
Porter Wagoner, which was a number one record. “If
the Good Lord’s Willing and the Creek Don’t Rise” was
a big record [for Johnny Cash]. He’d had a lot of
writing success. The Brenda Lee song really inspired
him when he got that first check; it’s enough to inspire
anybody! He really felt bad about leaving me, not
having any job, and he said, “Why don’t you go around
to some of these places and tell them you play guitar?
Ask if you can play guitar on their demos.” So I visited
around. Tony Moon, one of the guys I visited, had
played guitar in Brenda Lee’s band. I asked him and he
said, “No, I have a guitar player. I need a bass player.”
I said, “I’ve got a bass.” I started playing upright bass
on all of his demos. I eventually moved around to
acoustic guitar. He cut a demo with [songwriter] Allen
Reynolds, “Five O’Clock World.” We demoed it over at
RCA Studio B. I did a unique sounding intro on 12-
string [guitar]. The Vogues tried to re-cut it up in
Pennsylvania, but couldn’t get anywhere near that
sound. They wanted to know if they could use the
[demo] track, so they used the track and paid us
master scale for it. That was a huge hit for them in pop
and country. People started to use me. Then Tony
Moon was playing a song he had demoed that Johnny
MacRae’s wife, Marge Barton, wrote called “What Color
(Is a Man).” [Producer] Billy Sherrill had his office next
to Tony, and said, “If you can get me the guy who
played on that demo, I’ll cut that song this afternoon
with Bobby Vinton.” He called me and I borrowed
[songwriter] Marijohn Wilkins’ old gut string guitar
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and walked over to the studio. They played the demo
and everybody grabbed their guitars and tried to play
the lick. Nobody could do it – it’s a complicated little
thing. Billy came out of the control room and said,
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“This guy Chip Young’s going to play on the record. He
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played on the demo.” [Session guitarist] Grady
Martin’s sitting in his big green chair. He was a bear of
a guy, and had that big old guitar laying on his belly.
He said, “You played that?” I said, “Yes sir.” He said,
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“Let me hear you.” I picked up my guitar and started
playing. He said, “No, over here.” He made me walk
over and pull up a chair right between his legs and
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play it for him. I was playing it, and he was looking at
my fingers and looking at my eyes. He said, “That’s
great.” We were the best of friends from then on. He
used me on all kinds of sessions.
Did you record with Jerry Reed during Where did you record Billy Swan’s
that time period? “I Can Help”?
Yeah, I played on a lot of his sessions. I played electric I did Billy Swan in Murfreesboro. I did some other
rhythm, acoustic, or whatever they wanted. records with Billy Swan later on at the other place.
After playing on all these sessions, how B u t “ I C a n H e l p ” w a s c u t i n
did you move into the studio owner Murfreesboro?
world? It was cut in Murfreesboro.
Well, playing on all the sessions, I could hear that the Did you have the feeling it would be a
sounds could be better. The drummers always crossover worldwide hit?
complained about the foot not sounding like a bass No, we didn’t.
drum, the bass not sounding like a bass, and that What year was that, mid-70s?
acoustic guitar didn’t sound like an acoustic guitar. ‘74.
They couldn’t get things sounding exactly right. I I remember hearing that song when I
had engineered in Atlanta before. was a kid and thinking it was George
What studio was that? Harrison.
Bill Lowery’s studio; NRC [National Recording Corporation] Yeah, a lot of people thought that was George Harrison.
down there. After I came up here, I thought, “I know That was a huge song
how to make that sound better than what they’re Yeah. I think he sold 6 or 7 million records; something
getting here.” Not to make them look bad, but maybe like that. Reggie Young did the guitar intro. Billy
to help teach. I’m not the type of person to make didn’t like the turnaround – he made me take it off.
somebody look bad. I wanted Nashville to have a better He wrote it as a rhythm and blues song, but I didn’t
reputation. L.A. thought their records were better than know that. When he ran it down, I said, “I’ve got an
ours. We built my first studio called Young ‘Un Sound in idea for the turnaround on this.” I told Reggie, “Don’t
Murfreesboro, about 30 miles south of Nashville. I got play anything on the turnaround; leave it open.” The
Fred Cameron [to build my console], who turned out to intro came by accident. Everybody else was out by
be a genius. It was the first console you could solo the pool having a smoke or something, and Reggie
“wet” and “in place.” was in the studio playing that little lick, just warming
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So the panning and the reverb followed up. I said, “That lick would make a great intro for this
the solo? song we’re getting ready to do.” He said, “I’m just
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Right. Others couldn’t figure out how it was done, and warming my fingers up.” He played it for Billy and
they dogged us until we finally told them how it everybody loved it. Django Reinhardt is where it [the
was done. It was a real unique console. We had it inspiration] came from. It worked perfect. Billy’s
fixed where just about every point on the console organ had that old skating rink sound to it.
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was patchable. How many years did you have that
Did you have headphones and iso studio going?
booths? Eight or ten years. I sold the place in Murfreesboro, and
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Yeah. The piano was in a little booth. I built a booth then I bought the old Monument Studio down on
over it so that nothing stuck out but the keyboard. 17th Avenue in Nashville [see Fred Foster Tape Op
The drums were in a booth, the vocals in a booth, #118]. They hadn’t really done any changes to it. It
and the acoustic guitar was in a little fenced-in place had an old Flickinger console; a good console but
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with some plexiglass. I used a drop-in Sennheiser mic very hard to get around on. If you’re making records,
for the acoustic, and it worked well. I know a lot of you need to move from one place to the other pretty
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people didn’t like those drop-in mics, but I could quick sometimes. Musicians are usually antsy people,
make it sound pretty good. Being an acoustic player, as you well know.
I remembered what it was supposed to sound like. You brought in a Sphere console.
Would the Nashville session players Yeah, I ordered a Sphere. It took about three months for
drive out there to do the recording in it to finally get here. In the meantime, I took my old
the morning and then drive back, or tube console from Murfreesboro and brought it in.
did they camp out there? You had a specialized booth for the
We did mostly 10 a.m. sessions out there, because I felt drums that was unique.
that 10 a.m. sessions the pickers were more We built a drum booth. When I first bought the studio,
refreshed. They would give you their best at 10 a.m. I wanted to make it where I could not have any
more than they would at 2 or 6 p.m. We did do some leakage on anything; to be able to fix parts.
10 p.m. sessions, but they were very forgettable. Everything was moving that way. I knew if I didn’t,
Delbert McClinton would say, “Why are we cutting at I’d be stuck in a rut. We tried to make it where we
10 in the morning? I’m hardly awake.” I said, “You’ll could open the windows up and have live and
sound better at 10 in the morning.” Once he started leakage if we wanted, or we could close them down
singing, he said, “Man, yeah. You’re right.” We only and have complete separation. We put garage door
fixed a couple of lines on Delbert’s first three albums openers on the windows to raise and lower them.
that I did. Joe Ely was the same way. Johnny Mathis So the drummer could talk to everybody?
we cut at 10 a.m. He said, “Sure is early for me.” It’s Yeah; we could converse back and forth.
an hour drive down there from Nashville.
Mr. Young/(continued on page 14)/Tape Op#124/13
Did the drummer have the switch, or did Then he’d want to go all night?
you have the switch? Until 8 or 9 o’clock in the morning. There’s a picture of
He had the switch in the booth, and it worked great.
How did you get involved with working
with Elvis Presley?
Through Scotty Moore, Elvis’s original guitar player
down in Memphis. He told Elvis one day, “We’ve got
this kid here in Nashville we need to use on these
records. He plays parts that nobody else plays.” Elvis
said, “Get him!” So the next session, they called me
and asked if I could do it.
Where was the session at?
RCA Studio B. I was blown away getting to work with
Elvis. Then the next thing we did was a movie What was your favorite memory about
soundtrack out in L.A. We went to MGM or Universal,
I’ve forgotten which one it was now. I remember I was Just what a good guy he was. He loved to kid around
driving the car with all the musicians with me. It’s a
movie lot, so all the buildings are really close together. being a part of the records. “Thank you for being here
I swerved around the corner and Rock Hudson stepped
out of one of the doorways and jumped back in. I
almost hit him. Scared me to death!
What were some of the big songs you
worked on with Elvis?
I played on “Guitar Man” with Jerry Reed. Jerry wrote
that. I played on everything from ‘65 until he died,
except they cut six songs down in Memphis or
something. I mixed that Moody Blue album out in
Murfreesboro, right before I moved to Nashville.
Is that where he flew into Murfreesboro
and never got off the plane?
Yeah, he had his pilot fly him up here. He had a cold. I
answered the phone. He said, “Chip, is Felton [Jarvis]
there?” I said, “Yeah, hold on a second.” Felton was
the producer. RCA had to have a company man with
each artist; all the record labels were the same way.
They didn’t want their money spent without
somebody accounting for it.
What happened with Elvis on the plane?
He told Felton, “Man, I don’t even feel like driving out
there. I’ve got this really bad cold.” It was just as well guitars.” Right about the time I said, “Let me
they didn’t come out there. I didn’t want to get a
cold! He turned around and flew back to Memphis.
Did you do any recording at Graceland?
Oh yeah. Two different times I played in the Jungle
Room down there.
Where they’d bring a mobile truck in? Is
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that because he didn’t want to leave
the house?
Yeah. We cut “Way Down,” which was the very last
record he cut. That was cut in the Jungle Room. And
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“Pledging My Love”.
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You all would come down when he felt
like tracking?
And stay in a motel, yeah. About six o’clock we’d show up.
At night?
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Yeah. He’d make his way down. It might be seven Back then was a golden era of country
o’clock before he got down there. When we recorded
at RCA we were there by six o’clock. Six to nine
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o’clock is a session, and then 10 p.m. to 1 a.m. is Three and four sessions a day.
another session. 2 a.m. to 5 a.m. is another session, You had producers who were “song”
and so on. There were a lot of times he wouldn’t show
up until nine o’clock at night. We’d already been paid
for one session before he ever showed up.
14/Tape Op#124/Mr. Young/(continued on page 16)
Thumbpicking.
Growing up with Jerry Reed and all those guys, I was
me, David Briggs, and Jerry Carrigan. It’s the first always a Chet Atkins fan. I did a record way back in ‘85
session James Burton worked with us. It’s pretty that my daughter gave me an idea for. She came to me
well-known; a picture of all us and Elvis. We all look one day, probably about 12 or 13 years old. I was
like we can barely keep our eyes open. It’s about 8 or playing thumbpicking style, and she said, “Daddy, I love
8:30 in the morning in RCA Studio B. We were tired it when you play that thumb stuff with your friends.” I
puppies. We’d been going since 6 o’clock the night thought, “Golly, that’s a good idea for an album title.”
before. Fact was all of us had worked sessions the day I did an album called Having Thumb Fun with My Friends.
before, and then all through the night. I worked all I asked Chet to be on it, Jerry Reed, Jerry Kennedy,
day the next day. I went asleep playing on a 6 p.m. Wayne Moss, Leon Rhodes, Grady Martin, Pete Wade,
session for somebody. All of a sudden I was asleep. Jimmy Capps, and Reggie Young. Ten players; all
We had great times; wonderful times. favorite pickers of mine. I wrote a bunch of songs and I
did some old songs. Chet told me one day, while we
Elvis? were playing golf, “Of all the thumbpicking albums that
are out there, that’s the best.” Boy, it sure made me feel
with everybody. He always thanked everybody for good that he would say something like that.
Oh, Jerry Kennedy by far. Billy Sherrill was good too. I
and helping me. I appreciate your input.” He was a
played on a lot of his records. Jerry Kennedy had a
wonderful guy. I think it was the first night James
demeanor about him that let the pickers know to play
Burton worked with us. We had our guitars sitting up
whatever they felt. If it didn’t mesh, he’d let you know.
against a little baffle in front of the bass drum there
He’d let you play what you felt needed to be on there.
at RCA Studio B. I had a gut string that Harold
He made the greatest records. Those Statler Brothers
Bradley had bought in Spain and brought back; just
records are all classics. That’s the guys having good
a great sounding guitar. James and I had six or seven
times. We’d cut three or four songs a session.
guitars leaning up against that baffle. This is ‘69 or
Was he the kind of producer where you
‘70 and Elvis was trim and into karate. He really
don’t really realize how good he is,
looked good. One of the background singers came up
because he doesn’t seem like he’s
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and said, “Hey, Elvis. If somebody drew a pistol on
doing anything?
you, how would you get it away from them?” He said,
Yeah, not doing anything. You think he’s not, but he is.
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“Oh, that’s easy. Hey, Red [West], bring that pistol
He’s scoping out everything everybody’s doing.
over here.” Red reaches in his pocket and pulls out a
On the opposite side of that, you’ve
pistol. I said, “God, is that pistol loaded?” Red said,
probably worked with producers who
“I wouldn’t bring an unloaded pistol in here.” I said,
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were too busy in the studio.
“How about unloading it?” He opens it up and the
Yeah, they’d come out and tell you, “I want you to play
bullets fall down on the carpet. Red’s holding the
this right here now.” If the song’s right, it doesn’t
pistol on Elvis, and I’m standing there watching it.
mean beans what you play. If you don’t have a good
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I said, “When he hits that pistol, it’s going to go
song, you don’t have a good record. That’s the
flying across the studio and right into those
bottom line.
Was Jimmy Bowen one of the first
move...” Pow, he hit his hand, and that gun went
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“outside” record producers, or did
flying right into the back of my gut string guitar. The
you get an influx of L.A. and New York
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barrel went into the guitar and hung there. Of
guys coming to Nashville before that?
course, everybody in the studio died laughing. I
There were some L.A. and New York guys coming here,
said, “That’s not too funny. It’s my guitar.” Elvis said,
but he was the one who brought change. Most of
“Chip, go buy you another guitar and bring me the
those people came here because they liked what they
bill.” I could have gone and gotten a Ramirez for
heard on the records coming out. Bowen wanted to
two or three thousand dollars – it wouldn’t have
change it all.
made a difference to him. I picked up the guitar,
He used to have that weed-supplying
took the gun out, and gave it back to Red. I said,
chauffeur who drove him around in
“Actually Elvis, I think this guitar is probably worth
that stretch Pontiac.
more now than it ever has been.” I was right. I
With the remote starter?
donated it to the Country Music Hall of Fame. They
Yeah, he was afraid of the car blowing
have it in a Plexiglas case. It shows the hole in the
up. That’s the time period where
back and a little article about how it all happened.
Nashville records got synthetic
sounding; a lot of dorky snare
music. You would work three sessions
samples and chorus-y guitars.
a day, Monday through Friday?
Yeah. He almost took us under, I’m sorry to say.
You came from a magical moment in
musical history.
guys, and producers who were into
I did. I was blessed. To have friends like Jerry Reed to
the musical side of it. Who were the
stir you on... I miss him every day. Just a wonderful
best?
guy. And Chet Atkins; Chet was a wonderful guy.
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 What advice would you give to say an 18-
year-old guitar player who wants to be
in the music business?
I’d say the best thing you can do is not go into the studio
as if you know it all. Go in there with the attitude that
you’re there to learn. If somebody’s got something they
think fits better than what you think it fits there, you
play what he wants you to play. Sometimes it may not be
worth a toot, but if that’s what the guy wants, play it.
Take the ego out of it.
Yeah, that’s right. When you walk in that door, I don’t care if
you’ve had a fight with your wife, boyfriend, girlfriend, or
whatever. When you walk into that studio, you drop all
that outside the door. Come in there with a good attitude
to have fun. Records are fun. They’re not supposed to be
dirges or anything. If you have fun on a record it gets on
that tape, somehow or another. People feel that, and
recognize it when they listen to it.
Cowboy Jack [Clement, Tape Op #77] used to
say, “We’re in the business of fun.”
You’ve got to remember that.
Oh yeah, that’s right. If you can’t make somebody happy
with music, ain’t no sense in doing the music. r
Mark Nevers makes records at Beech House Recording:
<beechhouserecording@comcast.net>
Here’s a finger picking song Chip did at the end of his interview
https://soundcloud.com/beech-house-recordings/chip-young-
barbwire-01

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16/Tape Op#124/Mr. Young/(Fin.)

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by Tom Beaujour
Michael
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photo by Larry Crane

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As far as I can reckon, albums that Michael Wagener has produced, engineered, or mixed – including Mötley Crüe’s Too
Fast for Love, Skid Row’s Skid Row, Metallica’s Master of Puppets, Poison’s Look What the Cat Dragged In, Extreme’s Pornograffitti, and Dokken’s
Under Lock and Key – just to name a few – have sold approximately 50 million copies combined. I personally purchased dozens of these records
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in the years between 1983 and 1992, and spent countless lonely “nerd-with-a mullet” (and a Kramer Pacer guitar) hours dissecting the guitar
tones and licks contained therein. Other producers from the era, like Andy Johns [Tape Op #39], Beau Hill, and Tom Werman [#102], were all
making great, heavy records as well, but to my young ears albums with a Wagener credit were guaranteed to kick ass even more. It was
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something about the solid kick drum, the explosive bombast of the snare, as well as the sheen and girth of the guitars that sounded more
substantial and authoritative. Needless to say, I was very nervous while driving through the Nashville suburbs in search of Wagener’s
WireWorld, a compact but seriously kitted-out studio, where the producer continues to develop new talent and collaborate with old friends, like
Great White, whose new album [Full Circle] had wrapped a few days before my visit. Michael Wagener is a cheerful, genial, and humble man who
still loves dialing in wicked guitar tones, geeking out on gear, and, of course, making killer records.
Why did you decide to build WireWorld?
I had a studio on Wolf Hoffman’s farm, the guitarist of
Accept, which was close to Gallatin, Tennessee. He
moved back to Germany and other people bought the
farm. Then, all of a sudden, it was going to be
auctioned off in three weeks, but I had six months of
work booked and paid for. Luckily they let me stay and
finish everything, but I realized that this should never
happen again, so my wife, Tina, and I decided that we
needed to have our own place. In 2008 we drove
around and found this place. The listing said,
“Possible studio in the back,” which at the time meant
a little guesthouse, where maybe you could do an
acoustic guitar and vocals. About nine months later
we started building the studio you see now. It took us
about a year to do the build, and, as you can imagine,
that’s a year of no money coming in and enormous
sums of money going out.
Has the investment paid off?
With the way the budgets are nowadays, and the way the
whole thing is structured, if you say the words
“producer’s advance” bands just look at you with glassy
eyes and don’t understand what you’re talking about.
But “studio rate” they understand. It’s just a number
that you pay for recording. I work a lot with new bands,
where there’s almost no money, so if I had to rent a
studio for $2,000 a day I would never be able to make
it work. But I can accommodate musicians with my own
studio. If we go a week over, we go a week over.
Nobody cares, and we make a better product.
Let’s go back to the beginning. You
started your musical journey as a
guitarist, right?
Yes, I got my first guitar when I was 12. Udo
Dirkschneider – whom we all know now as the lead
singer of Accept – he and I went to school together,
starting around when we were seven years old. We
practically spent every day together. We decided to
have a band together, but we couldn’t come up with
a name so we called it Band X. That went on for a
while, to the point where it was a real band where we
were really playing and coming up with songs. Then,
at the point where it started to get serious, I got
drafted to Hamburg, which was 350 miles away from
Wuppertal where we lived – so that was the end of
Wagener: Sounding Big!
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band practice for me. I left the band, and my last
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action with Udo was coming up with the name
Accept. I pursued guitar in the army for a little while,
but it just didn’t come together.
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Did you make the transition to Tennessee is also where you first
engineering and producing right recorded Dokken, correct?
after coming out of the army? We were hooked up to a club next door with a snake; they
No, I started working for a company called Stramp
Amplifiers. The boss’ name was Peter Strüven…
Strüven Amplifiers… Stramp. We built tube amps for
Rory Gallagher, Leslie West, Jack Bruce, and John
Entwistle. When I started at Stramp, I didn’t know
much about electronics, but I went to school and got
my degree at night. Stramp was basically a family; it
was the boss and his wife, and then there were two
more technicians and two more assistants like me. We
would sit there late at night and come up with the
new gear that we should build, like, “Have you seen
the new Trident board? We should check that out.” Or
the boss would go to America and find out about
some parametric EQ and decide we had to do that. It
was wonderful and I got to do everything, from
packing boxes, to sweeping the floors, to designing
electronic equipment. We also ended up importing
Otari machines – the big old 8-tracks – and building
our own studio consoles. We had a little 8-track studio You also did front of house mixing for
for demonstration, and I found out that working with
the gear was a lot nicer than having to build it! Peter’s
wife died at 29 years old, and that kind of broke up
the whole family. He lost his mind, and it was just not When I moved to America for the first time, in 1980 after
the same. This was 1979.
Where did you go after that?
There was a band in Hamburg – who were clients of
Stramp – called Tennessee. It was American country
music, Germanized – if you can think of anything
more awful than that… But they were all older guys,
and they had a lot of money. They asked me, “Do you
want to build a studio for us? Just for the band.” And
of course it was called Tennessee Studios. If you have
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a new studio, you have a lot of equipment manuals,
but you don’t have a lot of clients, so you have plenty
of time to read them. That was really, really helpful for the space… from soundcheck, where it’s a space with
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me. I had few clients play in there while I got to mess
up, big. We actually went all the way up to a 50-piece
orchestra. The recording room was fairly big!
How many tracks was the studio?
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Tennessee was 8-track, for one week. Then we got a
client in who said, “If you had 16-track, I’d do my
record here.” So we bought a good old Studer A80 and
made it 16-track. The Studer had a monitor panel
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where, when you recorded, it didn’t have the relays in
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it yet; if you wanted to punch in, you had to punch
in and flip that particular channel to input at the
same time. You had to have a lot of coffee! The
console was either a 24- or 32-channel Sound
Workshop, and we had a very decent mic locker.
Germany was a good place to get ahold of some pretty
good equipment in 1979. [laughs]
had a little stage in there, so we could record directly
from that club into the studio. The club owner would
Mr. Wagener/(continued on page 20)/Tape Op#124/19
go to the U.S. and bring bands back to Germany for
little tours. One of these bands was Dokken. One day,
the door flies open and I hear, “Give me a guitar! I
haven’t played for three days!” And I said, “Hey, nice to
meet you too!” That was Don Dokken. But we hit it off
right away. They played the music that I loved, and
they were really good. They played in the club, we
recorded the show, and then, right after, we did six or
seven demos at the studio. I was up for 76 hours
finishing those demos, and I ended up delivering the
mixes to him at the airport right before he went on the
plane back to L.A. Then I fell asleep in my car, in the
parking lot, for 12 hours. You couldn’t just upload mixes
in those days; it was an actual tape! Don gave that
little demo to Gaby Hoffmann, who managed Accept;
she took it to a few people and got him a deal.
Accept during this period. How did
doing live sound impact your
engineering?
meeting Dokken, the economy was pretty bad. I was
working at Larrabee Sound Studios as a technician.
They figured that I knew my way around a Studer
machine because I was German – but the pay wasn’t
good. Udo came over on vacation and said, “We’re
going on tour with Van Halen. You wanna come back
with me and do live sound for us?” The Van Halen tour
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got cancelled, but we went on tour with Judas Priest
instead, for a month and a half. The console is the
console, the whole system is the system, and if you
understand it, you understand it. But you’re fighting
no people, to a full house where the room sounds
completely different. That’s a good learning
experience. You have to be fast, and you have one
chance to get it right. In the studio you can roll back
and punch in again. I had another job in the early ‘80s,
where I really learned to be fast. Dieter Dierks, who
produced all of the Scorpions records, had a mobile
stereo truck. Meanwhile, television stations had trucks
that were mono. We used to do the live recording and
transmissions for Rockpalast, which was a big music TV
show in Germany that went out live to 40 million
viewers. You don’t want to piss off 40 million people
at the same time! The console was an MCI 600, and we
recorded on a Telefunken 2-inch, 32-track [tape deck],
so each track had the track width of a cassette. Tiny!
And in that truck we would go from U2, to Bryan
Adams, to Cheap Trick, with 15 minutes in between.
We had to be lightning fast. We would put colored tape
right next to the channels with all the settings on
them, put those up on the wall during soundcheck;
then during the last three or four songs of the previous
 band, we’d put the tape down there. As soon as the In terms of mic’ing, with my drums, all of the sound of the you have two microphones on one cabinet, was
band was done, we had to reset the whole console. snare is coming from the close mics. The cymbal mics something that I had to learn. At that time everybody
And, to this day, I use those same colors for the same are also fairly close and in the middle of the cymbal. If wanted to sound like Van Halen, and they would say,
instruments: drums are green, bass is grey, vocals are you mic it from the side, the cymbal moves back and “Nooooo, it’s still not close enough to Van Halen.” I
red, guitars are yellow, and keyboards are blue. forth in relationship to the microphone when it gets hit would say, “Okay, play a Van Halen song,” and then all
Your first major label break in the U.S. and starts phasing like hell. I normally had a stereo of a sudden it sounded like Van Halen.
was Tom Zutaut at Elektra Records room mic somewhere; [I also had] one very far away, But George Lynch from Dokken had
calling you to record the band X. How pointing into a corner, and one room mic 10-feet away a sound that was immediately
did he know to call you? from the drums, so that it was in the range of the 100 distinguishable, and was not really
There was a little community in the south Bay Area that I Hz wavelength coming from the kick. That last one was that indebted to Van Halen’s.
was part of when I stayed with Don Dokken while visiting compressed to hell, and it was the only thing that was To begin with, at least 75 percent of a guitarist’s sound
the U.S. early on. Don, Alan Niven – who managed Great compressed to tape. There was no EQ on anything. To comes from their fingers, and that’s definitely true in
White, and later Guns N’ Roses – Tom Zutaut, who would this day I don’t have any EQ on any drum mics. It’s George’s case. He’s one of the most recognizable guitar
sign Mötley Crüe and Dokken to Elektra [and later Guns better to get the right snare, the right mic, as well as to players. You hear one bar and you know it’s him,
N’ Roses to Geffen], and a whole clan that were all change the mic if necessary. And if that doesn’t work, regardless of whether it’s rhythm or solo. It’s the vibrato,
friends. Tom knew my work, as I had mixed the original get another drummer. The source is the most important and the style… it sticks out right away. When we did
indie release of the first Mötley Crüe record, Too Fast for thing. If you find the right mic, in the right position, Breaking the Chains in Germany at Dierk’s studio, we
Love, and also from my work with Great White. I was back you probably don’t have to use EQ. It might come in a called it the “Tank Tone” because the studio had a big
over in Europe in ’84, and he called and said, “I want you tiny bit dull; but if you put something like a [Manley] oil tank dug under the ground, and they had a speaker
to come over and do a single with the band X. They’re an Massive Passive on the stereo bus, you lift the high-end in there with a microphone. Later on, during the making
underground punk band, but I kind of want to get them a little bit and you’ve got it. Analog EQ is a phase smear, of Under Lock and Key, we had two Laney amps and two
more into pop. And the single was Marshall amps. We had one Marshall and one Laney in
“Wild Thing” by The Troggs. I came It’s also important to note that from the big room at Amigo, and they were mic’d with about
over, and I basically never went
back. I applied for a green card. about 1980 on, I recorded digital 16 microphones. Then there was another Laney cabinet
in a very dead room that they had used for drums in the
Then next I did the X album, Ain’t
Love Grand, on which I think I
because I don’t like tape; I always ‘70s, and it ran through a little bit of a Boss chorus.
Finally, there was a 50-watt Marshall, where the cabinet
succeeded in making them pop.
felt like it was uncontrollably was in a tiled bathroom. All of these were coming up on

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We all agreed on the direction, but the console, and they would all go out of one bus to one
in the end they would have changing my sound. track. Then George, being the joker that he is, said,

probably preferred a more
streamlined recording, sound-wise. On the other hand,
it gave them their first hit single, which I think is
actually the thing that they cared about the least. The
label cared about it though! The press absolutely hated
that; but, as you know, any press is good press, so that
put my name in everybody’s mouth. From then on it
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no matter what. That’s how it works, so I like having just
one of them, instead of 24. It’s also important to note
that from about 1980 on, I recorded digital because I
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don’t like tape; I always felt like it was uncontrollably
changing my sound. Roger Nichols and I spent weeks at
Amigo with different heads, different tapes, and different
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“Well, you know I always get a great sound at home
with my Fostex 4-track.” So I said, “Sure, bring it in.”
He brought it in the next day; we took that one bus from
all of those microphones and ran it through the Fostex
on stun. The meter would never move. Maybe it had an
automatic limiter in it, or something like that, but every
chunk came out really well. We put that under the

went, bang, after bang, after bang. Under Lock and Key
with Dokken, mixing Master of Puppets, Stryper, and
Alice Cooper. It just went crazy.
Such an important part of the work you
biasing, and we never once got a kick drum to come back
the way it went it. It always sounded softer. The first day
in Germany, on an Accept album, Frank Farian [Boney M]
had a 3M digital machine and I said, “Gimme that.” Later
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console, under a blanket, and that’s the sound that you
near on Under Lock and Key.
Crazy! After that, you were an early
adopter of ADA’s MP-1 tube preamp

did in Eighties are the huge, on, we had the Sony and Studer 48-tracks. They were for guitar.
explosive drum sounds. Did you have both basically the same machine, and they sounded I used it on White Lion, Skid Row, and Extreme. The MP-
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favorite rooms, or go-to gear? great, even though the converters were only 16-bit. 1 has a +4 output. I would run it into a solid McIntosh
At the time my favorite drum room was the warehouse at It’s easier to get a good high gain guitar hi-fi power amp with a -10 dB input, so there was
Amigo Recording Studios in North Hollywood. There sound these days, using modeling or some distortion. That powered a Marshall cabinet with
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was a giant umbrella under the ceiling that you could
lower and raise, so the reflections would be covered.
There was just a whole bunch of junk in that
warehouse that had no particular size or shape to it,
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any number of high gain purpose 30-watt Celestions. Everybody used the exact same
built amps. In the early ‘80s it was still preset on the ADA, and everybody sounded completely
pretty much a dark art. Did you have different. The preset was 45. We used other gear on
any favorite tricks or amps? the way back in, like the Urei 535 stereo graphic

but it created the best sound. You would hit the snare What we did most of the time was to rent amps from equalizer. It made the sound better, even if it was [set]
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and it was like, “Whoa.” That was where I did X, White
Lion, Dokken, Stryper, and others. When I first walked
into the Studio A control room, the owner, Chet Himes
– who had produced Christopher Cross, among many
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Andy Brauer. He had the heads and the cabinets – with flat. And then we would go through the BBE 802 Sonic
30-watt Celestions – that everybody wanted. I think I Maximizer. For guitars I actually like tape, because it
bought one cabinet 30 times over because I rented it rounds off those nasty edges that some output
so much. Of course there were other cabinets, like the transformers create. Today I use the Crane Song HEDD

other things, and who was a man of amazing
knowledge – said, “Alright, what do you want in here?
I’ve got a Harrison [console] and I’ve a brand new MCI
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ones that the bands would bring in, and sometimes on my guitar chain to simulate tape.
the studio has some. I think that on the Warrant You mixed both Metallica’s Master of
record, Dog Eat Dog, and also with Steve Stevens, we Puppets and Poison’s Look What the
Cat Dragged In in the span of a year.

500.” I liked the MCI at the time, so they put that in
there and put the Harrison in Studio B.
It usually sounds like you had the
cymbals spot mic’d versus a looser,
overhead feel.
20/Tape Op#124/Mr. Wagener/(continued on page 22)
had something like 15 different cabinets. We’d pick the
right cabinet, the right speaker, and the right
microphone in the right position, which is very painful
– physically – because it’s a loud speaker, and also very
work-intensive. Getting the microphones in phase, if
Both of those were mixed through the 40-Channel SSL in
Studio C at Amigo. Cliff Burnstein, who co-manages
Metallica, called me for Master of Puppets because he
also managed Dokken and was familiar with my work.
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they were very heavy and raw before. But Metallica had a very clear idea of what
they wanted to sound like, and I have to say that when I got the tapes – 3M
digital – they sounded great. Flemming Rasmussen did an amazing job recording
the album, and it was all there.
Was the band there for the mixing?
[laughs] Very much so. I had Lars Ulrich on the right of me and James Hetfield on
the left, the whole time. Reverb was not allowed, officially. If there was a
blinking green light somewhere, they would say, “What is that? Is that reverb?
Turn it off!” Basically it was Lars on the right side saying, “All I hear is fucking
guitars!” And James was on the left going, “The fucking drums are killing me!”
And I would say, “Guys, what about the bass?” And they would say, “He’s not
here!” That’s an actual quote!
The songs on that record are all really long. Were recalls a
nightmare?
There were no recalls. There was, “You like it? Okay, done. Next song.” It was all
on tape and mixed to tape; so if you recalled, you had more, and more, and more
tapes. You get the mix to where you like it, and then you print one mix. I’m
totally against vocal up, backing vocal up… no. An A&R guy said to me once,
“Well, let’s call it ‘protecting my investment.’” I said, “It’s called not having ears.”
I didn’t get a lot of jobs from him after that!
Did you have any sense while you were doing …Puppets
that it would have the impact that it did?
No. I liked the record. I thought it was a great album. But at the time – and
this sounds kind of cocky – I got used to having good records out there. At
some point, I had seven records in the Top 200, at the same time. And so I
expected that it would do something. But that it would become that massive?

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I had no idea.
I love Look What the Cat Dragged In as well, but it’s a much

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scrappier, light-hearted album.
That whole record was recorded in ten days, because there was no budget and it
was not in good shape when I got it. It’s a small miracle that it ended up where
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it did, sound-wise! They brought it to me and said, “Here’s the deal – we can
give you one point for the mix, or a $5000 flat fee.” I listened to it and said,
“I’ll take the five grand.” To this day, that’s the standing joke when I walk into
Poison’s dressing room. I didn’t see the fact that they were a fun band, and that
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that attitude sells records.

A lot of tracks that you’ve produced – Skid Row’s “Youth
Gone Wild” for example – feature gang vocals that sound
like there’s a football stadium singing them. How many
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I think that “Youth Gone Wild” was a thousand voices, altogether. There were about
10 or 14 people in the studio singing; we would record a whole bunch of tracks
and then bounce them down to one, then record a bunch more and keep going,
until we had a lot of voices. The same applied with Accept’s “Balls to the Wall.”
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Usually you would end up with four tracks, and then pan them. Nowadays at
WireWorld we use “Fritz,” the Neumann Binaural head. Everyone stands around
it, and then everyone moves one step to the left on each take. We just did that
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on the last Great White album. We had 28 people, and we did 20 tracks.
When grunge arrived in the early ‘90s, it pretty much
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wiped the kind of music that you were doing off the map.
Did you see the change coming?
The first time I heard Nirvana’s “Smells Like Teen Spirit” I went, “Shit, that’s a great
song.” It seemed like it was noisy, that it wasn’t played that well, and that it
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was not in tune; but I knew that it was a great song, and that it was going to
have a big influence. And it did. For a while there I got out of audio altogether.
But now I get probably three calls a week for that ‘80s sound. They say, “We can’t
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listen to that over-compressed stuff anymore. We want it to sound big!” r

<www.michaelwagener.com>
Tom Beaujour: <tombeaujour.com> <nuthouserecording.com>

22/Tape Op#124/Mr. Wagener/(Fin.)

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In 2011 an artist by the name of Gotye rose to international prominence on the back
of his song, “Somebody That I Used to Know,” from his third album, Making Mirrors.
l
Wouter “Wally” De Backer is Gotye, and it turns out he’s far more than a global pop
star. Belgian-born, and Australia-raised, he now resides in the New York City area,
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where he can work on his many passions. An interest in the French proto-
synthesizer, the Ondioline – and its most famous player, Jean-Jacques Perrey, led to
meeting Jean-Jacques, archiving his music, releasing a record of rare works
(on Wally’s Forgotten Futures label), and restoring several of the vintage Ondiolines
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with the massive help of Stephen Masucci [see our interview with Stephen this
issue], as well as performing live with the Ondioline Orchestra. Wally also continues
to record and perform with The Basics, a rock trio he’s had with friends since 2002,
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and is currently working on a new Gotye album. He’s a busy man;
one whose energy is positive and infectious.
m
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What were your first recording experiences?
It’s a shame I don’t have them anymore, but I remember me
and my best friend, at age five or six, recording bits and
pieces on cassette. I would record Sesame Street off the
television, putting my little boom box in front with the
microphone by the speaker. It would be intercut with me
and my friend, Gerard, making little radio dramas and
things. Then I became a pop fan by listening to video and
radio shows, harassing my parents to get a drum kit, and
then obsessively starting to play drums. I was coming home
from school and playing along with Stewart Copeland on the
drums, loving The Police. I loved The Beatles since I was a
kid. I remember trying to reverse-engineer Beatles songs. I
was going to local studios with my first band in high school.
That was the next recording experience.

Wa
by lly
ph La
ot r Which weren’t easy for them to make, as
o b ry C Bac
y r
Jo ane
hn
Ba
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What was your first studio experience
like?
l
My band was called Downstares. There’s a studio in
Collingwood, Victoria, Australia, outside of
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Melbourne; an inner-city suburb. I recorded four
songs. One of them I’d recorded at home using MIDI
instruments on a Creative Labs Sound Blaster sound
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card. That’s the first time I thought, “Oh, you can get
string sounds and bongos in the computer!” I had a Even for a high school band, doing a
little keyboard, so I made do with that. The tracks we
recorded with the band were like a metal thing,
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maybe a bit like Tool, or at least what I thought Tool I guess so. I definitely could tell that I was doing
sounded like. I was probably drawn to metal because
of the technical, mathematical side to it as a
drummer, starting to work out limb independence and
“I want to do this one song. I don’t know if we have
enough money, but we’ve got to get it right today.” The
engineer would be like, “You’ve got sequencers here, and
synths here. Do you want to treat this snare drum sound
and use this flanger I’ve got?” We’d get to the end of
the day and barely have tracked or be ready to mix. I
was a bit ambitious. I was listening to a lot of Depeche
Mode records, which I guess was my blueprint of what
a record could sound like.
De
you might know now!
ke They weren’t doing it in a day! As a teenager, I was a bit
r’s
To oblivious that you couldn’t make a reasonably elaborate,
ta half-sequenced synth band production in a day, with an
cc lC
ig yc engineer who didn’t know what you were aiming to do when
al
up le you walked in there in the morning. I tried that a number
pi of of times with Downstares, to varying levels of success.
In We all learn somewhere. Did you start
sp
ira putting something together to record
tio at home?
n Finishing high school, the four of us guys in the band were
going different directions. That naturally made me go
towards, “Should I try to record things myself?” I put a PC-
based system together. I started with what was going to be
Downstares tracks, thinking that I should produce these
myself at home. That was before I was starting to sample
records, with what became the first Gotye record after a few
years. I was still trying to track live instruments at home on
m
a pretty simple setup with two channels of preamps on an
interface. But I was listening to bands like Portishead,
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Massive Attack, DJ Shadow [Tape Op #11], and Cut Chemist
a lot. My friend, Andy Hutchinson, said, “Dude, you should
sample records!” We’d go to the thrift shop and bring back
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records, and a neighbor had also given me this whole stack
of records. My aspirations to make records that sounded like
Depeche Mode or Massive Attack, that process had got me
very deeply into like, “What else can I find in thrift shops to
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chop into bits to make whole tracks?” Trying to turn those
Downstares tracks into full productions myself, I was feeling
the lack of ability and knowledge – these weren’t better
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than what I was able to do in studios with engineers and
local assistants. But I had a few early successes cobbling
@g
samples together. Pragmatically it felt like a bridge towards,
“Okay, I could make finished tracks that sound really good.”
Better records than I could do when I was tracking
instruments. I thought, “Maybe I should stop tracking
instruments and just use my voice, because that can work
being fascinated by interlocking rhythms and with the level of gear that I can afford.” Sampling, apart
polyrhythms. Local studios around Melbourne had from being a creative inspiration, also got me over the hump
cheap rates that would come with an engineer, so we of making a record that I thought sounded good.
did a lot of things on ADAT at the time. The first You don’t get many people admitting that
programming I ever did was on a Roland Groovebox. sampling can be a path forward.
I’d take that down to the studio with Downstares, and I quickly realized that it’s a different set of rules and
we’d put it down as a backing; like percussive parts, limitations with sampling. Maybe it circumvents some
or synth things that we’d play along with.
things that feel like barriers to entry: the cost of
recording in a studio, or the engineering expertise
number of studio sessions is unusual required to make drums sound really good. I don’t think
to some degree, right? that means it’s cheap. It might make those things
easier, but it offers different possibilities. Obviously
something a bit different from what a lot of high school there are records you can’t make without sampling, and
bands were doing, which was, “Let’s go in and record all there are records that you can’t make without really
ten of our songs,” just punk style. We’d come in and say, having humans play in a room.
Gotye/(continued on page 26)/Tape Op#124/25
 There are a million ways to make a record.
The first thing I thought was, “How far can I pitch-shift
things and still have a musical end result that I find
interesting?” I was doing a lot of pitch-shifting,
shifting things down an octave or more, probably
because of the trip-hop that I was listening to.
Listening to a DJ Shadow record, some
sources you might be able to identify,
but others he’s picking a tiny little
sound and manipulating it. You’d
never know where it came from.
He might not know, either! I know that’s certainly the
case for me, especially if I was looking into little
snippets. I don’t know where that snare drum came
from, but I manipulated it enough that if I don’t
recognize it, that’s fine.
Did the music become your own project,
at that point? Were you working with
others?
I conceived Gotye as a project. I was working by myself
in my bedroom for years, cobbling together about 20
tracks from which I selected the 12 that are on
Boardface, the first album. I was making homemade
demos. I’d do a lot of the artwork myself, burn the CDs
myself, and then send the CDs in to radio stations –
thinking that I could do things independently rather
than looking for a manager.
You seemed to have a real tenacity.
It might have been a reaction to Downstares. We did a
few Battle of the Bands, and even won one. We
entered a radio-based Battle of the Bands with a very
pop-based radio station in Melbourne. Listeners voted
on a 20-second snippet of three songs, and our song
got the listener’s vote. They were like, “We’ll be in
touch with Downstares soon about their prize!” Then
I never heard from them. What a bogus thing! A
friend of mine, Marty Williams, said to me, “You don’t
need a label. If you can make your own records, you
can distribute them. Maybe you need a distributor,
but you can do your own promotion.” I wanted people
to hear what I was working on. I liked the aspect of
being hands-on with everything. I love the physical
object of records. I love the experience of entering
portals to other worlds. I felt very connected to the
fact that if you made music, you were also making the
portal in a way that you might give it to someone
else. That can be very direct.
The first Gotye record, Boardface,
eventually attracted more attention
in Australia?
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Releasing it commercially was the result of having a bit Sure. I mean it’s crazy, right?
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of interest from a distributor named Creative Vibes. The tracks from Like Drawing Blood, I’d mixed to a level
They wanted to put one of those homemade
collection tracks [“The Only Thing I Know”] on their
compilations of new Australian music called
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Evolutionary Vibes [Volume 5 - The Winter Of Our
Discotheque]. They suggested that I could get a
better mix of the song. I was interested, but also
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resistant. I went to Sydney and they paired me with
an in-house engineer, Jimbo [Jim Sherringham], they
worked with. Jimbo and I did a remix of the song. I
thought there were good things about it, but there
were also things that I didn’t like. My more lo-fi
26/Tape Op#124/Gotye/(continued on page 28)
version of the mix felt truer to what I was trying to “Let me make this decision. You don’t know how much
do. That was my first experience of, “I do want to try reverb this sound is meant to have.” I was trying to
to articulate the music I’m making to the best meet someone who I wanted to work with, who was
possibility.” I don’t want to say I’m only going to going to help my tracks become more clearly
make it myself, or make it willfully lo-fi. No, I want to articulated, but also would be prepared to let me – in
make records that sound great. I was exploring the the end – call the shots. Then I met François Tétaz, on
possibility that I maybe could meet people to help the suggestion of some of the people around the
me. That experience on the compilation was with Creative Vibes label. They said, “We think you guys are
good people, and we tried, but I don’t think that it coming from a similar place. You’ll enjoy the way he
made my sound better. I thought, “Maybe I should works, because he’s such an open guy, and he has an
stick with my own mixes and release the record incredibly broad perspective on music history and
myself.” Creative Vibes said they were happy to be the modes of producing records.”
distributor. I collected selections from those 20-odd That’s really important to know a lot
tracks; in 2003 I pressed up the CDs myself, sent 500 of different styles, and how they
of them to Creative Vibes, and they got them into were created.
stores. I had a bit of airplay, as well as some great Yeah. We did a few tracks, and I loved the experience. It
responses from Australian community radio stations was everything I’d hoped for in working with a mixer.
and Triple J early on. A year or so after that I’d put Making things sound better and clearer, yet still
together a 12-piece band to play songs off Boardface finding the soul of what may have been a demo-level
at about three different locations around Melbourne. production I’d put together, and managing to take
Obviously I couldn’t pay anybody – it was pure favors. those tracks further. I went to him saying, “Do you
Those are good friends. think you can make this better?” He listened to it and
Yeah. We did a few shows, but I felt like I got to a said he remembers playing it to a number of people at
natural endpoint of what you might call an album labels, saying, “There’s something in this.” He had a
cycle. I wouldn’t have called it that. But I made an lot of responses from people that suggested, “Oh, this
album over a number of years; I put it out myself, it is cool, but this will never work. This doesn’t have any
got a little bit of radio airplay. I’d done a few shows place. Who’s going to play this in Australia?” He
and not lost a crazy amount of money, but still I wanted to work on my tracks, but I could only afford
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hadn’t made any money. I didn’t even make enough to do one mix with him. I saved up by working at the
money to buy a new computer to get a better sound cafe or the library for three months to mix one more
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card. I guess I was questioning, “What is success?” I song. For me, $1,000, was a super cut rate at the time,
was enjoying all the independent aspects of being but $1,000 was a huge amount of money to spend on
very hands-on in every facet of putting the music out, one mix. I was doing it in dribs and drabs with Franc.
but I had a point where I asked whether I wanted to Do you feel that having his perspective,
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keep doing it. It was a huge amount of work, energy, as well as helping you mix it, gave
and effort. But I borrowed some money off my parents Making Mirrors a commercial leg up?
to buy a new Mac, and started using Ableton Live for I think so. If you listen to my rough mixes, it’s not like
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the first time. That was part of the process of making you’d say, “This is a completely different song.” But
my second record [Like Drawing Blood]. I was it’s a lot about articulation in a context. The challenge
thinking, “Maybe I’ll sell a few hundred copies, or of how do you tell the story of this piece of music, this
even get a bit of radio airplay.” But then that’s the collection of frequencies, this collection of sonic
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point at which things seemed to flip, where things ideas, in the most engaging way so that it invites
went beyond my expectations. Since then, that’s what people to that moment – which you always hope for
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I’ve experienced; and I’ve felt very, very lucky. – which is, “What’s this? I want to hear this person
It seems crazy, right? The amount of sing.” Or, “I want to hear the story that’s in here.”
success from one song? There might be a bunch of music I’ve made over the
35
Yeah, for better or worse. I don’t know! I think I see the years that wouldn’t engage as many people. It might
good things about it. I know I wouldn’t be able to do be in there somewhere, but they’d have to listen into
these projects if it wasn’t for the success of that song it, and really look for it, whereas Franc is great at
[“Somebody That I Used to Know”]. bringing that articulation aspect in.
Were any parts re-tracked or
manipulated massively?
that Boardface was mixed to. Me doing the best I could, Not on Like Drawing Blood. I would bounce tracks down to
bouncing out my tracks with Sonic Foundry ACID. That Sonic Foundry ACID; dry and wet, every channel,
was the best I could make it sound. I don’t have a bringing in stems. Then we’d look at whether it made
separate software option, or a separate hat to put on. sense to recreate a reverb or, “Is there a better way to
This was the best I could do, automating all the effects distort this?” Mostly he’d say, “No, I like what you’ve
I’d chosen and the arrangements I’d decided. That’s my done on this fuzz here. Absolutely use this. I’m going
mix. I did try to work with some other mix engineers to EQ it.” Like Drawing Blood was purely him straight up
on Like Drawing Blood, but I realized it wasn’t resulting mixing what I brought to him. There’s a track, “The
in a process that I enjoyed. I found a few people where Only Way,” that has a 30 Hz tone in it. I said, “I really
there was an aspect of ego and seniority, where it felt want this low-sub “whoomp” with a long tail, like a
as though we weren’t talking about the music. It was, Beyoncé track.” His studio in Melbourne had these
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 massive Duntech Audio speakers; he mixed that track I came off the road after a number of years touring my Maybe that’s the inspiration for the album.” Actively
and helped create this bass tone that underpins part of last record, and felt like I wanted to make more music. engaging with those instruments, those people, and
the song. Hearing him do it on those Duntechs was I don’t want to do the same thing I’ve done before. I those stories. I used the Theremin because I thought
amazing, just this standing wave in the room! I guess could make another broadly eclectic, generally it sounded cool, which is a perfectly valid reason; but
there was the tiniest bit of additional production. But sampled base with a little bit of live performance pop what if I said I’m using a Theremin for a myriad of
I feel like what Franc brings to my project is an record, where the lyrics are mostly semi- other reasons that are very specific in this song?
additional production ear for mixing. I’m cobbling these autobiographical, but I’ve done that before. I need to Those kinds of frameworks require a lot of experience,
things together from really disparate sources. A challenge myself to do something that’s really traveling, patience, digging, and researching.
collection of textures and frequencies that gives the different. That’s how I’ve arrived at this current album The Ondioline must have caught your
record a certain eclecticism, even frequency-wise, concept. Sometimes I wonder if by giving myself attention when you got to play it for
because it’s coming from all these different places. He’s those rules I’m maybe actively stepping away from the the first time.
great at enhancing those things. I feel like he’s the only greatest strengths I have as a sampling I saw it first in the National Music Centre, but it wasn’t
other person I’ve worked with who can understand it to songwriter/composer. Is that a bad move to be functional. Then I ended up at Audities, also in
the point where he’s spent enough time with it. He’ll actively ignoring the things that maybe I’d naturally Calgary, David Kean’s studio. He’s got an incredible
ask what I’m trying to say. He’s guessing a little bit, but do that are engaging? It seems that audiences have collection of things. He was behind the Mellotron
he’s also getting to know me better as a person. He has told me, “We like you doing this.” I’m going to see if Archives for years. He’s slowly donated or sold much
a feeling for where I’m reaching towards but haven’t I can make music that I think is really good, and I’m of his incredible instrument collection. I went and
gotten to yet, sonically. He’ll take these things like passionate about, that is maybe harder for me to played some Ondioline on a tribute song to Jean-
putty and tease it out, but without breaking it. That’s realize, but that also feels a bit like, “I don’t think I Jacques Perrey that I was putting together, because I
what he’s always trying to do. “How far can we explode can do this.” This might fall really flat on its face, but thought, “Where else in the world am I going to find
this without breaking it?” that’s a good reason to try it. a functional Ondioline?” I’d dreamed of playing this
Changing the presentation or perspective Well, you’ve got to challenge yourself to instrument for so many years, and I loved Jean-
can really ruin or enhance a mix. stay interested. Maybe the worst thing Jacques’ playing of it so much. The Ondioline was
It can, yeah. I’ve been amazed at hearing quite passable you could do, at this juncture, would nice. It wasn’t very well scaled, and wasn’t very well
mixes, that are objectively better than my rough be trying to please an audience? tuned. I was having to play lines within maybe only a
mixes, but that I felt were absolutely not better Certainly. With the things like the Ondioline restoration, fifth before it’d be like, “Let’s retune it a little bit and
pieces of music. They didn’t tell the story in an and curating Jean-Jacques Perrey music [the LP, Jean- do a separate pass.” That’s what I’ve learned working
engaging way, or in a way that’s even as engaging as Jacques Perrey et son Ondioline], that’s coming purely with Stephen Masucci on restoring these. That’s the

m
how lo-fi my rough mix might be. That really from this place of, “I want to do this.” case, unless you replace the whole resistor string on
fascinates me; the one step forward, two steps back The Ondioline, one of the world’s the instrument and do multiple passes of the

thing when you get the perspective on a piece of
music wrong.
And you kept working with Franc after
L i k e D r a w i n g B l o o d a n d o n t o Neither had I, until three years ago. The first one I saw
Making Mirrors?
Yeah, and we’ve been working on a new record for a
good while. He’s really gone with me on the odyssey
earlier electronic instruments,
debuted in 1941. I’ve never even seen
one in person until today.
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was in a museum in Calgary, Canada. That’s what
started me off on this new record. I’d finished touring,
and I’d done a show in Calgary. A friend invited me to
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resistor/capacitor calibrations that are required to
tune each register. All those components have drifted
in 50 years. So his instrument sounded okay, but it
was scaled really wildly. That’s the first time I played
one. I was looking and looking, and asking Dave Kean
if he’d had any leads on an Ondioline. I left my details
with shops in France, as well as places that I’d seen

of this record. the National Music Centre, and I was flipped out with had sold them over the years. Somebody had this
How does the pressure of following up their collection of keyboards, synths, and early tube Ondioline in Connecticut. That was the instrument
Making Mirrors feel? instruments. I knew the second I got off the road that you heard today.
I’d have to go back there and spend a week. I invited The photos of it when you first got it
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There’s internal pressure. I have different moments.

Leaving Australia, and leaving my relationship Nick Launay [Tape Op #105] to come and engineer. were terrifying.
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partly, was something related to the feeling of like, We’d never worked together, but I love his I had no idea. It arrived in a cardboard box with hardly
“I want more time.” The possibility of being in my engineering and his production work. He engineered any packing. It had been underwater and totally
early twenties, when I could dig into record shops and I was jamming on these wild instruments for a rusted. We could see the waterline on the cabinet
endlessly, and sample, and sample. But then I’d week. All of that is currently up on the shelf. I’ve got inside. I took it to Stephen This was one of the nice
35

already set myself this concept for the new record 20 quite-promising instrumentals that are very things about moving to New York. As I was starting to
that is in progress, which is actually going into very different from anything I’ve done with the Gotye meet people like Brian Kehew [Tape Op #93],
specific sound worlds of people like Jean-Jacques thing. Just me playing and not getting bogged down Stephen’s name kept coming up.
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Perrey or Harry Chamberlin, things that are inspiring into multisampling. “Oh, here’s a good sound, and Stephen Masucci’s a foremost restoration
the songs, and giving myself that rigorous here’s a hook. Let’s record this.” Then I’d pull another expert for Moogs, as well as old Helios
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limitation of not sampling willy-nilly from whatever
I find. I haven’t been thrift shopping for records
hardly at all since I’ve been here. It actually
overwhelmed me a little bit. There was probably
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instrument in and respond to it. It was a beautiful consoles and gear like this.
experience, but I couldn’t find a way to turn it into Yeah. He told me recently that we met at a time where
what I thought was going to be a Gotye record. It’s he’d reached the point where he wasn’t sure if he
like pretty much everything I do in music, the tic-tac- wanted to be doing that work as much. He’d done a

something over the years in Australia, of feeling like toe approach of, “I’ve done this, and maybe that’s not lot of big projects he was really proud of, but
I couldn’t find all the cool records in dollar bins. It’s it, but it’s led me to that.” I felt like having those sometimes people wouldn’t use them for musical
all schmaltz. But that’s one of the things that instrumentals that I couldn’t seem to turn into songs ends. They became museum pieces, or display items.
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contributed to my early records, because I felt like, made me think, “I know these instruments, and I It’s depressing.
“Well, I’ll buy that Andy Williams record and see if know the stories behind them. I love how much more I was saying, “I really want to do everything Jean-
there’s a break on there.” interested I am going really deep into where these Jacques Perrey was doing on this. I don’t know if I
Sometimes. strands of electronic music history came from. can make it sound like him, but what do you think?”

28/Tape Op#124/Gotye/(continued on page 30)

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 He told me recently that he lied to me when he said,
“Yeah, I’ve seen worse than this!” He thought it was
never going to work. I didn’t give him any kind of
deadlines, but I heard that if it was possible, if
anybody could do it, it’d be Stephen. He started
digging, testing, and checking. I already told him I
was digging into the historical document side of it,
and intended to translate the manual to give as much
insight as we could into what was going on in the guts
of this instrument. He got to a point where he had a
lot of basic things calibrated and working. The
schematics were available, a scan of them, but it didn’t
give the full story that the actual text in the document
elaborates on. The way that Stephen put it is that
once we had that English translation done, he said
that there are so many, “Oh, by the ways” that are
critical to making the instrument work. Like, “If you
don’t exactly match these tubes and have the voltage
in this range at 65 volts, then that whole assemblage
won’t work, even if you had it working before.” But he
worked through them. He still found a bunch of
oddities that didn’t even match the manual.
Everything in this manual says it can’t run above 170
volts, but this instrument has to run at 190, and
everything works. Each one of them is still its own
little conundrum. They’re all handmade, and Georges
Jenny [the Ondioline’s inventor] was obviously
tweaking little things every time. Stephen’s starting to
see those things, instrument to instrument. That’s an
ongoing process of discovering how, even the ones
that are seemingly the same model, from the same
period, how different they can be.
The Ondioline is very expressive. It was
amazing watching you play and see
the keyboard shift back and forth
with vibrato, as well as seeing the
volume control and unique filters
you were using for changing sounds
as you were playing. I thought, “Oh,
that’s a great way of expressing
through a keyboard.”
Yeah. It’s a different assemblage of expressive mechanics.
Georges Jenny had a real feel for how the choices of
materials give you something that’s a musical
assemblage. You can almost let it go; it continues on
its wiggle and comes to rest, in a way. It’s this period
before Moog, Buchla, and the more programmatic
aspects of electronic music. The Ondioline is from this
other period, where people were asking, “Why can’t an
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electronic instrument have as much human, He knows a few things.
mechanical expressivity as a violin or a saxophone?”
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This fascination also led to you meeting
Jean-Jacques Perrey and archiving
his work?
Yeah. Making that tribute song did. I was searching,
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when I was living in Australia, feeling like I’d set
myself on this album concept – that I’m now about
three years into. That has mushroomed into so many
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direct side projects – in archival, tribute bands, and
instrument-learning directions – that the whole
project has become [something else], which is great;
but that’s obviously taking a lot of time. Living in New
York has made a huge change to those things,
30/Tape Op#124/Gotye/(continued on page 32)
Chamberlin Archiving
I want to release a demonstration of Harry Chamberlin
playing his model 800 Riviera from the ‘70s, bits of
which have been released, but it’s never been released
in its entirety. I’ll be working on restoring that. I’ve dug
and dug for a year and a half; I got to know the family.
We actually recorded some vocals together on a tribute
song to Harry in their house in Upland, California. I was
hoping that, as they started to give me reels and other
items – and I’d spoken to the guys from Mellotron
Archives – that I’d find that early generation reel of
that demonstration for my next Forgotten Futures
release, but I’ve had to go with a cassette version.
That’s the best I’m going to get. Sometimes you can
only wait so long, or the release won’t happen unless
I restore this source.
because New York is such a magnet for incredible
people doing absurd things. You can fly to Europe in
half a day. You can go to L.A. in a few hours. When I
was still in Australia, I sent a demo of that song to
Jean-Jacques. He and his daughter replied very
warmly that if I ever wanted to meet to drop them a
line if I’d be in Europe. They didn’t know my music or
anything. I flew over with the intention to see if
Jean-Jacques would sing or speak on my track. We
tried it the first session, trying some things where he
was speak-scatting in English, and I was going to
have him mirror in English and in French speaking
behind my voice. It hasn’t ended up working out in
the song. My intention first was to get to meet a
musical hero who’s inspired me so much. It started
this connection that led me back. I felt like I wanted
to visit again. They said they were happy to have me
l.
come again, and that led to exchanging more music.
[His daughter] Patricia [Leroy] started bringing out
test pressings; things that her dad had given her
when she was a girl. I thought, “What else is hiding
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here in the cellar, or in Patricia’s room?” She was
understandably a little worried at first, but I said, “If
there’s no way to hear what’s on them, or you’re only
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going to make them worse by playing them on an
average turntable, I’ll do whatever it takes to make
@g
sure that this is transferred the best that it can be.”
So she agreed. Hard-copies, or test pressings, where,
from all we could tell, that piece of music didn’t exist
any place else. So I took them to New York and did a
35
bunch of looking around. I found Chris Muth [Tape Op
#45], who’s been doing the vinyl transcriptions for
me. I really love the work he’s doing with his setup.
Patricia was really happy with the way things sounded.
Then I thought we should do some restoration. I tried
about seven different restoration engineers, but I was
disappointed with the results, thinking that maybe
what I wanted wasn’t possible. Then I found Jamie
Howarth [Tape Op #94], and he really blew me away
with the first two or three things that he worked on.
Just the sensitivity and musicality, as well as being on
the same wavelength as him, in terms of the fact that
we’re not trying to give this thing the “L.A. body
scrub” restoration process. We’re really getting that
sweet spot between, “This is an artifact, but how
much closer to the performance can we get?”
Like building a time machine.
For a time I wasn’t sure if it was going to be Ondioline-
focused. I was loving hearing some of these demo
versions of tracks I know from later albums. This was
a joy to discover these pockets of music from his
recording career.
Have you set up a proper archive for
Jean-Jacques Perrey?
Yeah, I’ve been pretty systematic about it now. It’s
multiple hard drives backed up between me in New
York and Patricia in Switzerland. It’s led to contacting
ex-collaborators of Jean-Jacques. After I finished this
compilation about the Ondioline, the timing lined up
and I met the widow of a man named Sam Fiedel, who
was a jobbing bass player in New York for over 50
years. He played on a bunch of CBS sessions with
every major conductor in New York. He got to know
Jean-Jacques, as a lot of other people did, through
Carroll Music. “Who’s this crazy Frenchman, making
wild sounds at the end of the hall?” They made this
great album called Musique Electronique Du Cosmos,
featuring the first version of “Chicken on the Rocks.”
Sam Fiedel passed away in the ‘80s, but his wife,
Dorothy, said she’d meet me at the family house in
Pennsylvania, and we’d look in the attic. We pulled all
these boxes of tape out; hundreds of reels. I said, “I’d
be be happy to archive your entire late husband’s
collection, in case there are some Jean-Jacques
m
Perrey productions on there. I’ll give you your late
husband’s archive back as part of the deal, just a
co
freebie.” We pulled out this box, like with a crowbar
to open it up, and there was all the Jean-Jacques and
Sam Fiedel collaborations, with all these great little
drawings of cartoons, and aliens, and spaceships on
it. Right after Jamie Howarth had spent three days
restoring the best vinyl version of “Chicken on the
Rocks” that I could find, we found the master tape.
I’ve then systematically gone and had Steve
[Rosenthal, Tape Op #66], at The Magic Shop, transfer
all of the tapes – all the Sam Fiedel tapes, all the
Jean-Jacques tapes, all the Harry Chamberlin tapes
that the family had given me. The Chamberlin archive
is mainly Markus Resch in Sweden, who’s taken over
the Mellotron company from David Kean. He has the
main archive.
It’s so important that this be preserved
while it can.
Things get scattered so easily.
We need to get this backed up so that it
can be studied.
And have processes in place. When you go to digitizing
things, those processes need to be foolproof enough
that it doesn’t become yet another generation that
gets scattered and lost. I guess that digital information
is more susceptible to corruption over time than these
analog sources that have given us 60 years. You
wouldn’t say that about a corrupted digital archive.
What else is up in the future with you?
Your new album, of course.
Yeah. I really do hope that the new album might be a
launching pad for the spirit with which I’m trying to
do these other projects – the archival presentation
revival aspect of the projects [in order to] celebrate
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 people who are potentially less heralded. They
deserve a bit more attention, or pockets of
their work deserve more attention, than has
been given. If my original music can even be
a door opener, a little doorstop to let a little
light in, then maybe that will lead to work I
want to do, which is to actively shine a light
on those things. I feel like the projects need
to have their own integrity, in their own
space; but I’m obviously aware that I
potentially have a profile that could introduce
people to things that they don’t know about.
In my heart of hearts, I do hope that my Gotye
record can start connecting some threads with
the archival things I’ve got in the future.
Back to The Basics
It’s a three-piece rock-and-roll band. We were
playing beer barns, doing covers, and doing
originals, traveling around Australia, and
booking our own tours. [I play] drums and
sing. I hadn’t played live for two years. When
I met Kris Schroeder, who I formed The Basics
with, I’d really missed playing the drums. I
had enjoyed what felt like a detour, at the
time, using computers and sampling records;
but at the same time it was really exciting to
play drums, listen to The Beatles, and write
our own songs in that style. Any spare time
outside of the cafe or library jobs that I had
at that time, we’d be doing shows, or I’d be
in my bedroom making more tracks.
<www.thebasics.com.au>
I love that you’ve taken a
successful thing that happened
to you and put a lot back, too.
That’s definitely part of it. I feel like it’s a
total cycle.
In the culture we live in, it’s easy
for someone to get a lot of fame
and become self-absorbed.
I feel like that in a way, sometimes. Being self-
absorbed in things that are perhaps very
unusual or peculiar to people. Part of my
motivation must be that if I do really good
work, then the peculiar aspects of things that
I’m into may be enjoyed by more people. If
you feel a personal passion for something, and
you are blessed to have the time (or various
resources: time, finances, support,
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collaborators who share your enthusiasm), you
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don’t know where it could go. That’s really
exciting. If some part of you says, “I wonder
if the Ondioline could come back?” It could be
some new accessibility to musicians,
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producers, or studios to be used to make new
music. That would be amazing! r
<gotye.com>
en
<https://forgottenfutures.bandcamp.com>
this interview is also available as a podcast at
<tapeop.com>
32/Tape Op#124/Mr. Masucci/(continued on page 34)
Stephen Masucci
Restoring the Future
by Larry Crane
who has a CNC [computer numerical control]
machine shop. Another friend of mine is an expert
in 1920s and 1930s tube technology. Then one
other friend is an expert in 18th and 19th century
fine wood restoration for museums. I didn’t do this
all on my own.
Technician, musician, and recordist Stephen Wally hinted that you were at a point
Masucci has been a friend of Tape Op for many too where you were a little bored
years, helping set up interviews and turning
with some of the same restoration
us on to some great people. His band, The Lost
Patrol, has been a favorite listen around the work you’ve had over the years.
office as well. But his real skill is rebuilding Not bored, but it was starting to become same-y. I
synthesizers, consoles, and all kinds of gear. love doing it, and I love putting something back in
And working for Gotye/Wally De Backer [see his the hands of a musician. The payoff is not that I
interview this issue], Stephen has restored restored the unit, but rather can the musician make
over six Ondioline keyboards; a rare French music with it? Does the console let them forget
proto-synthesizer.
about the console and make music? It’s great to
How did you end up in the music preserve the artifact and make it a functional,
instrument, console, and keyboard playable, tunable musical instrument that’s
restoration world? reliable. But the real payoff for me is when a
I was always a big fan of people like Wendy Carlos, musician or producer gets to do their work and
Isao Tomita, and such. As we headed into the ‘80s they’re excited about it.
a lot of that synthesizer gear was being thrown The Ondioline is very expressive and
away. People were buying [Yamaha] DX7s, and you has its own unique voice. Bringing
m
could get a Minimoog for $200 in pretty much mint those back to life is a way to bring
condition. I had some instruments I’d come across, back music that would never be
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but I couldn’t afford to get anybody to fix it. I did heard otherwise.
meet Walter Sear [Tape Op #41] very early on, who Absolutely. If Wally didn’t do this, this would be lost.
became a mentor in electronics for me. A college I A lot of the music that he’s doing with this
was doing some work for had a Moog synthesizer, Ondioline orchestra has never been played live. It
l.
and they were like, “Would you like to try to fix was all studio recordings for a film or TV show. It’s
this?” I said, “A Moog synthesizer!” Other people a really unique situation for me. We were very
had this type of gear, and then they started getting careful to make sure the restorations were
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my phone number. I like doing restoration where complete and remained as authentic as possible.
people say it can’t be done. Of course it can be There’s essentially no modern work-arounds on any
done; we went to the moon! It’s just time and part of them. I didn’t cheat anywhere. There’s no
doing the research. component that wasn’t a part of the original
m
You restored some Helios consoles as machine. There’s nothing in there that isn’t really
what would have been shipped from the factory.
@g
well.
I did a couple of Helios. I’ve done lots of custom work What kind of methodology do you take
and builds. with a job like that?
How did you and Wally meet at the The whole device comes apart completely. I take lots
35
beginning of this whole Ondioline of photographs and notes. If you look at the
restoration? circuitry, the inventor, Georges Jenny, was certainly
He’d been enamored with Jean-Jacques Perrey’s music thinking outside of the box on this thing. It makes
sense as a whole system; but when you break it
for years, and he found this instrument was at the
core of it. He quickly discovered how rare they were down, it’s very inventive and clever what he did. It
and that none of them really worked. He finally has multiple axes of expression, and it’s all
found one in Connecticut, of all places, that had simultaneous. It’s a very electromechanical device.
actually been in a flooded basement. You can What were some of the hardest parts of
actually see the waterline on it. He got my number restoration?
through Brian Kehew [Tape Op #93] or [musician] A lot of the plastics that he used deteriorated or
Rob Schwimmer. He brought it over, and I felt, shrank and crumbled from age. I’ve done six or
“Well, I can’t make it worse. Let’s have a go.” It seven full restorations, not all the same model. It’d
was already so bad. I kind of did a half-truth and be depending on what materials he used and how
said, “Yeah, I have fixed worse than this.” And I far they’d degrade. We’d make new parts that were
have fixed some pretty bad things. I had to learn the exact same part, just with a current material,
about the materials. The only reason I’m able to do with plexiglass or an acrylic of some kind. All the
this is because I have an amazing machinist friend shielded wire has to be replaced; because in the
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 wire they used, the insulation breaks down so it’s I doubt that Georges Jenny made more than a few
shorting out signals. Tube sockets had to be replaced. hundred of these. They’re all handmade. I guess it
Everything basically is original, except the electronic evolved, or he may have made slight variations for
parts that you need to make it work. Wally’s an certain buyers. Even though some of them look very
incredibly smart guy. He’s really aware of what he’s similar, there are subtle variations in construction
asking for and that it’s a bit of, “We’ll have to learn and circuitry in all of them that I’ve seen. No two are
as we go.” Especially the first one. That was kind of exactly alike.
cool, because it was almost a worst-case scenario. We Do they all play and function in the
were really in deep on the first one. Once we got that same way for the musician?
first one up and running, it was tuned and reliable, Yeah. Because of the music he’s doing, and the era in
and he could do concerts and recordings with it. We which it was done, he needs the latest version of the
then felt more confident with the other models as tube Ondioline, which is like a 1954 or ‘55 model. In
they’d show up. 1957 Georges Jenny published a booklet that
How were other ones being sourced describes the whole principle of it and goes into the
when it was so hard to find the circuitry. It doesn’t cover all models, but Wally had
initial one? this entire thing translated meticulously. That let me
I guess people figured out that this was the guy. “These zero in on a couple problems, because there are a few He actually sells all that. You can’t get the Ondioline
instruments should be in his hands, because he’ll things that aren’t on the schematic but are in the Orchestra t-shirt yet, but you can get the full English
make sure they’ll live again.” text. There was no alignment or adjustment translation of the whole technical manual [Above].
Have any other Ondioline owners procedure for certain things. We know the arrival What’s amazing is that people come to see the
contacted you about restoration point, the destination; but we were not sure how to concerts and they’re literally being shown a piece of
work after all of this? get there. I have pages and pages of notes and the future they never saw. On his first show of the
The other two Ondioline owners? It’s a pretty exclusive diagrams in my own notebooks of how we did it. Ondioline Orchestra, Wally flew the inventor’s daughter
little club that Wally’s living in! I’ve been so busy with Is there a plan or a way to document all over. I guess she was too young to appreciate what her
Wally that I haven’t had a chance to look at others. I this information for the future? dad was doing back in the ‘40s and ‘50s. She’d never
don’t want to say we’re confident, but we know more Oh, yeah. Wally’s meticulous in his research and heard it live. During the show, she came over to me
than we did when we started. I could take on other documentation. He’s made it very clear to make sure with tears streaming down her cheeks, saying, “I can’t
ones, and people have called me about them already. that we save all the photographs and keep all the notes. believe my father’s instruments sing again!” There’s a
massive emotional response. r

m
Wally said you would find little bits of Wally sent me the booklets and
information about modifications information he’s produced copies of. <thelostpatrol@aol.com>

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that were made to each version. Special thanks to Mike Buffington for the Ondioline line art and this month’s cover art
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34/Tape Op#124/Mr. Masucci/(Fin.)

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 German composer and
Christina Kubisch performance artist Christina Kubisch
has created electronic and acoustic
The Hidden Sounds music for installations since the ‘70s.
Her work focuses on finding sounds
where no one expects, and her
experiments with electromagnetic
by Larry Crane induction as a sound source began
in the ‘80s. In September of 2018,
Christina will teach a tempting five-
day course at France’s CAMP – an
arts residency high in the French
Pyrenees – on recording,
composing, and making
installations. Students will work on
“connecting sound and space,”
based on sound material recorded
with hydrophones, electromagnetics,
and contact microphones
“uncovering hidden sounds.” A
recent split LP with ELEH features
her track, “Tesla’s Dream,” and her
double CD collaboration with Annea
Lockwood, The Secret Life of the
Inaudible, is out soon on
Gruenrekorder.

m
The process of presenting a sound It depends very much on the site specific situation. I electromagnetic signals around us every day. In my
installation and making a recording like a “placement” that does not mean sitting in a performances, I create some of these sounds by

co
must pose differing audio challenges. definite row of chairs, but [rather one that] makes it using specially developed magnetic detectors on
The recording never is just a “recorded” installation. It possible to move around (without disturbing others) objects. I discover and translate electromagnetic
has its own time. Composing an installation is while listening to different combinations of sounds signals into the audible spectrum in the performance
and speakers in the space from various angles. room, walking around with my equipment. I use
l.
different from composing a piece of 60 minutes or
so, even if there are similarities. How do you capture “hidden sounds”? wireless sound transmission to make the electrical
W h e n c a p t u r i n g t h e f e e l o f a n I use equipment which makes audible what you cannot fields audible.
installation, what are your thoughts hear usually. The hidden sounds, like electromagnetic What studio spaces are you currently
ai

on listener perspective? waves. Equipment includes [everything from] cheap utilizing?

microphones to sophisticated recording gear, and I had worked many years at the Elektronische Studio der
electromagnetic coils to military hydrophones. TU Berlin [Technical University of Berlin], while it
What is the “electromagnetic sound was directed by Folkmar Hein. When he left, only
m

induction system” you use? students of the university were allowed to use it, and
@g

It was discovered around 1830 by Michael Faraday in
England. Nikola Tesla continued the investigations,
and invented a telephone amplifier in Budapest in
1871. It works like the first electromagnetic cube,
35
the studio has lost its importance as a place of
international creation of soundworks. Now I have a
small, 4-channel studio by myself. And, as a member
of the Akademie der Künste Berlin, I can use their

which I discovered by chance and used first in 1978. production studio – a fantastic place – when I need
I admire the work of Tesla a lot. My system with the to do larger, multichannel productions.
custom-made electromagnetic headphones works From listening to some of your works, I
like this: every current in an electrical conductor assume there is a degree of sound
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(“wire”) generates an electromagnetic field. These manipulation going on.

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currents may be “musical” currents in a sound I very rarely manipulate a sound electronically. I try to
installation (like the currents running through find interesting sounds while investigating the
loudspeaker cables), or they may come from all sound sources and how to record them. Sometimes I
electrical activity in electrical cabling, power move the mics or my body while recording. The
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supplies, or any other device. The magnetic sound source is always most important to me.
component of these fields is picked up directly by I’ve noticed a few synthesizers in your
sensor coils. After amplification, the signals will be compositions. Do you have a favorite?
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made audible by the speaker systems of the I have only one, from the ‘70s. It’s an original EMS
headphones. I pick up everything that surrounds us, Synthi AKS. I used it for my last radio play about
from digital signals to old trams, from power lines to Hermann Scherchen this year. [Schall und Klang: Die
a data center, from light advertisements to hidden Experimente des Dirigenten Hermann Scherchen]. It’s
signals and so on. There are more and more a wonderful instrument.
36/Tape Op#124/Ms. Kubisch/
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Ms. Kubisch/(continued on page 38)/Tape Op#124/37

 Do you prefer analog or digital recording
platforms?
Analog procedures have a different perception of time when I work;
the eye is less active, so the ear is more involved. Digital
techniques are the reality nowadays, so I use them. I am not
nostalgic, but I sometimes miss the physicality of working with
tape machines. I just finished a record in collaboration with
Annea Lockwood, and we both remembered performances in the
late ‘70s with big heavy Revox [tape] machines. It felt like
playing a musical instrument. r
<www.christinakubisch.de>
<www.campfr.com/christinakubisch>

All photos courtesy of

Christina Kubisch
from her installations

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38/Tape Op#124/Ms. Kubisch/(Fin.)

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 Dan Molad
Emotional Output

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or for his current solo

Mo lad ma y be bes t kno wn as part of the band Lucius, , collaborator, and
Dan ducer
s also been involved as a pro zabeth & the Catapult,
release as CHIMNEY, but he’
m

. JD Mc Phe rson, Eli

sting artists
musician with a lot of intere Go Magic, and, of course, Lucius have all benefitted
@g

Fermi n, He re We a jingle for

Pavo Pavo, San ’d me t at my studio while working on
exp erienc e. We kpot! Recording
from his studio ile vis itin g Portland he dropped by Jac , Nudes – a
yea rs ago , so wh
Larabar a few Lucius album
Be sure to check out the new
Studio for a pleasant chat. two days at Electric Lady
35

ust ic record they tra cked in

lovely, live-in-th e-stud io, aco
Studios in NYC, with engineer
Joe Visciano. interview and portrait
music and recording? pretty good ear, but by Larry Crane
How did you end up in e real musical virtuosos. I cou
ld play alright, and I had a
te. to assimila Jess Wolfe & Holly Laesssig
l

friends who wer I got into recording as a way

Growing up, I had a lot of bedroom” type musicians.
all these people were “loc k the mse lves in the ir
Houston, called The Hig h Sch ool for the photo courtesy of Luciu
forming arts high school in
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in into a wel l-kn own per ater tech ope ning. I learned
My mom found an ic openin gs at the tim e, but there was a the
Performing and Visual Arts.
There were no mus out in the jazz room. Then
, but I end ed up skip ping class a lot to go hang
a lot from that program abo
ut perform ing icians, as well as people who
the re were a bun ch of different types of mus My
I went to Berklee [College
of Mus ic], and I grew a lot, and I got better.
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mus ic but wan ted to get into engineering or synthesis. drumm er, and I
didn’t even know how to play er, I wasn’t really a
had all the se littl e hole s; I wasn’t really a guitar play pro gram ; I was
credentials were strange, and and Enginee ring
doing the Music Production
r. In fact, I never ended up
wasn’t even really an enginee
en

in Music Synthesis.
That’s interesting. master class and take home all these new methods of
They share all the same prerequisite classes, up until working, and then implement them in my own projects.
about the second or third year. Then summers [home] It’s so fascinating to learn how other people operate
from college I interned at West Side Recording Studio and do things, whether it’s on a technical or
in Houston, where I grew up. I was learning Pro Tools psychological level. It’s so much more about the
by recording my friends. When I was in college, I relationship you develop than it is necessarily about
started a band called Via Audio. We toured a little bit “what you know.”
and got a record deal with SideCho Records. We got Coaching someone’s performance, or
noticed by a couple different producers, one being catching, “Hey, that drum part’s
Chris Walla [Tape Op #19, #111] from Death Cab for kind of weird. Do you want to
Cutie, and Jim Eno from Spoon [#27]. They were both rearrange that?” That’s what
saying, “Make a record with me.” We ended up going makes great records.
to Austin, and we were one of the first bands to make Yeah. Lucius just did a little bit of recording with Richard
a record at Jim’s new studio, Public Hi-Fi. Have you Swift [Tape Op #120].
been there before? I thought he said you guys were coming
I was there back when it was in the down when I interviewed him.
garage. Yeah. We talked about Bob Dylan records, where you
Oh, wow. can hear the popping of the mic, like the ‘P’ plosive.
I went back right after they were No one thinks about that when you’re listening to
opening the new space, to say hi to Jim those records.
and Britt [Daniel]. It was like, “Oh, Yeah. What does that matter, really?
this is different!” When did you meet Holly [Laessig] and
Yeah, he really did it right. It was so great. I got to learn Jess [Wolfe] and join Lucius? There must be a lot more attention
a lot from watching Jim operate. That was also sort of I met Jess in college, but didn’t get to know each other
around the time I met Elizabeth Ziman, and we until a few years later. After college, Elizabeth & the
started Elizabeth & the Catapult. Eventually I left Via Catapult were playing a show in New York at City Winery
Audio to pursue the Catapult full time. We were and Lucius were opening. Jess and I reacquainted at
playing all the Lower East Side venues; The Living the show, and a few months later we started dating. A
Room, Pianos, and Rockwood Music Hall. We got the few months into our relationship, Jess asked if I would
attention of Blue Note and Verve Records. This was help her and Holly explore trying to give Lucius a more
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right around the time when there were lots of female aggressive sound. The two of them had already put out
songwriter artists who were emerging, like Norah a record [Songs From The Bromley House] that was more
Jones, The Bird and the Bee, and Ingrid Michaelson. adult alternative.
We ended up signing to Verve. Elizabeth and I were in A little straighter than now?
l.
a relationship at the time, and we were in a band Yeah. Jess wanted to make something they could dance
together for two records. The first one [Taller Children] on stage to. It became this exploratory thing with the
we did with Mike Mogis [Tape Op #51] in Omaha. I girls and me, where I would show them an instrument,
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started producing the record before we got signed, but or play a part, and be like, “You mean something like
passed the production duties to Mike once we began this?” They’d say, “Yes, yes,” or, “No, no.” It was a lot
working with him. At Mike’s studio, we ended up of me jumping around on different instruments,
getting to this place with the record where he was coaching them a little bit, and then them coaching me
m
starting to mix, but we were running out of time and on what they were trying to do. I guess I have this
thing of being in bands, but as a producer. It’s like I’m
@g
we still had things we wanted to record. He was like,
“Go in the B-room.” I got to learn on his ‘70s API an MD in the studio or something. I also brought in
console, futz around, and work with all this cool, old Pete Lalish [guitar, formerly also of Elizabeth & the
gear that I hadn’t really had much experience with. Catapult] for a session. They loved Pete, and we all got
35
I’ve made a bunch of records there since. along well. We finished this album that was mostly the
He’s a bit of a gear hound, I hear. two of them and me, which became the first
He is, for sure. We released that record when I was touring incarnation of the Wildewoman album. We brought it to
with the Catapult. Elizabeth and my’s relationship sort Shawn Everett to mix. I introduced the girls to Tony
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of faded as a couple, but we tried to stay a band for one Berg, and he let us use his space and work mostly with
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more album [The Other Side of Zero]. We ended up Shawn. Tony was around for some of it too. After the
making that record with Tony Berg [Tape Op #121]. I record was done, and Shawn had mixed it, we were
met Tony, and Shawn [Everett, #115], who was his getting the band together. Pete ended up being a part
engineer at the time. It was another experience where of it, and Andrew Burri [guitar] was in, playing some
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I got to learn so much from two brilliant guys. I’d never shows. It was like, “Maybe we should re-track a couple
seen someone engineer in Pro Tools as fast as Shawn. of things and make this a real band record.” We re-cut
It was quite a sight to behold. Tony’s a real teacher; he a third of the record, and then Shawn mixed it again.
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loves to foster talent. Through all those experiences I That ended up being what was the “real” debut record
realized that in any band I’ve been in, even though I of Lucius, even though the girls had released another
have the ability to record and make arrangement record before that. They wanted it to feel like it was a
choices, if there is an opportunity to work with rebirth, because they’re just such different records. That
someone else, I will always take it. I get to have a turned into two years of touring.
Mr. Molad/(continued on page 42)/Tape Op#124/41
Were you even envisioning that that
could happen with this band?
I don’t know what I envisioned, but I had never really
been in a band that went beyond a start-up level. I feel
like I really love building things from the ground up. I
take something where someone says, “I don’t really
know what I want this to be,” and help them figure that
out. Now the girls know much more of what they want.
We go into the studio, and they have their songs and a
really strong vision.
Lucius is definitely a really unique band.
On one hand, I like being a little bit in the background.
The amount of responsibility that goes with being a
front person: having all that attention, talking to all
those people, and saying all the same things in
interview, after interview… It seems nauseating to me.
I got to experience a little bit of it with my solo record,
and that was part of the impetus of me wanting to do
it. I never would have thought that any of this would
get to this point. I still pinch myself thinking about it.
Now that Jess and Holly are on the road with Roger
Waters, it’s out of this world.
folding back on Lucius because of his
tour.
I think they knew that going into it. They sing lead on
some songs. It’s been a year now, and then there’s
another eight months of commitment that they’re
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involved in.
I’ve never seen backing singers that are a
presence on the stage in the way that
they are. When they get to “Great Gig
in the Sky,” people are crying.
I’ve seen the show now seven times. I can look around at
the audience, instead of looking at the show, and I can
think, “There’re 12,000 people here who all now know
who Jess and Holly are.” That’s totally insane.
After all that touring for Wildewoman,
Lucius did a second record [Good
Grief] with Bob Ezrin [Tape Op #31],
Shawn Everett, and you working on
it. How did Bob Ezrin come around?
Bob was a recommendation from Tony Berg. We were
talking to Tony, and asking him who he thought might
be a good person to collaborate with Shawn, because
Shawn is a sonic painter. He’s grown a lot since making
our record, but Shawn thinks texturally; that’s his strong
suit. We wanted to get someone involved who was more
of a “song” person; someone who thought in a more
zoomed-out perspective. The girls and I met with Bob,
and had a really great meeting. At the time that it all
ended up coming to fruition, his dad had gotten really
sick, so he wasn’t really around that much. It mostly
ended up being just Shawn. I think we were in the
studio with Bob for only a handful of days. We ended up
gelling with Shawn. We had this box, called the Marnie
Box. Before we would start recording any song,
everyone would write down a couple of other [artists’]
songs that they felt, in some way, could inspire
something in the particular one we were working on. We
would anonymously put them in the box. Shawn would
pull out a song and play it on his phone. No one would
know at first whose song it was, but we were all
 guessing whose song choice it was. We would just start went to Cleveland to the Beachland Tavern, opening “Help me come up with a verse,” or, “What do you think
talking, “What is this song making you feel, or think for JD. We played a handful of more shows for him, of these lyrics?” I had to learn and study his influences
about? What do you like about, or not like about, the and he was really nice. We stayed in touch and to get on the same page. You want to make something
song?” Shawn would listen and chime in, but mostly remained friends. Down the line he ended up opening original, but you want to tip your hat at the right angle.
he’d just listen to us discuss it and things that we would for us, serendipitously. If you tip it a little too far, then it’s like, “Oh, you’re
hear. We’d have this huge whiteboard with random That happens in this business. ripping it off.” But when you can get it just right, and
thoughts and ideas on it, everything from dolphin calls, When we did the last tour with him, a handful of shows, people feel that connection because it’s nostalgic but
to wood instruments, to loud sirens, to “make it rock.” I said, “I’d love to do something with you sometime.” also fresh, it’s the most satisfying feeling.
It’d be super out there. Then we’d reference the board as He said, “Man, I’d love to also, but I always assumed Does that feel different to you than
we recorded the song. Sure enough, as soon as we’d be you were too busy.” I was like, “Ask me! I want to do something like Lucius, which
done with the song it’d be like, “Yep, everything is things.” It was this culmination. He was looking for a is future-forward in a way? Lucius
there.” It was great; I loved that so much. producer, and he had just signed to New West Records. is a band where it feels like
Where did you work at? He told me that he had made friends with someone at anything’s viable.
For Shawn’s sessions, we did it all in his space in L.A., the Country Music Hall of Fame who was offering RCA Right. It’s funny now. We’re starting to work on the third
Subtle McNugget. The way that Lucius works is that Studio B to him. I guess they were some fans who record, and now it’s all about simplifying. We are
the girls write the songs, and then they give them to were engineers in-house at that studio. It was a funny actually creating some parameters. I mean, I’m proud of
Pete and I. It used to be Pete, Andy, and I, but now situation. He had this friend, Scott McEwen [Fry both of those records we made. I think there’s a lot of
it’s just Pete and I. We take their GarageBand demos, Pharmacy Studios], who’s a really great engineer. At originality and a lot of, like you said, this future sound.
tear them apart, and put them back together. We’ll Studio B there was barely any gear, so Scott trucked I still want to keep that as part of our MO. I don’t want
record parts. Maybe if we feel like, “Oh, this is a cool in his tape machine, some Ampex preamps, and all to make something that someone’s heard before, but I
harmony that doesn’t quite match the melody,” we’ll this old analog equipment. We thought we were going also think there’s a certain thing we do live, when it’s
try and switch a note, which they don’t always love. to do the whole thing to tape, but the tape situation just the four of us, or, in more recent performances, the
But occasionally it works. Then we present it to them, wasn’t really working, so we ended up recording on my six of us. When we’re left to our devices there’s no
and they either love the ideas or they don’t. Then we laptop. We still went through the transformers of the technology involved. We’re just playing the parts we
have these “demos on steroids.” I’m recording in a hi- tape machine, and we still had the room, the chamber, know; there’s an ebb and a flow, and we’re not spot on
fi fashion. What’s great is that we go into the studio the plates, and the spring reverb. JD is a revivalist; a click. I really want to capture that. I definitely learned
and we have the “girl’s demo,” we have the “boy’s he’s got this classic thing, and everyone in that band a lot from JD; I’m so grateful for that experience. I feel
demo,” and, at any point, we can pull from any of are all music historians. They all can communicate in like I put a bit of future touch in there. There was a lot

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those sources. Good Grief ended up being a compound this way of, “I want the drum beat from this Ray of hit and miss in learning how far I could take it. There
of some of the parts the girls recorded, some of the Charles song, but combine that with this Eddie were a couple of songs where, for example, I brought in

things we recorded, and also from Shawn’s studio. The
music that we demoed was at this rehearsal space
called Bedrock.LA. We reserved the room for about a
month, and it was so noisy from all the rehearsal
rooms surrounding us. In some of the recording rooms
you could hear the rumbling of someone playing
“Enter Sandman” leaking through the walls.
Cochran acoustic guitar part.” They’re referencing
specific tracks. Meanwhile I was pulling out my phone
and getting on Spotify to check what they’re all
referencing. I know those artists, but the specific
l.
parts from specific songs? I think he wanted to bring
some modern edge to what he was doing. He’d
observed my contribution to Lucius, knowing that I
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co
full string arrangements and they were just nixed. It
was for the better. The record seems to be well-
received. I believe in all those guys and JD so much.
You were working on CHIMNEY, your solo
project and album. How did that start?
Was it just bits and pieces, or was it a
concerted effort for a release?

That can be dangerous. wasn’t this big hotshot guy and that I would just be I started working on that at the same time we started
It was definitely hard to clear the mind amidst that. We’d eager and willing, and wanting to make it work. working on Lucius’ Good Grief. We had just moved to
also just gotten to L.A. It was just a cheap place where Yeah. You’re not going to impose L.A., and I didn’t have a proper space yet. I have a
we could make loud noise. What we ended up realizing some kind of overwhelming buddy, Ben Pacheco, in Santa Monica who’s got a
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is that if we went there early in the morning – between working structure. music house called Future Perfect Music. He said, “You
10 and 12 when they first opened – no one was around He sent me demos, but the demos would be a guitar part. can move all your gear into my live room,” which
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because musicians don’t wake up that early. That’s how There were a handful of songs, but a lot wasn’t finished. wasn’t a very big room. But I could come in after
that record was made. We’d be tracking a rhythm section, which would be a hours and work on music. I did it as this thing where
That’s a more modern process. The demo bass line and drum groove that had just been decided no one’s telling me what’s right or wrong. I was
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tracks don’t go away.
I feel like you hear it every time you talk to more and
more people these days. I’d read something with Kevin
Parker [Tape Op #95] from Tame Impala, where he said
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in that moment. He’d play a guitar riff and ask, “Do you making all the rules. It was very selfish. I just wanted
think it’s too slow?” I had no way of knowing. “You’re this cathartic release of music journaling. Right
asking me if a groove is too slow?” It was this push and around that time I had lost a really close friend, Harris
pull of learning his process. At first it was a little Wittels, who was one of the people I was really

that something from his demo always ends up being in frustrating, but what I’ve come to realize over the years excited about starting to strengthen my relationship
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the last incarnation [of the song]. from making records is that everybody has a different with after moving to Los Angeles. Unfortunately, he
What prompted the move from Brooklyn process, and there’s no wrong way to make music. passed away. But I went to see his family and we were
to L.A.? Maybe someone doesn’t gel with someone else, or you all cleaning up his house. His guitar there; this really
Jess is from there. Eventually we were either going to go to find someone else’s process frustrating; but if you ride beautiful, old, beat-up Kay. His family said, “Dan, do
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where her family was from, or my family. It just felt like the wave and learn how someone else might make an you want this?” I wrote the majority of this record on
L.A. made more sense. There are more avenues for work. album, you’re bound to discover something about it, and recorded with it. It’s like this form of letting
You produced JD McPherson’s Undivided yourself and gain a new knowledge of how to work in go and releasing. There was never an intent of me
Heart & Soul album. It’s fantastic. How
en

did that come about?
Thanks. JD was the first person who was an artist of
note to say, “I’m going to have Lucius open for me.”
I remember our first gig with him in 2012 or 2013. We
42/Tape Op#124/Mr. Molad/(continued on page 44)
an interesting way. Something I didn’t anticipate was
that I got to be a part of helping write some music. I
got to be involved at this angle that I wasn’t
necessarily prepared for, but was so happy to be a part
of. This is really stylized music. When someone’s like,
trying to sell a record; it was completely for me. At a
certain point, I had eight or nine songs, and I
thought, “I should just make it an honest ten and call
it a full album.” I shared it with some friends, one of
whom was the guy who did A&R for us at Lucius’
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 Canadian label. He really liked it, and it became a real Lucius has always had some part of our set that is
thing. I feel like there’s never been a time where I
made music, except maybe in high school, where it was
just purely for the fun of it. Not to say that my music
is that, but where it’s purely emotionally driven and
there’s no motivation to sell something.
But like with the new Lucius record,
there’s a lot hinging on it. It’s been
moving forward and getting larger.
You don’t want to put out an album
that would let the band down.
It’s like trying to meditate in Times Square. There’s so
much more noise. I think people get much more critical
of the second, third, and fourth record of any artist. It
is so much harder when there’s pressure around it.
Sometimes fans don’t think about the fact that this is
now the artist’s livelihood. They’ve stopped doing
whatever in their life that might have provided them
with sustenance, and this is now what puts food on the
table. You’re supposed to retreat into this place of
emotional output with all of that hanging over your
head? It’s not easy.
Do you have a home set up now for Right now I’m working on a record with this band called
recording?
Well, I’ve got a bunch of gear in an attic, which is a
collection of things I’ve used at other places. That’s
another great thing about getting to work with other
producers in other studios. I’ve tried all this gear, and
I end up finding the things I like the most. I got these
Coil Audio preamps [CA-26] that have been my new
studio staple. Everything’s going through them.
Big tube mic preamps.
Yeah, and they’re cool looking too! The whole negative
feedback circuit is so interesting, as well as the way
l.
that it interacts with different sources and different I saw that movie. I was working with Fred
microphones. It’s a lot of options, with minimal
controls. That’s generally what I go for; flexibility,
ai
without a lot of knobs.
It seems like you’ve spent a lot of time
working out of other places and
following projects to spaces. Anyone
m
who starts to get busy enough has to
have somewhere to at least track some
@g
vocals, as well as do some mixing and
odd ends.
Yeah, I end up doing a lot of that at home. I’ve got good
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enough gear to make hi-fi recordings, but there’s no
replacement for a good room. I’ve gotten to work in
some really cool rooms. Either interesting spaces, or
well-tuned spaces. I had a lot of fun working at
l
Panoramic House on another Elizabeth & the Catapults
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record [Keepsake]. I got to record this band, Pavo Pavo,
who I made a record [Young Narrator in the Breakers]
with a couple of years ago at a studio in Woodstock <dinealonerecords.com/artists/chimney>
called Applehead Recording. We just finished their
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second album in Brooklyn at The Creamery Studio. I
enjoy alternative spaces just as much, because they
can totally influence and guide the shape of a record
en
in a totally different way. I think that’s the most
romantic way to make art.
What was the concept for tracking the
new Lucius album, Nudes?
44/Tape Op#124/Mr. Molad/(Fin.)
acoustic. In the past we have enjoyed playing intimate
acoustic performances in unique spaces, plus we always
try to play a song or two in the audience at our bigger,
more electric shows. It’s something that our fans really
dig. We took the concept of an acoustic album –
something I think our fans always wanted us to make –
and built on it a little bit. When it came time to mix the
record I told the crew that I would love to work in a
classic room, since the record was recorded in a classic
room, and to my surprise everyone was into the idea.
So I got to mix and record a couple of overdubs in
United Recording Studios’ Studio B, which was so much
fun. For the mix process, I would get a mix happening
on the console, and once I was happy I would print it.
Then, I would take the board mix, get the levels where
each track felt good hitting the Ampex ATR-124, and
then get a balance on that and see which mix I liked
better. In a couple instances the non-tape mixes won,
but for the most part the tape always added glue and
helped with harshness from guitar and vocals.
What’s in the future?
Don’t Stop or We’ll Die, which Paul Rust is in. He has a
show on Netflix called Love. I’ve been doing some
tracks with Hannah Georgas, a Canadian artist. I
started a record with The David Wax Museum. I’ve been
making some tracks with this band called Frances Cone.
m
I just finished a record with a band called Uni Ika Ai,
with Pete, the guitar player from Lucius. It’s his project
co
with his girlfriend, Maia Friedman. I’m really excited
about that. I’m working on some CHIMNEY demos. I’ve
done a lot of music for commercials, and the girls and
I recently scored a film called Band Aid.
Armisen [Portlandia, actor, drummer]
a while back and talked to him about it.
Fred is great; I really enjoyed recording him. I got to
record the EP of that band [The Dirty Dishes] from the
film. Fred, Zoe [Lister-Jones, writer, director, actor,
musician], and Adam [Pally, actor, musician] were all in
the studio together. Fred has recorded albums before,
but Adam and Zoe had never really been in a proper
studio making a record. It was funny to see them
stumbling around and being like, “Oh, so if I need more
of myself I turn up this?” But then they’d get in there
and sound like a real band. Zoe’s a workhorse. It’s
impressive to see someone like that. I really love doing
that kind of work. Post-production, sound effects, and
all of it. It’s all interesting to me. I like being a bit of a
chameleon and floating around, letting whatever that
might be interesting and new come through the door.
r
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 As I was recording examples of different types of mics as
drum overheads for one of my Lynda.com courses, I put the
R-10 pair up against small and large–diaphragm condensers.
Obviously, these three types of mics will sound different, and
they did. Ribbon mics over drums have always sounded kinda
off to me; too tubby with not enough high end. Initially, I felt
that way here, but as I listened closely to the three pairs, I
heard elements of the kit that the R-10 focused in on, that
the brighter condenser mics didn’t pick up as well. Slapping a
little Mäag Air Band EQ [Tape Op #96] lift on the Royers
opened up the sound immensely. (They always say ribbon
mics take EQ boosts well, and yes, they do.) I think I now
have a new drum mic’ing technique to pull out when needed.
I’ve never used a Royer mic that I didn’t like, and the R-10
The NT1 is an upgrade of the classic RØDE NT1-A [Tape Op
#39], and it sounds surprisingly present, with a really “up
front” sound. I’m hearing a bump around 8–10 kHz (so watch
your sibilance). There’s also a good amount of detail in the
lower midrange for a mic in the NT1’s price range, but with a
noticeable proximity effect. It would have been a plus for
RØDE to add a high-pass filter; after experimenting with the
NT1, I found the mic voiced best when placed a tad farther
from the source than I might with other LDCs. The NT1 is a
quiet mic, with an impressive self-noise rating of 4.5 dBA.
While I’m quoting specs, the mic’s max SPL is specified as
137 dB. It held its own on loud sources like guitar amps,
without the need for a pad in some instances.
To my ears, the NT1’s character seems very modern, with a

Royer Labs is no exception. I won’t be returning this pair any time soon.
I’m amazed that they can hand-build a mic in the USA at this
slightly scooped midrange. The included Rycote Lyre shockmount
with a detachable, double-screen, metal pop filter is probably my
R-10 ribbon mic price point, and I know many smaller studios and home favorite feature of the NT1. In addition to being one of the most
Twenty years ago, Royer Labs unleashed the “now classic” recordists will get decades of use out of these new, excellent durable shockmounts I’ve ever used, it’s super easy to adjust,
Royer R-121 mic [Tape Op #19], and (along with AEA) microphones. My advice? Buy two. You won’t regret it. with a large, thumb-twist-swivel-lock that doesn’t get in the way
helped point digital-weary engineers back towards the ($499 street; www.royerlabs.com) –LC of the mic stand. Popping the pop filter on/off is a snap. Many
welcome old-school sound of ribbon microphones. In 2010, manufacturers are “cheaping out” on shockmounts; the NT1’s
I reviewed the (now discontinued) R-101 [#80], which I RØDE included accessory is a breath of fresh air in that regard!
found a tad different from the R-121 with its reduced low- AI-1 Complete Studio Kit We had a great time multitracking songs with the Complete
frequency response, subdued proximity effect, and slight After focusing on making microphones for 50 years, our Studio Kit! The AI-1’s best assets are its sturdiness, simplicity,
midrange lift. It also cost less than the R-121. Last year, Australian friends at RØDE have just released the AI-1 single- and size. It’s so fun to use because the interface’s modesty
Royer released the R-10, about which Royer’s VP of Sales and channel, high-resolution (24-bit, 96 kHz), portable interface. and intuitive design renders it nearly transparent in the
Marketing, John Jennings, told me, “We will never be able The Complete Studio Kit includes the AI-1, along with RØDE’s creative process. The NT1 is a bona fide studio mic. Each piece
to offer any mic with a lower price point.” Unsurprisingly, new NT1 large-diaphragm condenser mic (with shockmount, alone is worth the price of the whole, so you’re getting a big
the R-10, at a 60% lower cost than the R-121, has been pop filter), as well as XLR and USB cables. You even get a free deal here with the accessories thrown in and a DAW for free.
selling healthily, and its users have been enthusiastic. My only beef with the RØDE Complete Studio Kit is that there’s

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download voucher for Ableton Live Lite. No need to go back
The R-10 is built around Royer’s typical R-series 2.5 μm, to the big-box stores to hunt for cables to start working. It’s no handle on the box. ($349 street; www.rode.com)
aluminum ribbon element. A key to Royer’s precision a portable studio in a box that’s ready to go. The only thing

co
–SM <scottmcchane.com>
manufacturing is the use of patented ribbon-corrugation missing is a set of headphones.
machines that they custom-designed. I’ve seen these The sturdy, black anodized metal AI-1 interface is about
Grace Design
impressive beasts in action, and it’s fascinating. The the size of a standard BOSS or Ibanez guitar pedal — maybe m900 headphone
l.
finished ribbon is suspended between magnets (so it can a tad heavier. Its faceplate is simple and easy to read. amp/DAC/preamp
generate voltage based on air pressure variance — that’s There’s a Neutrik Combo jack for XLR mic or 1/4’’ As we all know, it’s a new “personal listening” world out
how ribbon mics work, kids) and is protected by a three- instrument/line–level input, a 1/4’’ headphone jack, and there. The majority of consumers, especially younger ones,
layer windscreen and an internal shockmount. It’s shorter in two knobs to control preamp and headphone levels. Pushing listen to most of their music on earbuds or headphones,
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height than the R-101, yet retains a wider barrel, unlike the the preamp knob toggles phantom power, and a smart little instead of full-range speakers. What speakers they do listen
svelte R-121. It comes with a sturdy, screw-on swivel- LED indicates that +48 V is active. An equally small, but easy on are often pitiful little things hooked up to a computer or
mount, but without a standard external shockmount to read, multi-colored LED indicates input signal, turning red Bluetooth-connected to the smartphone. So, if you’re
(remember, it’s internally protected). recording, mixing, or mastering music these days, you have to
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for overloads. Pushing the headphone knob enables input

Royer shipped me a pair in December last year, and in monitoring — indispensable for zero-latency overdubbing. take very seriously the “personal listening” soundscape.
@g

typical Tape Op fashion, I put the mics right to work on a The rear of the unit sports a single USB Type-C connection Into this modern reality has come a new generation of
recording session without even testing them. And guess what? (the AI-1 is bus powered) and a pair of TRS output jacks. high-quality, powerful headphone amps with various feature
They worked out great! Initially, I didn’t even A/B the R-10 Note that plugging in headphones defeats the rear outputs sets. In the past, I reviewed the Little Labs Monotor [Tape Op
with ribbons or any other mics. I was happy with the results for muting your speakers. The bottom surface of the AI-1 is #117] and two headphone amps from Hafler [#115]. These
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as a mono drum-room mic and guitar amp mic for tracking molded in non-slip rubber. three devices, while offering different flavors of excellent
basics. My gut feeling was that the R-10, similar to the R-101, Integrating the AI-1 with my laptop and DAW was hands amplification, are all-analog, requiring an outboard DAC to
was less beefy in the lows on electric guitar than the R-121. down the quickest, most trouble-free experience I’ve ever had take care of conversion.
When I finally put all three mics up on a guitar cabinet, my with interface setup; it’s class-compliant, so there are no The new Grace Design m900 combines duties in a compact,
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feeling was confirmed. Voicing-wise, the R-10 has less throaty drivers to install, and the included “dummy-proof” Quickstart worksurface-friendly form, using its USB 2.0 interface to replace
lows on a guitar amp than the R-121, but also less midrange Guide has more pictures than written instructions. (An whatever suboptimal sound system is built into your computer
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bump than the R-101. This puts it tonally closer to the R-121 optional ASIO driver for Windows can be downloaded.) For or mobile device. It can also connect directly to coax or optical
in my book, but you can always flip the mic around and use most, the only challenges will be setting sound preferences S/PDIF outputs, like the pass-throughs of digital
the back of the figure-8 pattern to achieve a slightly brighter and learning how to use a mic. Headphone playback was monitoring/routing systems, the mini TOSLINK jacks hidden on
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tone, as Royer’s signature offset ribbon makes for different crystal clear and indicator LEDs were easy to see, despite their most Macs, or the outputs of CD players and other hi-fi
tonal output from the mic’s front and rear. By the way, I was tiny size. Controls are solid and well built. RØDE’s quiet, components. Aside from two 1/4’’ headphone jacks in front, the
cranking the guitar amp quite loud, and all the Royer mics detailed preamp boasts 45 dB of gain with more headroom m900 offers unbalanced RCA L/R analog outputs on the back.
sounded great in their own ways. The R-10 has a slightly lower than you’d expect for a device that can fit in the palm of your Control of the m900 is menu-driven via the large rotary
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output than the other mics, but it was not an issue. We also hand. Keep an eye on the AI-1’s level indicator; if it hits red encoder/pushbutton on top. There is a little two-digit LED
used the R-10 for strummy acoustic guitar overdubs with the even a little, you’re pooped — so use the headroom to your display to the right of the headphone jacks — a concession
player 3–4 ft from the mic. It sounded great, and the figure- advantage! The RØDE’s DI input was surprisingly clean, while to the unit’s price-point. (A less cryptic display would have
8 pattern resulted in even more roominess to keep the guitar its low-noise, smooth-sounding mic preamp matched well been preferable.) It takes a few readings of the small and well-
deeper in the mix and sounding cool. with the kit’s included NT1 mic. written manual to master all the menu options — worthwhile
46/Tape Op#124/Gear Reviews/ because Grace’s engineers built in some neat features.
 For starters, you have four options to shape the DAC’s
reconstruction filter: sharp rolloff with linear phase (“Best
for recordings that are loud, compressed, and with lots of
treble,” like pretty much all modern pop and rock music);
slow rolloff, linear phase (“Best for acoustic music without
compression and artificially high levels of treble”); sharp
rolloff, minimum phase (an alternative choice to filter 1,
with filter-induced ringing taking place only after
transients); and slow rolloff, minimum phase (very similar to
filter 2, but with the low-level filter-induced ringing taking
place after transients). I heard very subtle differences
listening with Sennheiser HD 650 headphones [Tape Op
#43], but the filter “personalities” were more pronounced
through Audio-Technica ATH-M50 headphones [#63]. Even
with loud/crunched music, I preferred filters 2 and 4.
Apparently, some distortion artifacts that might have been
caused by high-frequency information pumped up to digital
zero were less annoying than filter ringing, which sounds to
me like a faint spring-reverb “ping.” Alas, no filter setting,
nor a high-quality amp, could put lipstick on the sonic pigs
that are many overly loud modern releases.
As happens when I listen to a bunch of these albums, I
reflected on the seeming impossibility that the drummers lost
the war. (What? Drummers never lose arguments, do they?)
What I call “toothpaste” crunched waveforms hurt percussive
transients most, reducing drum hits to something akin to
slapping a sheet of newspaper. Modern engineers, please
listen back to some of the best rock albums of the ‘90s — you
can be loud and have drums that sound like drums. Start with
Rage Against the Machine’s eponymous first album, and Pearl
Jam’s debut Ten. But I digress.
Another interesting feature on the m900 is an analog cross-
feed circuit. The manual explains that it simulates the
experience of listening to speakers in a room, with sound from
the opposite channel arriving at each ear with a slight delay,
a lower level, and a frequency response altered by the
listener’s head blocking the direct path. I found this most
pleasing with old Blue Note jazz albums, where most
instruments are hard-panned to one side or the other. It was
also interesting with Beatles and Beach Boys stereo mixes.
But beware of a new perspective that may be disconcerting
(or falsely enticing) because it’s unfamiliar. Obviously, don’t
enable this feature while mixing if you’re trying to estimate
what others will hear while wearing their headphones.
The switchable filter and cross-feed features are likely
aimed more at audiophiles than audio engineers seeking
clarity and neutrality, but even the pros like to do some
pleasure listening. Speaking of the world of consumer
audio, it’s worth mentioning that the m900’s DAC handles
up to 24-bit, 384 kHz PCM, as well as DSD64/128/256,
depending on the limits of the S/PDIF or USB connection.
It does not feature the emerging MQA technology, which
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may or may not catch on.
I used the m900 regularly for a month as my go-to
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headphone amp, connected via USB to my laptop or to one of
my DAW computers. It worked reliably and consistently,
indicating its driver software is solid on Windows 7. (The
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m900 can operate in USB Class 1 mode up to 96 kHz without
driver installation on modern versions of Windows, macOS,
Linux, iOS, and Android. USB Class 2 mode on the m900
supports up to 384 kHz on macOS without driver installation,
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and on Windows with a free, downloadable driver.) The m900
had no problem producing all the SPL I desired in my
Sennheiser and A-T headphones, but it was unable to achieve
super-loud volume with my 600 Ω AKG cans. That said, the
AKGs were loud enough to listen to dynamic classical music,
and full output level on the m900 did not produce any audible
breakup or distortion. All my headphones sounded as I
expected them to sound, which tells me the m900 is on the
neutral side of things, as one would expect with a
professional-grade monitoring device.
To test the m900 against some other good headphone
amps, I fed it S/PDIF from my Benchmark DAC2HGC [Tape Op
#111], and the Benchmark’s analog balanced outputs were
connected to a Little Labs Monotor. I used a RadioShack SPL
meter to match output levels for my Sennheiser HD 650
headphones, and then spent an afternoon listening to music
I love and know, comparing the Benchmark’s built-in
headphone amp to the m900 and Monotor. The next
afternoon, I adjusted output levels for my Audio-Technica
ATH-M50 headphones and enjoyed more great music.
With both headphones, I preferred the m900 and
Monotor over the Benchmark’s built-in amp, but they
weren’t so much better that I’ll never plug into the
Benchmark again. The m900 and Monotor reproduced the
low end a bit better, making it sound less muddy/boomy. I
heard the distinct “fronts” of acoustic bass notes on jazz
albums and more “power stroke” impact of well-recorded
rock/pop bass. With kick drum, I was hearing more clearly
the initial attack. Not a night-and-day difference — but
very audible with both headphones.
Between the m900 and the Monotor, the sound
differences were subtle but present. My supposition is that
I was hearing more difference between the two DACs than
the two amplifier circuits. To my ears, it was two flavors of
accurate-and-reliable. Things sounded as they should out of
both, with the Monotor a bit more “fast” and “present”
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sounding, but with the Grace perhaps balancing out some
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mixes more as intended by the original engineer. On complex
orchestral music, the Little Labs amp presented clearer detail
or points of sound, but the Grace presented a total sound-
picture where the whole was the thing rather than a sum of
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parts. The differences were subtler than these words might
suggest — definitely not what my British friends call “chalk
and cheese” differences!
With a street price of $499, the Grace Design m900 lands on
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the value end of combo DAC/headphone amps. It has an
interesting and useful feature set, perhaps more intended for
pleasure-listening than critical pro audio work; but the
transparent quality of the DAC and amplifier, plus the
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calibrated and precision-adjustable volume control will be
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appreciated by pros. If the Grace engineers implemented some
of the Little Labs Monotor’s professional “monitor section”
listening options (like reverse-stereo, mono, and left-minus-
right), this thing would be an all-time killer-app device. (It is
35
firmware-upgradeable, so maybe some of these features can
be added in the digital realm.) The m900 is small, light, and
portable. Most importantly, it will drive a range of headphones
to comfortable listening levels and beyond, and you can trust
what you hear. Take it home, and it becomes the hub of a
computer-based music system, feeding headphones and
either a power amp or powered speakers. And it’s built out of
metal and looks good. What’s not to like?
($499 street; www.gracedesign.com)
–Tom Fine <tom.fine@gmail.com>
www.tapeop.com
see more of our
bonus/archived
reviews online!
Line 6
Helix Native plug-in &
Helix LT guitar processor
I’ve been using Line 6 gear since the company’s inception,
from the original POD, to the rackmount POD Pro [Tape Op
#22], to the later-generation POD XT Live pedalboard, which I
continue to use to this day. I even had a few of their pedals
in various live rigs over the years, most notably the DL4 delay
pedal, which still makes great sounds. I have a collection of
boutique guitar amps and enjoy coaxing a variety of tones out
of their tubes, but Line 6’s digital tech has always helped to
streamline my workflow during demanding deadlines — and
always with solid results.
Speaking of streamlined workflow, my latest experiences
with Line 6 are with the Helix Native plug-in and the Helix LT
pedalboard. Either of these products can stand alone as a
comprehensive guitar and effects processor — with enough
amp, cabinet, and mic models, as well as hundreds of effects,
for all types of music production. But the two products can also
work together, allowing seamless transfer of settings between
plug-in and pedalboard — to take the sound from editing and
mixing in a DAW, to live performance on-stage or in-studio.
The Helix LT pedalboard is ergonomic and visually sleek. It’s
solid and roadworthy, with a chassis made of matte black
metal; and it offers a straightforward layout of controls with
just a touch of futuristic vibe. The back panel has plenty of
options, including a two-channel expression pedal TRS jack
(which can also be used as an amp-channel switcher), guitar
input (with switchable pad and impedance), two send/return
channels, mono/stereo balanced XLR outs, mono/stereo 1/4’’
outs, ground lift switch, headphone jack, RJ45 Variax input
(for a Line 6 guitar), AES3 digital out, MIDI I/O, and USB port.
Thankfully, there’s an inlet for a standard IEC power cable —
no wall warts required. The connectivity options give you
pretty much everything needed for live dates or studio use.
On top, footswitch layout is straightforward, with two rows
of six footswitches that can differentiate between step, touch,
and hold inputs. Far left provides bank up/down. The top row
of A, B, C, D switches can toggle, select, assign, and scroll
through the blocks that make up a preset, and the bottom row
of switches can select the four presets in each bank. The last
two switches are for Mode (hold to edit) and Tap/Tuner (self-
explanatory). I love the heavy-duty footswitches — a big
improvement over the flimsy switches on some of my other
gear. The color-coded lights around each switch correspond
directly to the colors on the 6’’, high-resolution LCD screen
above, so you can tell in the blink of an eye what switch
affects what parameter — nice touch! I appreciate how easy
it is to navigate through amp models and effects, dial in
sounds, save/restore presets, and play/record guitar with this
box. It’s probably the quickest I’ve been able to get around an
amp modeler in terms of both programming and tracking.
Under the hood is Line 6’s dual DSP-powered HX engine,
which provides Helix LT with 72 amplifier models and 194
effects, including delays, reverbs, EQs, choruses, pitch-shifters,
and compressors, along with a host of speaker cabinets and
mics. You’ll find the usual suspects from Fender, Marshall,
Boogie, Soldano, Matchless, etc., and a few presets for bass
guitar as well.
From the LCD screen, you can see that Helix LT has two
internal signal paths that can be configured as parallel or
serial. Up to 16 simultaneous effects are available per path, as
the parallel routing can also be used as one long serial path.
Up to 32 blocks can be added in total, DSP permitting. 1,024
presets are included, and they give a good idea of the different
Gear Reviews/(continued on page 48)/47
 amp models, effects, and tonal versatility available from this
box. Compared with other modeler interfaces, making your
own custom patches is more intuitive and much quicker. I
like how you can easily move around the amps and effects to
reorder your signal chain for some interesting colors. You can
even re-assign the different switches to whatever functions
you want. It’s all very flexible.
The included looper is a nice feature and has options for
double/half–time, reverse/forward, etc. I made a clean preset
drenched in reverb and composed an impromptu ambient
guitar piece, layer by layer. I didn’t realize that 20 minutes
passed so quickly! The point here is that the Helix workflow
provides a shortcut to keep your musical inspirations alive. I
didn’t get bogged down in multiple menus, manuals, or
software/hardware configuration — and I was able to
instantly create.
To my ears, Helix modeling is even better than I
anticipated based on my experience with other amp
modelers, and some of the nice tube-like sounds that come
out of this thing would fool analog tone snobs. Its
sensitivity is pretty damn good, and the unit dynamically
responds to my playing in a similar way to an actual tube
amp. In the past, I always had issues with some of the
earlier modeling units in regard to feel, but Helix modeling
lets your personality come through. For a guitar player in a
live situation, Helix LT is a stellar multipurpose solution, as
it contains amp models and high-quality effects in a
streamlined package. You could leave your elaborate stage
rig at home and have instant recall to complex sounds.
Helix LT’s roundtrip latency (analog input to analog
output) is less than 2 ms, the time it takes sound to travel
about 2 ft through air. Therefore, if you’re monitoring on
headphones, you’ll hear the output of the Helix amp models
before you would hear a real amp on the floor next to you.
Plus, I love the Trails feature within Snapshots that allows
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your delay, reverb, or loop block’s signal to continue and
naturally fade when that block is bypassed within the same
preset or across snapshots — instead of the dreaded cut-
off of reverb or delay that happens with some other units
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when you change patches.
The Helix Native plug-in sounds identical to the hardware
unit, but it allows for mouse-driven tweaking as well as in-
DAW automation. I like the idea that you can work on a mix
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or lay down tracks using only the Helix Native software, and
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then do a live gig with the same guitar tones you created in
the studio but are now residing in your Helix LT pedalboard.
Transferring presets between software and hardware is done
with the free HX Edit application through USB. The
35
integration is pretty seamless, and again, I give kudos to
Line 6 for not making me spend hours studying a manual. If
you’re looking for a less pricey guitar solution exclusively for
studio use, and don’t need the hardware, the plug-in by itself
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could be the ticket. I suggest you download the free, fully
functional, 15-day demo of Helix Native.
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But wait, there’s more — as a recording interface, Helix LT
allows you to pass up to eight channels back and forth over
USB 2.0. It records at up to 96 kHz, and it works pretty
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flawlessly. It even has a setup to make re-amping tracks easy
and painless. It really is plug-and-play. I connected Helix LT to
my computer via USB, opened a session in Logic, and within
a few minutes, I was tracking guitar through the pedalboard.
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Out of curiosity, I used one of the Cali presets and
simultaneously recorded both the processed and the dry DI
signals on separate tracks in Logic. I then inserted the Helix
Native plug-in on the dry channel and pulled up the same Cali
48/Tape Op#124/Gear Reviews/(continued on page 50)
preset in the plug-in. Guess what? The hardware-processed
track and the plug-in track sounded identical. This workflow
opens up infinite possibilities if you want to change or re-amp
the sound of your guitar after you’ve already recorded it.
Compared to other high-end amp modelers, Helix LT wins
on its price, exceptionally intuitive user-interface, and most
importantly, tone. With Helix hardware, you can start
composing parts as soon as you plug in your guitar. With
Helix Native software, you can tweak and automate to your
heart’s content. Line 6 deserves a big round of applause for
not letting technology get in the way of creativity! If you’re
already a Helix user, note that Line 6 recently published free
updates for Helix LT (version 2.5) and Helix Native (1.5) —
adding five new reverbs, a delay, and two amp models; plus
77 Legacy effects from the M-Series and DL4, DM4, FM4, and
MM4 pedals; as well as support for Snapshots in Helix Native.
(Helix LT $999.99 street, Helix Native for LT owners $299.99;
Helix Native standalone $399.99; www.line6.com)
–Will Severin <www.willseverin.com>
CruzTOOLS
GrooveTech Guitar/Bass Multi-
Tool (2018)
Yes, I’m a bit biased. I’m a fan of CruzTOOLS’ solid line of
problem-solving musical instrument tools. I own and use
one of their Guitar Player Tech Kits [Tape Op #69] (awesome
for general guitar tech tasks), as well as a Jack and Pot
Wrench [#83] (handy for tightening/loosening the awkward
nuts on tone/volume pots). Their Drum Multi-Tool is a
godsend to have around the studio; it allows adjustment of
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pretty much any type of drum hardware, vintage or modern.
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And I reviewed the ingenious Sound Hole Truss Rod Drivers
[#111], which enable the adjustment of inconveniently
located sound-hole truss-rods in some acoustic guitars.
I recently got my hands on the newest version of the
CruzTOOLS Guitar/Bass Multi-Tool and love it to the point
where I want to take it with me everywhere — just in case
I encounter a guitar that might need tweaking. (Okay, I’m
biased and a bit weird.) But, you know, at the gig or in the
studio, temperature and humidity changes can cause guitar
problems to crop up. String height, intonation, pickup
height, and truss-rod rotation are all things that can be
addressed easily, presuming you have the right tools.
Enter the highly portable Guitar/Bass Multi-Tool. Fully
folded up, it fits in the palm of your hand and includes every
non-cutting tool I can think of for adjusting guitars. This
includes four SAE and five metric hex wrenches, to cover
most truss rod, bridge, vibrato system, and pickup height
adjustments. I should mention that the four truss-rod-sized
hex wrenches (1/8’’, 3/16’’, 4 mm, 5 mm) have ball-ends for
easy insertion, without stripping the socket, even when
used at a slight angle. There are also one flat and two
Phillips screwdrivers. And, new to this second generation of
the Multi-Tool, there is now a precision ruler/straight-edge
for fret and string-height measurement, as well as a 5/16’’
socket driver, for accommodating Gibson-type truss-rods.
The tools fold into both sides of a blue plastic, one-piece
frame; it’s that kind of lightweight-yet-very-tough plastic
that vandal-resistant municipal parkbenches are made of.
The build quality is very nice; the tools are chrome-finished
pro-grade S2 steel. And the whole thing is not particularly
expensive, either. Small and versatile, the CruzTOOLS Guitar/Bass
Multi-Tool is perfect for toting to a venue in a gig bag, or keeping
handy in the studio, where last-minute guitar adjustments
always seem to be needed. ($15.95 direct; www.cruztools.com)
–Pete Weiss <www.weissy.com>
en
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mai
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co
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 SPL
TDx Transient Designer
500-series module
In all honesty, the original SPL Transient Designer [Tape
Op #21] was one of the first pieces of analog hardware that
really blew my mind. The first time I played around with
one, perhaps fifteen years ago, I was shocked at how
different it was from “normal” dynamics processors. With
only two knobs (on the original), you could take a drum (or
other instrument) and fully alter its envelope in ways that
gating and compression couldn’t quite achieve. Sucking all
of the decay out of a tom while still retaining a natural
sound, for instance, or making a snare drum ring out to its
fullest extent, or dialing just enough attack into a dully
recorded kick drum — these were all things that had never
been accomplished so easily before. Today, there are many
transient and envelope–altering tools on the digital side of
things, but SPL is still the most common purveyor of the
analog version of this technology — and it sounds better
than any plug-in with a comparable feature set, in my
opinion.
The TDx, an updated version of SPL’s widely-revered
Transient Designer 4, adds a couple of features, and makes a
pretty package for people looking to fill out their 500-series
frames. The two basic controls from the original are Attack
and Sustain. Attack has a cut/boost range of ±15 dB, while
Sustain can do ±24 dB of amplification/attenuation. Again,
I’ll reiterate how very much you can shape sounds with just
these two knobs; massive amounts of envelope alteration are
possible. The TDx introduces two new controls: Mix and
Output. These simple additions make a huge difference in the
usefulness of the processor. Since turning up Attack, in
particular, can add a substantial amount of amplitude to your
signal, the Output attenuator can ensure that you don’t
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overload the next device in your signal chain. I had often
wished for this control on the older units, and I gather I
wasn’t alone. The Mix control is also super handy, eliminating
the need for eating up a separate console channel when using
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the processor in “parallel” mode. Being able to dial in a bit
of the “dry” sound really opens up a new level of control over
the envelope. One thing I got into was setting a really high
m
Attack, but only dialing in a small percentage of the “wet”
signal. This creates a completely unique attack characteristic
@g
that I truly don’t know how I could achieve any other way.
The other two features on the faceplate are a tiny bypass
switch and an LED that indicates the presence of signal. My
only gripe with the TDx is that the bypass switch is very
35
small, and there’s no LED to confirm which position it’s in, so
from any distance greater than a couple feet, it’s pretty hard
to tell if the processing is engaged.
At roughly $600 per channel, this unit is almost twice as
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expensive (on a per-channel basis) as the four-channel 19’’
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rackmount version, without even accounting for the 500-
series enclosure. (SPL apparently discontinued the two-
channel unbalanced version a few years back.) In addition,
there’s no stereo-linking function like there is on the
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rackmount box. However, the additional features, and the
modular aspect of 500-series devices, still make this a very
attractive way to get analog envelope-shaping into your
studio. ($599 street; www.spl.info)
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–Eli Crews <www.elicrews.com>
50/Tape Op#124/Gear Reviews/
Acoustica
Mixcraft 8 DAW
SONAR [Tape Op #116] is dead, long live… which DAW?
The shutdown of Gibson-owned Cakewalk sent thousands
of users looking for a new DAW. It may be that SONAR’s
demise has been grossly exaggerated, because the
software still works as well as ever — and BandLab has
recently purchased all of the intellectual property of
Cakewalk from Gibson. Meanwhile, I downloaded several
other fine-looking DAWs over the holidays while all the
sales were on, hoping to find that eventual replacement
for SONAR. For my own use at home, ease of transition is
paramount. DAWs may do much the same things these
days, but the terminology and methodology can vary. The
more like SONAR my next DAW is, the less muscle and brain
memory I have to overwrite.
I don’t know anyone using Mixcraft, but Acoustica’s CTO
worked on Sony Vegas, Sound Forge, and Acid [Tape Op #51]
(now part of the Magix family). I’ve used all three and found
them immediately intuitive. My first experience with Mixcraft
was no different. Decidedly stuck in the look and feel of
Windows, it is familiar at a glance. At the top are dropdown
menus just above the main toolbar. Below those are the
timeline with audio/MIDI clips, and typical track controls are
to the left. Everything is right where it should be.
At the bottom is the Transport Bar and an expandable
and detachable Dock. I love SONAR’s Dock, and I put
everything in it for easy access and then float it above the
timeline. Mixcraft’s Dock is handy too, and it’s where you’ll
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find tabs for Project, Sound, Mixer, and Library. Everything
but Sound will be familiar to any DAW user, but the Sound
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Tab is where a lot of the action takes place, like MIDI
editing, with Piano (roll), Step (sequencer), and Score
editing available in subtabs. You’ll find controls to move,
add, delete, and quantize notes, along with the whole
panoply of MIDI tricks. Audio editing on the clip level is
easy, since you can expand the Dock as big as you need,
or as big as your monitor can handle. It’s smoother and
more integrated than using SONAR — almost Sound Forge
like. I wish Mixcraft had the ability to put effects and
synths into the Dock like SONAR can, along with a
shortcut to open and close it. Mixcraft’s Dock stays in
focus and obscures the timeline, with no quick method for
a peek at the timeline without shuffling the windows.
Another feature from SONAR that is missing is having
more than one clip at a time in the Dock. You can switch
between clips in Mixcraft, but not have two clips in view
simultaneously for comparison editing.
No DAW is complete today without bundled effects and
synths, and Mixcraft has an interesting collection. First off,
there are a lot of freebies from the Internet, including some
good ones that are hard to find. The Kjaerhus Audio Classic
Series is included; it’s still a solid collection despite its age. I
used the Kjaerhus VSTs on a lot of old SONAR projects. There
are some vintage emulations too, and Acoustica have their
own track effects. Mixcraft 8 Pro Studio includes more effects
and synths than the basic version of Mixcraft 8 Recording
Studio, including Acoustica’s single-pad Alpha and 16-pad
Omni samplers. Third-party Moog and Prophet virtual synths,
as well as other classic keyboards are also included.
Acoustica’s new Kastelheimer Veldberg XD synth was
surprisingly good and different, and I spent most of an
afternoon just noodling around and recording synth
drones — fun! The Pro version also includes Melodyne
Essentials from Celemony, for monophonic pitch-shifting and
time-stretching. Unsurprisingly, I had no problem importing my
third-party plug-ins into Mixcraft, including titles from Softube,
Nomad, and Cakewalk itself.
Mixcraft does more than just DAW duty, though. In a nod to
contemporary electronic-music and on-stage workflows, Mixcraft
includes a Performance Panel (grid pads) that you can drag clips
to or record into. You can then perform live and record the
performance back into the timeline. Moreover, Mixcraft even
does video. Track lanes, crossfades, text, bundled video
effects — there’s more video-editing capability than most
music engineers will ever need. It’s perfect for YouTube, the best
place it seems these days to showcase music — since Mixcraft
can publish right to the site. For old-schoolers, Mixcraft can
burn a CD of a compiled-song project from inside the program.
Meanwhile, Mixcraft looks, acts, and feels like a Windows DAW,
and my ongoing transition has so far been comfy. Still, there
were little hiccups. In SONAR, I like to Freeze a synth track,
copy the audio clip onto a new track, then un-Freeze the
original synth before archiving it. The first time I froze a synth
in Mixcraft, I got some kind of iceberg image in the track instead
of an audio clip, and it wouldn’t drag or copy. Instead of Freeze,
I found the “Mix to New Audio Track” function, which
accomplishes the same thing as my tedious SONAR routine, but
with a single click. Sometimes change is good.
Mixcraft might not be the sexiest-looking DAW out there — it
reminds me of SONAR 8.5, before SONAR got its “modern”
look — but whatever it looks like, it is hep for music-making
and easy to grok. Acoustica seems to be a small company that
cares about its product and is consistently updating and
expanding Mixcraft. The company kind of reminds me of an early
Cakewalk. (Mixcraft 8 Pro Studio $179 direct, SONAR crossgrade
$99, Mixcraft 8 Recording Studio $89; www.acoustica.com)
–Alan Tubbs <www.bnoir-film.com>
Overstayer
Modular Channel Stereo
Model 8755DS
With most pro audio gear, there’s never enough control right
where the gain-staging starts to get interesting. The upper
range of the operating levels of a circuit is often where full-
bodied lusciousness lives. As harmonics get more complex,
sounds start to reveal their internal architecture in lovely
detail, and overtones begin to rise, fall, and intersect in
wonderfully desirable ways. Right around the breaking point of
defined waves losing their shape, things get wonderfully rich
and gnarly, as we struggle to surf that spot, hoping to keep
ourselves centered — without losing the motion and natural
35
rhythm of the music. It’s a bummer when dialing up the
perfect sound feels like picking a lock. You have to be very
deliberate with smaller and smaller turns of the knob, or you’ll
shoot right past the sweet-spot — winding up in a place
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where the signal distorts unpleasantly and loses transient
definition and focus.
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Loosely speaking, the Overstayer Modular Channel is a 2RU-
height, stereo channel-strip that’s all about shaping signals
with fine-grained control at the edges of headroom. Part
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classic recording channel, part exploratory processing
system — it’s easily the most powerful tone-shaping box I’ve
ever encountered. I think it’s a future-classic. Its look is
timeless — the grey/blue scheme feeling traditionally
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British, and the knobs/markings referencing American
stalwarts like MCI, Quad Eight, and Moog — but it possesses
its own unique and modern identity. It’s definitely the
conversation-starter in the room.
The Modular Channel Model 8755DS features line and
instrument–level inputs, while the 8755DM version adds a third
option of transformer-coupled mic inputs. High and low–pass
filters with resonance, three-band EQ, compression, and
saturation sections all cascade into a matrix that mixes one
main signal feed with two additional parallel signal paths, all
with their own level controls and mutes. Their basic routing can
be changed by switches on the front panel, allowing some
reconfiguration of each feed’s source. This provides for a level
of complexity rarely seen in hardware, and it feels entirely
modern. It’s a transformerless design (except for the optional
Jensen mic input transformers) that is capable of everything
from transparent dynamics-control, to subtle tone-sculpting,
and all the way to glorious chaos. When used for straightforward
EQ and compression duties, the Modular Channel can be musical
and open, with a tonality that is even and pure. It’s smooth as
a lake when you need it to be, but a whole world of breaking
waves and sonic freakout is just offshore. Its parallel
configuration provides massive flexibility for signal tailoring and
extreme manipulation — everything from standard console-like
workflow to radical reshaping with overload and beyond.
If devices with a lot of knobs scare you off, the Modular
Channel may not be right for you — but hang in there. The
amount of control available can be a bit daunting, but it breaks
down pretty easily into easier-to-digest signal blocks that flow
left to right: input, filters, EQ, compression, saturation, and
feed matrix.
Starting on the far left, you have two knobs for L/R gain, and
a switch for instrument, mic, or line inputs. My unit does not have
the optional mic preamps installed, but even without them, the
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mic setting activates the gain controls and adds a second line-
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amp stage to the line input. Overdriving this extra amp sounds
fantastic, with rich saturation to be found right at the front end.
There’s so much to be done further along, and as bottlenecking
the gain is definitely possible, I’d suggest leaving this stage clean
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at first. But higher levels here sound so good, it really is a crucial
way to add more chewiness to a signal at any time. The signal is
then passed to a single input-level knob to keep precise control
of the stereo image once L/R gain has been set. This level knob
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can definitely become your “Get Out of Jail Free” card, when
things get a little too overloaded further down the line.
Next is the filter block with high and low–pass filters and
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their corresponding frequency and resonance knobs. These
filters are definitely more Korg MS-20 than console–like. The
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resonance goes into complete self-oscillation and, with careful
dialing, can be used to add synth-like lower octaves to bass
instruments and drums. It’s positively massive on kicks and
easily adds deep subs to the slightest of signals. Filter self-
oscillation here rings more than squeals, and it’s immensely
musical. But take my advice and print what you’re doing,
because recall for this section can be difficult. Also located in
this section is the Curve control. This is a global control that
deactivates the internal pre/de–emphasis circuit. Turning this
off gives the Modular Channel a totally different response to
energy in the lows, and with Curve on, the subs rarely feel
distorted, even with large amounts of drive and compression.
When deactivated, low-end saturation begins sooner, and the
Modular Channel takes on a different, looser fidelity. At lower
gain, it’s not a drastic change, but as gain increases, it’s an
incredibly useful “second nature” to the entire unit.
The EQ block follows, with a deceptively powerful three-band
EQ. The high and low shelves, each with three frequency
selections, feel very “active” rather than static in their cuts and
boosts. The midrange Presence control is a semi-parametric,
proportional-Q band that sweeps so wide from bottom to top
Gear Reviews/(continued on page 52)/Tape Op#124/51
 that it’s addictive in every sense. Its Q is really dialed —
Gear Geeking w/ Andy… just wide enough for detail boosting, but not so wide that
In 2012, I wrote about the P-touch PT-1290 label maker
it can’t be used for corrective smoothing. This one
in “Gear Geeking” [Tape Op #90]. I’ve printed countless
midrange band feels like the heart and soul of the Modular
self-stick labels with the P-touch, using its mini QWERTY
Channel, and I often implement my overall tone-shaping
keyboard and 15-character LCD screen to type out the
strategies from the sound of this one control. I use it to
labels with text and symbols. I prefer TZeS-series tape
bring out all kinds of desirable detail in drums, guitars, and
with extra-strength adhesive for labeling everything from
vocals, and also in high-gain situations to radically
studio gear to the kids’ lunch containers; and the labels
influence how the downstream saturation block reacts. It’s
on the lunch containers have lasted over 6 years through
flat-out incredible sounding.
nightly dishwasher runs. Last year, I decided all that
The compressor block has controls for threshold, makeup
typing — and retyping, since the PT-1290’s storage is
gain, attack/release, sidechain source/filter, feed-
limited to nine saved labels — was getting tiresome, so
forward/back operation, and Behavior. The compressor has
I looked for a labeler that would connect to my laptop.
a definite Overstayer sound, familiar to anyone who has
That’s when I discovered the Brother P-touch CUBE
used the Overstayer Stereo Voltage Control [Tape Op #123].
<www.brother.com>. This compact printer uses the same
It’s clean and punchy, very active, and clear — but with a
TZe tape that I love, but it lacks a keyboard and display;
bit of teeth, especially when the Behavior knob is turned
instead, it connects wirelessly via Bluetooth to an iOS or
up. The Behavior control is a building block of the
Android device, and you use a free companion app to
Overstayer DNA, as it’s present on other units in the
design your label before printing it on the CUBE. The
currently available line. It changes the amount of
app’s layout editor is WYSIWYG, and there are many font
compression, but in a way unlike simply lowering the
choices as well 450 icons/symbols to select from. Each
threshold. Turning up Behavior changes the character of
label can have up to two areas for symbols along with a
the compression, making it more “active,” as if the signal
single text area, and text can flow horizontally or
has an inertia that bounces around the threshold level
vertically. What’s really cool is that you can choose to
with more ease. High Behavior settings begin to over-
specify a tape length, and the app will resize the
compress in interesting ways, introducing a very usable
text/symbols to fit within that length — a really helpful
musical modulation to the signal, especially in parallel
feature if you’re making wraparound labels for cables, for
mode. Of course, you can keep going and pass into
instance. Importantly, you can save as many of your label
extreme inverted-ratio overmodulation that can begin to
designs as you want for quick recall at any time. I use the
sound like some kind of LFO resynthesis.

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P-touch CUBE with my Google Pixel 2 phone, and my
Coming out of the compressor block is the Drive
biggest gripe is that the companion app’s UX was clearly

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control. This sets the level of the signal passing into
designed for iOS. For example, deleting previously saved
the saturation block, which consists of three circuits:
labels requires you to first push an “Edit” button to show
MAS second/third-order harmonics, Sat saturation,
checkboxes, then select the appropriate checkboxes, and
and Hex higher-order harmonics. These can be
finally hit a “Delete” button — so clunky compared to
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enabled in any combination for a wide range of
modern gestures like swipe or long-press. Also, hitting
saturation/overdrive/distortion/fuzz effects. MAS is
the back button opens up a menu asking you where you
based around the same saturation circuit as the
want to go, instead of just taking you to the previous
Overstayer MAS, and you can use it for a light dusting of
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screen — ugh. Otherwise, I really appreciate being able

overdrive, or wind it up for some serious clipping. It
to create, edit, and save labels on my phone; my old but
seems to stay centered on the upper-mids for most of the
well-used PT-1290 is now shelved away. ••• I travel a lot,
throw of the Drive knob. SAT begins to clip sooner but
so I’ve gotten into the habit of labeling my take-along
also ranges further into the lower-mids than MAS. It’s a
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electronics. A few years ago, I accidentally left behind a

fairly tight distortion that tends not to add much murk to
USB Type-C charger in a hotel. That was back when multi-
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the signal, even at higher settings. It pairs well with MAS,

voltage USB-IF certified Type-C chargers were expensive
as the two definitely seem to break up in different areas.
and hard to find. When I phoned the hotel to ask if they
HEX is a bit more all-bets-are-off fuzz that doesn’t clean
could ship my charger to me, they sent me someone else’s
up at all, grinds the top end like a hi-fi version of TASCAM
35

charger. Apparently, that hotel had a large basket into

4-track circuit overload, and cuts lines of breakup clearly
which their cleaning crew would toss lost chargers, most
through the lows. When all three circuits are combined,
of which were Apple ones. If any guests called, the hotel
MAS and SAT seem to flow past HEX’s stern grating,
staff would grab a random charger and send it. So, I
resulting in textures that feel modern and old all at once.
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phoned again and reiterated that my charger wasn’t an

The last block is the mixer matrix with three feeds.
Apple, and that it was clearly labeled with my name. This
The Sat Feed is the full signal path, post-saturation. The
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time, the person who took my call kept me on the phone

Dry/EQ Feed is a parallel path that can be switched pre-
while she looked and quickly found my charger, and she
filter or post-EQ. The Comp Feed is a parallel path that’s
said that this was her first time seeing a labeled item in
post-compressor and pre-saturation. There are also
the lost basket! I’m sure that every studio has a similar
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switches to disengage the filter, EQ, and compressor

drawer full of lost chargers, drum keys, tuners, etc. If you
blocks from the main Sat Feed. The ability to create
travel to other studios with mics, interfaces, headphones,
sounds from these parallel chains is truly the nature of
and other devices, labeling your gear will help you or
the Modular Channel. You can be as technical as you’d
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your assistants set aside your belongings while

like, but just feeding a signal in, randomly twisting
everyone’s cleaning up in a hurry after an overextended
knobs, and blending the results will get you amazing
session — or help your hosts realize later that it’s your
sounds quickly. Also, using the kill switches for the three
gear, even if you weren’t aware that you left it behind.
feeds to quickly highlight what each feed is doing is
–AH
incredibly insightful.
52/Tape Op#124/Gear Reviews/(continued on page 54)
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Please Support Our Advertisers/Tape Op#124/53

 The Modular Channel is usually the first thing I want to plug
any signal into — from simple EQ and dynamics control
during tracking, to complete creative destruction of signals
during mixing. This is a device that can carefully shepherd
your audio with high fidelity and measured sensibility; but it’s
also obviously ready to turn sounds inside out. You can pull
off all sorts of tricks beyond what you’d expect from a
channel-strip, like tuning the resonant filters to add octave
effects, or cranking the EQ into high-Behavior compression
for great faux, multiband dynamics processing. The Modular
Channel is also the perfect box to fit that last overdub into a
song. With careful manipulation, it can squeeze just about
any instrument into that last available frequency range while
still retaining the character of the original signal.
Using the Modular Channel to dive deep into a sound in
search of usable motion and spectral content is wonderful.
You can isolate a layer of desirable frequencies with the filters
and EQ, add movement with the compressor, saturate or blow
it out, then mix into the dry signal. Importantly, the amount
of control for low-gain settings is just as impressive as for
freakier high-gain blowouts. Barely there tape-like tonality, or
velvety friction on the low mids without harshness in the
highs, or organized purring across chords and sustained
lows — all of these are easy to attain by dialing in just the
right amount of pressure and grit. Conversely, opening up for
the whole width of the signal and engaging the more active
saturation blocks brings surprising-for-pro-audio levels of full-
throated stompbox-like overload. Fuzz can be dialed up right
to the edge of power starvation, or propelled even further
through some sort of fuzz event horizon to Velcro-gated
negative space. The Modular Channel surfs this headroom
gnarl with focus, staying in control, even as the sound waves
are about to crash. This distortion and mayhem would be too
much to utilize alone, but as the dry signal is always available,
and with the parallel compressor sturdily framing out the
positive space, there always seems to be a place for it.
As one can easily imagine, drums are incredible through
the unit. The parallel compression and resonant high-pass
filter, blended with saturation to taste, provides depth and
motion for days and days. The Modular Channel has already
saved several badly focused recordings that came through
my room during mixing. Because it can add clarity and
musicality to the lows, while emphasizing the backbeat and
presence of the overall groove, this is a dream box for
rhythm processing. Likewise, guitars, pianos, synths, vocals,
and other sound sources can all benefit from the Modular
Channel’s parallel processing. Needless to say, it rules on
basses and easily turns any small keyboard into raging
Aphex Twin–level madness. I routinely run the Modular
Channel in parallel on the whole mix — pulling FM radio
broadcast compression, smashed cassette vibes, pop sheen,
and warm lush organic tonality into my mixes.
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This may not be the device for everyone. Some people don’t
want this kind of complexity just to record and mix music, and
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rightly so. But for those with a head for synthesis, looking for
a device that can handle low-fi, mid-fi, hi-fi, and no-fi — all
with exceptional focus — this is going to be a benchmark.
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It’s possible you could use a stack of plug-ins to do what’s
happening here (and woe to the coder in the future trying to
emulate this device), but it would be way more time
consuming. You’d miss out on the tactile joy of hearing
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parameters affecting each other in real-time as you use both
hands to turn knobs in search of sounds that are truly your
own. (Model 8755DS $2,695, 8755DM $2,785.50;
www.overstayeraudio.com)
–Thom Monahan <www.goldenvoidstudio.com>
54/Tape Op#124/Gear Reviews/(continued on page 56)
P’s and B’s as I could into a Blue Blueberry mic. After matching
Aston the distance and volume as closely as possible, I’d say that the
Swift Shield pop filter SwiftShield was just as effective as the 375 at reducing
and shock mount plosives. I was a bit skeptical at first, as the 375 is double
Part of publishing Tape Op involves going to the NAMM screened and the SwiftShield is a single screen, but it seemed
show every January. It’s nice to see our friends there, and like there was a slight bit more low end reduction from the
there’s always a lot of gear to look at, but honestly a lot of it SwiftShield, and less attenuation of high end response.
is pretty much the same items from previous years, without Aston is a relatively new company in the pro audio space,
much innovation (beyond some new digital I/O port to keep but they’re already getting a reputation for making innovative
up with changing computer specs). I’ll bump into other products. Last year they debuted the Starlight mic, a SDC with
magazine folks and they’ll ask, “What’s the coolest thing a laser pointer [#123]. Although maybe not as flashy
you’ve seen so far?” and I glaze over, with no real answer to (literally!) as the Starlight, Swift Shock Mount is a really
be had. Generally few of the hundreds of things I see every innovative and very useful product that will save you time in
year would actually help me make records better or faster in the studio. For recording vocals with most large diaphragm
any significant way. But this year, I had an answer; “Check condenser mics, the SwiftShield and Swift Shock Mount will be
out the new shock mount from Aston, it’s really great!” A my go to set up. If you’re in the market for a shock mount
shock mount? Really? Along with headphones, shock mounts and pop filter combination, the SwiftShield should be your
are one of the biggest maintenance hassles in any studio. The first choice. ($99 MAP, Astonmics.com) -JB
old German birdcage-style mounts – with elastic bands – suck
and are expensive. Yeah, I know they look classically cool, but
Brainworx
the elastic always wears out, the whole thing falls apart, and
bx_console N, E, and G plug-ins
The Brainworx bx_console N, E, and G plug-ins are
you’re stuck messing around trying to restring them and/or
predicated on accurate digital models of the channel strips
find new elastic bands that fit. Until now, my favorite
from Neve VXS, and “British” E and G Series consoles. Clearly
commercially available shock mounts were the Rycote
Brainworx are avoiding use of someone’s brandname here, for
mounts. They last forever and will hold almost any mic, but
reasons that didn’t take much internet sleuthing. Here’s a
the three thumbscrew system is fiddly, and it takes time to
hint: It’s solid state, it’s logical, and you get 4000 guesses.
get a mic mounted securely. Aston’s Swift Shock Mount is
I reviewed the first version of bx_console [Tape Op #112]
similar to the Rycote mounts, with a nylon and aluminum
which is re-manifested as bx_console N. That review is
frame, surgical latex suspension, and the familiar three small,
available online, so I will summarize what blew my mind
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round grippers to hold the microphone, but there is one big
about it — Brainworx patent-pending Tolerance Modeling
difference: One of the round grippers is stationary and the
Technology (TMT). The idea is that, due to the realities of
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other two are on spring-loaded arms, so inserting a mic of any
variances in electrical components, no two manufactured
size takes about one second. Genius!
units of audio equipment ever sound exactly the same, unless
I tested the Swift Shock Mount with a variety of mics, and
a painstaking process of hunting and testing every
there were very few mics it didn’t work well with. It’s a perfect
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component for an exactly matched value is undertaken. This
fit for a Neumann U67 or U87, as well as our vintage Neumann
is a significant effort for a stereo pair, and practically
CMV-563 [Tape Op #49]. It also worked fine with our Telefunken
impossible for a large console. Differences are usually subtle
ELA M 251 [#34], our very heavy Bock IFET 7 (similar to a
but sometimes not. This issue has long been the bane of
Neumann FET 47 [#115]), and also with our Wunder CM12
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analog circuit designers. With digital models, we get exact
(similar to an AKG C 12). In all cases I carefully shook the shock
channel-matching for free. Isn’t that great? Brainworx says,
mount up and down to see if the mic would come loose or fall
no, not really, because channel-to-channel variance
– in all cases it did not budge one bit. The replaceable rubber
contributes to the huge sound of the old giant consoles of
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grippers hold very securely onto any mic you put into the Swift
decades past. All three versions of bx_console incorporate
Shock Mount. I was pleasantly surprised that the Swift Shock
TMT. Using TMT, Brainworx supplies each of these plug-ins
@g
Mount also worked equally well with unusually shaped mics, like
with 72 analog-style variations, as would have happened with
the AKG 414 and Blue Blueberry. Although the two moving
72 real analog channels. The channels are numbered, and
grippers contacted the edges of the square-ish mics, they still
assignable to any instantiation of the plug-in. The premise is
held the mics very securely and passed the shaking test with
35
that you’ll use bx_console N, E, or G on every channel of your
flying colors. In the end, the only mics that would not fit in the
mix session to build a virtual model of the chosen console.
Swift Shock Mount were our tube U47s (Wunder, Telefunken,
These plug-ins are super-efficient DSP-wise, and I had no
and Bock) and the Blue Mouse, they were just a fraction of an
trouble loading 72 channels into my DAW, which is running
inch too big to fit into the mount. However, our vintage Church
on a 2012 Mac Mini.
U47 (#60, Pearlman Church mic) fit perfectly into the Swift
bx_console N, E, and G do whatever a channel on the
Shock Mount, and that has been a mic that has been difficult
original analog consoles do, and they include all of the
to fit into other shock mounts due to some weird metal work
original hardware’s compressor/limiter, expander/gate, EQ,
on the sides of the body.
and filter controls. But there are also numerous optional
The second component of Aston’s SwiftShield package is a
enhancements that present themselves as tweaker screws; and
pop filter that snaps quickly and securely onto the Swift Shock
in the case of the added hysteresis control for the gate on the
Mount and places a .2 mm piece of stainless steel (with a mesh
E and G plug-ins, the knob just appears when the feature is
of hexagonal holes) in front of the microphone in the mount.
engaged. E and G can further swap circuits from notable
Depending on the mic, it’s about two and half inches from the
revisions, such as “Orange” and “Pink” EQ on G. Added to all
microphone. It is easy and quick to attach the pop filter to the
three plug-ins is a wet/dry mix knob for parallel compression,
mount, and better than fiddling around with those pop filters
as well as a useful sidechain HPF. My favorite enhancements
with flexible goosenecks that clamp to mic stands. My favorite
are the variable THD and noise (labeled “V-Gain”) options. The
pop filter to date is The Hook 375 DS [#74], so I did an A/B
manual suggests to always use a little noise on each channel,
test between the 375 and the SwiftShield and popped as many
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 and then use the expander/gate to gate it out, just like on the originals. This level of
devotion to the old days brings a tear to my eye.
Feature-wise, bx_console N is the same as the original bx_console, with a couple of
additions. The additions, which are also common to bx_console E and G, are the Random
One and Random All buttons, as well as the THD saturation control. The Random buttons
allow you to either randomly assign one of the 72 variants to the current instantiation, or
assign random variants to all instantiations. You won’t get any repeated variants until all
72 are spent, which means you can easily assemble more console combinations than you
can count. The manual suggests you print a completed mix, randomize, and repeat — to
achieve different flavors of the mix.
I was curious if bx_console N differed from the original sonically, so I performed a null
test of two identical tracks, loading the original plug-in on one track and N on the other,
and flipping the polarity on one of the tracks. They were close but did not cancel. Playing
with N’s new THD control, I was still unable to get the audio to cancel. (Just to make sure
there wasn’t something wacky going on in my DAW, I verified that I could achieve 100%
cancellation with two instances of N.) Through this process, I discovered that the preset
files from the original bx_console are not compatible with the new bx_console N, and
copy/paste functions do not work between the two — so anything you’ve done with the
original will have to be recreated manually in N. With that said, bx_console N does not
automatically replace the original, so my old projects remained intact with no surprises
when I opened them.
When I originally reviewed bx_console, I concluded that I couldn’t say definitively if a
mix sounded better with the same bx_console variant on every channel, or different TMT
variations across all channels — but I felt better knowing there was some analog-style
deviation under the hood. I had a chance to try bx_console G on a beautiful rendition of
the jazz classic, “Beyond the Sea,” with 10 channels of vocals. I still feel the same way
as before. These new plug-ins sound phenomenal, but on the mix in question, bx_console G
sounded phenomenal with or without TMT variations in place. I still liked and chose the
TMT version though. Was I feeling sentimental for analog-ness?
My only complaint about these plug-ins is the devotion to the original layout of the

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analog consoles. Brainworx has added excellent sonic enhancements that were either not

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practical on the originals or not thought of. Why not extend that thinking to the layout?
As it is, you have to learn these interfaces, and I was not able to do that without reading
the manual. The manual is great, and full of interesting pro-tips, so I didn’t mind; but
unless you already know these consoles, you will not hit the ground running with these
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plug-ins. For example, why have abbreviated labels like “DYN SC” and “RGE” when you are
no longer limited by metalwork and space? And why not have some value boxes that you
can type into? I’d guess, based on the enthusiasm for the originals that is oozing though
the manuals, that Brainworx wants this to feel as much like using the real consoles as
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possible. But given that I am staring at a glowing screen anyway, I’d like to take
advantage of that screen.
The only thing that would make the experience of using these plug-ins more analog is
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if each license came with a unique set of TMT channels, and you could not rearrange the
order. I am of course taking it for granted that these sound like the specific consoles they
@g

were modeled after. I have no way of knowing for sure, but on the other hand, I also don’t
care. They sound great, and all three versions are tied for the most feature-rich channel
strips I have. So, in addition to analog enthusiasts everywhere, I’d also recommend these
to folks just starting in recording. Despite the learning curve, I don’t know of any plug-
35

ins that can do everything that these can do. Once you learn them, you’ll have a good
grip on dynamics processing and EQ. Just like the analog versions of these consoles, you
can truly get away with using nothing but one of these bx_console plug-ins, plus some
reverb, to complete a mix. If you’ve got a nice room, you might not even need the reverb.
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I can’t think of a better bargain. (Each $299 direct; www.plugin-alliance.com)

–Joseph Lemmer <jlemmer@siriusmedia.com>
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DMGAudio
Limitless mastering limiter plug-in
I’ll admit that when I first tried Limitless, I found myself totally frustrated with its
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countless features and information-heavy graphics, when all I was trying to do was use it as
a basic limiter. Although the plug-in starts up by default in a somewhat easier-to-digest (and
modern-looking) GUI, if you try to dive into advanced mode immediately, you may end up
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with more on your plate than you can handle. With client deadlines always looming, if I can’t
get sounds quickly, I can’t afford to fiddle. Therefore, I stopped using the plug-in — while
I said to myself, “The heck with this!” I feel this way about other DMGAudio titles, too. But
I am in the minority with this impression; so don’t let me dissuade you from taking
advantage of the company’s generous 30-day demo policy.
56/Tape Op#124/Gear Reviews/
 Months later, while speaking to Andy Hong about his own
experiences with Limitless, I decided to give the plug-in a second
try, and this time, I spent time learning it. Now, as I write this
review, I want to publicly confess that my initial trepidation with
the plug-in was a mistake. DMGAudio Limitless may well be the
best limiter plug-in currently available. As such, it deserves any
time investment one may need to understand its workings.
Let’s back up and start at the beginning. Switching into
advanced mode, I felt that the plug-in’s Frequency window,
complete with five editable bands of limiting, was initially
confusing; clusters of parameter names, numerical values, and
high-resolution meters require real concentration to understand.
While it is possible to disable these multiband “silos” — by
switching to single-band mode — I learned that it is better to
leave them to do their job. Instead, I simply changed the display
to Time mode (instead of Frequency or History), and I ignored
the multiband display. If you’re the kind of engineer that enjoys
the finest control over every possible setting, you will love the
multiband GUI in advanced mode. Meanwhile, from my own
experience, once I started focusing on other controls, I began
to achieve better results.
The reason you’re reading this review? Well, ultimately, Limitless
can obtain louder masters (perhaps 1 to 1.5 dB higher level, which
is significant in a mastering context) — with fewer artifacts —
than almost any other limiter I’ve tried. But this is not a
dishwasher that you set and forget. To achieve quality results, you
need to (a) learn how this thing works, and (b) trust the design
paradigm behind Limitless. In other words, I needed to permit the
underlying algorithms to process sonic content according to
frequency. Once I did this, things got better for Limitless and me.

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During my conversation with Andy, I mentioned that, in an

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emergency, I could master with DMGAudio Equilibrium,
DMGAudio Limitless, and my speakers. I then proceeded to try
this minimalist approach on a classical CD for the River City
Brass Ensemble. Ultimately, I needed the dynamics control of the
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Spectra Sonics V610 Complimiter [Tape Op #111] and a little
transformer density from a little wizard out of Wimberley, TX
called the Legendary Audio Masterpiece [Tape Op #76], but most
of the heavy lifting was completed by DMGAudio.
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To stress the matter about the software’s learning curve —

you need to read the um... furnished… manual (RTFM). To
understand the plug-in’s many advanced features and its
customizations, the manual is your friend. For example, default
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settings — I was doing six or seven things almost every time I

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instantiated Limitless. Time consuming — until I discovered

from reading the manual that there’s a feature buried in the
setup which allows you to take a snapshot after you get things
where you want them. You can then make the snapshot your
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default starting point. Another advanced feature is the multi-

algorithm clipping section, which can attempt to approximate
clipping of A/D converters. While it is debatable if this is a good
idea, or if it sounds like a clipping hardware unit, the parameter
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adjustments make that discussion irrelevant. Simply spend time

here finding the right settings, especially for bombastic music,
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and make your client happy. And finally, Limitless can handle
transients separately from dynamics, via two different limiter
routines — another deep feature that contributes to the
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transparency and effectiveness of this plug-in.

To summarize, someone sat down for a long time, considered
the four or five key points of friction for mastering limiters,
and then developed the code that manages to attack all of
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them. I can’t stress enough how impressed I am with the

planning and implementation of DMGAudio Limitless. And I
promise you’ll be very satisfied if you invest the effort to learn
how to tweak these settings for your particular assignments.
(£149.99 direct; www.dmgaudio.com)
–Garrett Haines <www.treelady.com> Gear Reviews/(continued on page 58)/Tape Op#124/57
 Rupert Neve Designs
R10 500-series frame
I must admit that I have never been a huge fan of the 500-series format. I have spent
too much time repairing my friends’ racking frames, usually due to the voltage regulators
frying, and I always found the mechanical aspects very fiddly. For example, unlike the 800,
900, and 9000–series racking systems from Valley People, dbx, and Aphex, the 500-series
format utilizes no guiding mechanisms to ensure that the modules line up properly with the
mating connectors inside the frame. Also, I found the construction of the 500-series frames
themselves rather crude. They are commonly constructed of folded, stamped sheet metal,
with screw holes tapped directly into the steel to hold the modules in place, and with fairly
large heads of various fasteners protruding from the top and bottom of the chassis — which
inevitably cause damage to the items in your rack placed above or below.
As the market for 500-series modules grew, it became like the Wild West out there, with
modules that didn’t conform to physical and electrical specifications, and with grounding issues
too. Despite these problems, the format flourished; and finally, in 2017, it had matured to the
extent that I began to take interest in it. In the process of re-organizing some of my outboard
gear, I became aware that there were some modules in the 500-series that were unavailable in
other formats, so I took the first step investigating what sort of rack enclosures were being
made. I produced a chart that listed the features of each of the frames available for purchase —
listing positives, negatives, logistical concerns, compatibility, serviceability, etc.
After this first investigatory stage, the list was reduced rather quickly to three possible
candidates, though as I began to investigate those three, the list was quickly reduced to
one — the ten-slot Rupert Neve Designs R10. I ordered one, and after using it, I realized
that there were several important design features in this rack that I had previously neglected
or underestimated in my initial chart. It’s always a good feeling when your appreciation for
something continues to grow after the purchase — which is so infrequently the case.
As with any industrial design, the first thing that you encounter is the physical entity of the
device. The R10 is unusually good-looking, with its “British Isles Overcast” light grey enameled
panels, shiny round power button, and array of seven LEDs along the front panel. Looking more

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closely, you will see that, rather than using simple threaded holes in a folded fascia of sheet
metal for the module mounting screws, RND has instead opted for two extruded metal rails along

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the top and bottom of the front panel, with individual hardened-steel captive nuts which have
several millimeters of travel side-to-side within the metal rails. This is a fantastic idea.
500-series modules from different manufacturers tend to vary slightly in their width, and
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the cumulative alignment issues can cause the mounting holes of the modules to be out of
alignment with the threaded holes in the chassis; but the captive nuts in the RND frame are
able to move side-to-side and even up-and-down — until a module is tightened down onto
them — allowing you to position the modules in their most comfortable positions. Moreover,
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these nuts and their mating screws are very unlikely to seize up or strip due to cross
threading; if this happened to any other 500-series frame, it would be irreparably damaged.
So again, this is another well-engineered feature that you might not fully appreciate until
you encounter a problem, at which point it would be too late.
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The rest of the chassis has been designed with similarly thoughtful touches. All fasteners
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on the top and bottom are countersunk. The metalwork is finished in what feels to be some
sort of nonstick finish; it’s very slippery, but it’s also very unlikely to cause any abrasion with
any other gear in your rack. Along the rear panel, there are both XLR and TRS connectors,
and the XLR jacks are solidly attached to the rear panel with two screws each, while the TRS
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ones are mounted with steel coaxial nuts.

One of the primary concerns that I had, based on previous experiences with my friends’ 500-
series racks, was the power supply design. In analog electronics, the power supply is every bit
as important as any other component. We want a power supply that minimizes noise but also
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has a very low output impedance, which in this case can also prevent crosstalk between
modules. Secondarily, we want a power supply that does not radiate electromagnetic fields into
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the modules in the rack. Several other manufacturers feature an external power supply which
connects to the 500-series frame through a long umbilical cable. I do not consider this to afford
any particular advantage (beyond easier compliance with region-specific electrical codes for the
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manufacturer), and because these supplies still have to be placed somewhere, if you have a large
configuration of outboard gear, such as I do, these external supplies may induce interference
elsewhere in your signal chain, where it may be very difficult to track down. I’d much prefer that
the designers take a bit more responsibility on their end by limiting such variables. There also
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seems to be some division between the use of linear power supplies vs. switch-mode supplies,
as well as standard E-I transformers vs. toroidal ones. I was initially concerned that the R10,
being made in America — and in Texas, no less — would have taken the brute force ‘Merikan
approach of using a super-heavy-duty linear power supply with a massive transformer in the
chassis. So, while I was preparing my chart, I contacted RND and asked about the power supply.
58/Tape Op#124/Gear
Op#122/Gear Reviews/(continued on page 60)
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 I was told that the company spent years developing and refining the design of its switch-mode
supply, and had placed it in the enclosure with double shielding. This was good news to me.
The power supply is monitored on the front panel by seven LEDs. One LED shows on/off state,
while the remaining six indicate total current consumption in increments of 400 mA, from
400–2400 mA, though I was informed that the supply is capable of over 3000 mA. Nearly every
other 500-series frame has three LEDs indicating only the presence of voltage along the positive
and negative rails, plus phantom power. The R10 omits these LEDs, which initially may seem to
be an oversight. But honestly, when the equipment is functioning normally, these are not
particularly useful — sort of like the so-called “idiot lights” in the dashboards of automobiles.
The power supplies of my other outboard gear don’t have rail indicators, so I didn’t particularly
miss having them on the R10. Instead, I was quite pleased to have current displayed so clearly,
and the more I became familiar with the variation in module current consumption, the more I
appreciated it was there. When I loaded the rack with six of my 1979-vintage Aphex CX-1
compressors, I could actually see the current LEDs flickering in time with the music! And, after
all, as engineers, we like to know what’s going on inside the circuitry, so we tend to like meters!
And finally, while calibrating the various modules in my system using a spectrum analyzer,
I noticed that the modules placed inside the R10 — and especially those that were
replicating vintage electronics that I have in a standard 19’’ rack — had incredibly quiet
noise floors. Not a trace of 60 Hz or any of its harmonics. And even fully loaded, the RND
frame never gets warm to the touch. It just sits there laughing no matter what I throw at
it. You can count me in as a satisfied customer of the Rupert Neve Designs R10 500-series
frame. ($895 street; www.rupertneve.com)
–Chuck Zwicky <www.zmix.net>

Manley Laboratories
Nu Mu stereo limiter compressor
Manley makes audio gear in Chino, CA, for audio enthusiasts and audiophiles. In the same
manner that drivers who love to drive (and have lots of money) drive Aston Martins, audio
professionals who love audio use Manley gear. Manley graces the racks of top mastering
engineers, recording engineers, and hi-fi enthusiasts around the world. For close to three

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decades, the Manley Variable Mu® stereo limiter compressor has helped engineers shape the
tone and dynamics of the recordings we love. In the mastering studio, the Variable Mu adds

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the final glue and sheen to mixes, while in the mixing studio, the Variable Mu tightens up
heavy guitars and drum buses and subtly yet adeptly reigns in dynamics on vocals and bass.
The concept of a remote-cutoff tube compressor is decades old, with the Fairchild 670 being
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perhaps the most well-known and coveted example. The 670 and other tube compressors
using a similar circuit typically have very soft knees and no ratio control. In the case of the
Manley Nu Mu, the ratio begins around 1.2:1 and increases as more gain reduction is applied.
The Manley Variable Mu, arguably the most prolific mastering and mixing compressor used in
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professional studios, comes with a price tag that somewhat limits its accessibility to many
producers and studios. EveAnna Manley [Tape Op #101] tasked her company with designing the
Nu Mu, a modernized and more affordable incarnation of the Variable Mu, which takes advantage
of newer manufacturing techniques, less labor-intensive assembly (while still being hand-
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assembled in Manley’s Chino factory), and the integration of a custom-designed, audiophile,

internal, switching power supply, which is also deployed in the newer Manley CORE, ELOP+, and
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FORCE rackmount units. Furthermore, the sidechain control circuit, tube gain stage, and final
transformer-coupled output stage have been redesigned using high-voltage discrete amplifiers
and transformerless FET output circuits. All of these changes save manufacturing costs, which
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result in a retail price about 35% lower than the old-school Variable Mu. The input stage retains
the Manley Iron transformer and special TBAR mod circuit from the original Variable Mu (with
two 6BA6 pentode-wired-as-triode vacuum tubes per channel). Great care was taken by Manley
to achieve the audiophile standards and beloved personality of the original Variable Mu. The
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(extremely generous) headroom and maximum output level of the Nu Mu are spec’d as a few dB
lower than the Variable Mu, which, in practice, may be offset by the way the Nu Mu’s
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transformerless outputs interface with modern DAWs and other electronically balanced inputs.
In real use, the Nu Mu’s output will reach +27 dBu, which is about 6 dB above what an Avid
HD I/O interface can handle. Noise figures remain the same for the Nu Mu as the Variable Mu.
The Nu Mu looks bold and modern, with comfortably bright, blue LED pushbutton switches and
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a unique, round, stereo, analog VU meter that shows either gain reduction or output level. Each
channel boasts large, finely adjustable knobs for threshold, attack, recovery, and output, as well
as an input level selector toggle switch with three settings. Buttons facilitate stereo-linked or
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dual-mono operation, a 100 Hz sidechain filter, limit/compress modes, metering mode, and a
unique HIP function (more on that later). When the unit is first powered on, the VU meters flash
for about 30 seconds until the vacuum tube operating points have stabilized. The rear of the
2RU-height chassis provides XLR connectors for I/O, as well as a 1/4’’ TRS jack for each channel’s
sidechain insert. An IEC power connector accepts worldwide voltages.
60/Tape Op#124/Gear Reviews/
 I have considerable experience with the original Variable Mu, and I looked forward to trying
the Nu Mu on my masters and mixes. The three-position input selector switch seemed curious
at first, but the level choices of −3, 0, and +3 dB are referenced to +18, +21, and +25 dBu,
which allowed interfacing with my Pro Tools HD interface without any concerns. The Nu Mu
imparts the same lower-midrange detail and push that the Variable Mu is known for, but the
Nu Mu leaves the highs a bit more open, and the lowest octave remains deep and punchy. The
original Variable Mu had a sweet character that pushes low-mids and slightly damps the lowest
and highest octave. I found the Nu Mu more appropriate for EDM, fusion, and bright pop mixes.
On vocals, guitar, and bass, the Nu Mu worked exactly the way the Variable Mu would — as
much dynamic control as you could want with an open and even harmonic structure.
Attack and recovery times for the Nu Mu, like most mastering compressors, are what I would consider
medium-slow to slow. Attack times range from tens of ms to more than half a second, and recovery
times range from 100 ms to almost 4 seconds. When the manual states, “Use a fast recovery time for
transparent mastering,” the reader should take the word fast with a grain of salt — 100 ms is not
typically called fast! That said, I could always dial in an effective attack and release time, and when
mastering, I often used the Nu Mu for its subtle tonal coloration with almost no gain reduction showing
on the meter. On a lead vocal, bass, or guitar, 5 or 6 dB of gain reduction holds the dynamics steady
with almost no tonal change.
Manley has thoughtfully included a button labeled “HIP,” which essentially achieves the effect
of parallel compression, bringing up the level of softer passages, while not overcompressing the loud
moments. I found that on instrumental and orchestral music, the loud moments could be slightly
compressed while the HIP function brought out some details during softer moments — especially
noticeable on pianos and acoustic guitar, where the transient detail and harmonics seemed to
become slightly exaggerated giving those instruments their own space in the master. For mixing,
HIP worked well to bring up softer details on picked acoustic guitars and even on uneven rap vocals.
I love the venerable Variable Mu, but for my money, the Nu Mu will probably prove more useful
and flexible in my day-to-day productions, mixing, and mastering. I consider the Nu Mu very close
to, but slightly less colored than the Variable Mu and a bit more colored than other tube
compressors, like the Summit Audio DCL-200 or Pendulum Audio ES-8. Like the Variable Mu,
Massive Passive, and other Manley gear, the Nu Mu can make a great recording into a great master.

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($2,520 street; www.manley.com)

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–Adam Kagan <www.mixer.ninja>
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Gear Reviews/(continued on page 62)/Tape Op#124/61


Sonoma Wire Works
DrumCore 4
I do a fair amount of video scoring on tight deadlines,
which often makes tracking drums impossible. As a result, I
find myself employing drum plug-ins pretty regularly. I’ve
been using a few other virtual drummer products to get
things done quickly, but never had the opportunity to try out
DrumCore — and boy, I have been missing out! The main
attraction here and what differentiates DrumCore from a lot
of other drum plug-ins is the who’s who of famously talented
drummers that you have ready at your fingertips. From Terry
Bozzio to Bernard Purdie, and from Dennis Chambers to John
Tempesta, DrumCore provides access to the actual
performances and recordings on the personal kits of these
legendary drummers. The recording quality of both the
performances and the kits is great, and the five-page
interface is efficient and eye-pleasingly designed.
The 64-bit software plug-in works in your favorite DAW and
comes in AAX, VST3, and AU formats. It’s available at a few
different price points, with the main difference being the size
of the included library. DrumCore 4 Lite is entry priced at $49
with 4 GB of content, Prime is $249 with 20 GB, Ultra is priced
at $639 with 50 GB, and finally, Ultra Plus is $2,699 with 90 GB.
Depending on your budget and needs, Sonoma offers a package
for everyone. It should be noted that Prime, Ultra, and Ultra Plus
are available on flash drive or SSD, if you don’t want to deal
with downloads. Installation is relatively straightforward, and
registration is done after you install the software and load up
the plug-in. You can activate the software via iLok or by
depositing a license on your computer’s drive. For this review, I
put DrumCore 4 Ultra through the paces.
Most of your time will probably be spent on DrumCore’s
Browser page, the first of five tabs. Here, you can select the
drummer, style, meter, feel, and loop type (audio or MIDI). If
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you’re using the MIDI performance loops, this is also the page
where you select your MIDI kit. The MIDI kits provided are
extensive and generally correspond to a performer/specific
loop, allowing you to edit the patterns to your own needs in
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your DAW. There’s a lot of variety, allowing you to find just the
right sound, and the kits are beautifully recorded. Once you’ve
selected your performer, their picture and name show up on
the right, and underneath are all the available loops and fills,
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categorized in folders. The audio and MIDI loops are drag-and-
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drop from the browser window to your DAW’s track. You can
also drag both audio and MIDI loops into the plug-in’s timeline
above, and build your sequence before rendering and exporting
as an audio file. I prefer to drag-and-drop into the arrange
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window of my DAW, but it’s cool to have this as an option, and
it’s also a quick way to audition or see how multiple loops will
work with each other. I like that Sonoma gives you the option
of dragging either the actual audio loop (retaining the artist’s
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recording/performance), or the MIDI of the loop in case you
want to use a different kit, edit the loop, etc. Not a big deal,
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but it should be noted that the plug-in’s tempo is not
adjustable. That being said, it does lock to your DAW’s tempo.
If you want to tweak the kits further, you can do so on the
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Kit page. This page is really two-in-one, as a Kit Mixer and a
Kit Editor are found here. The default mixer shows the kit
pieces up top when the Drums tab is selected, and the
available percussion pieces when the Percussion tab is
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clicked. Both tabs show up to 24 different kit pieces, and you
can audition the samples by clicking on the cells. Below is a
mini-mixer with seven instrument faders (Kick, Snare, Hi-
Hats, Toms, Cymbals, Crash, Percussion) and one master
fader — each with pan, mute, and solo controls, as well as
62/Tape Op#124/Gear Reviews/(Fin.)
buttons to enable the four available FX effects. The effects
allow further processing via single-band compressor, EQ,
delay, and Crush. Crush is a cool way to mangle your sounds
as it offers variable bit-depth, sample-rate, and filter.
Click the Kit page’s Editor button, and you are presented
with a sample editor on the left which shows one of the 24
waveforms of whatever sample cell is clicked above. The
samples are easily modified and saved, as are the cells
themselves if you want to swap out sounds. Pitch, gain, pan,
and velocity range are adjustable. Velocity can be modified
for presets with multiple samples. For example, maybe you
want to adjust the three kick samples to your touch, or you
only want the hard kick to sound and not the medium or soft
kicks. It’s easily adjusted here. You can also add samples from
the DrumCore library to customize and save your own kits.
The upper right of the Kit window displays the MIDI note and
the submix that the sample is assigned to. You can reassign
submix locations if you choose.
The next of the five pages is the DrumCore Store page,
and it’s from here that you can purchase additional
libraries from Sonoma and their partners, including
Discrete Drums, Drummerheads, Drums On Demand, Q Up
Arts, Sonic Reality, and Submersible. Add-on loops and kits
are available from other drummers for a modest price. You
could add a variety of Bill Bruford or Steve Gadd
performances for $4.99 each, if that’s what you’re looking
for. Just click the Buy button, and you’re on your way to
adding new material to your library. You can audition loops
before you buy, which is a huge bonus, as you’re not
guessing and spending cash on loops you don’t need.
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The Master FX page follows the Store page, and the effects
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pertain to the plug-in’s master output only. First up is a four-
band compressor with adjustable threshold, ratio, attack,
and release per band. Each band can also be soloed or
bypassed. EQ is the next tab down, and like the Kit page EQ,
it also has four bands. The Delay tab is last, and it offers a
stereo setup with individual controls for left and right,
including overdrive, feedback, damping, and mix, as well as
a delay time selectable in note value (whole note to triplet
sixteenth) that syncs to your DAW’s tempo, or in milliseconds
(60–6000 ms). In the center are faders for left and right and
a pre-filter with knobs for low and high cut.
Setting is the final of the five pages, and it’s where you
manage your downloaded files, hard drive paths for the
plug-in library and rendered files (exports from the plug-
in timeline), etc. The other useful feature here is the Live
Drummer slider, which adjusts for a more realistic feel or
a rigid metronomic feel, depending on what you’re after.
It’s a global setting, but it doesn’t change any of the
presets or velocity settings. I liked setting the slider
towards Max as it really did give a more realistic and
looser feel to the performances.
Customer support at Sonoma is top-notch. I had a small
bump in the road with registration, and they responded
immediately and quickly solved the problem. You feel like
they really care about their product, and the service feels
more like dealing with a family business.
Final thoughts on working with DrumCore 4? I found the
interface to be very well laid out. I was able to find what I
was looking for quickly and easily. The sound quality is top
notch, and the editing is very user friendly. For me, the
variety of drummer talent assembled and how Sonoma has
lovingly captured their signature sounds and grooves is more
than worth the price of admission. Two big thumbs up for
DrumCore 4! ($49–$2,699 MSRP; www.sonomawireworks.com)
–Will Severin <www.willseverin.com>
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64/Tape Op#124/Put your ad on this page: https://www.tapeop.com/mediakit/

Tape Op is Made
Possible by our
advertisers.
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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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Plenty of room and solitude to get into a creative space but only 30 minutes from San Francisco.
Rates start at $350 a day.
panoramic-house.com • john@onefinmanagement.com • 916-444-5241
Put your ad on this page: https://www.tapeop.com/mediakit//Tape Op#124/65
 Who’s Dropping By?
by Larry Crane

After 32 years of attending, visiting, and helming many studio recordings, I’ve come
to recognize the impact that guests dropping by can have on a session. In Tape Op #73
I described my take on “Etiquette for the Studio Visitor?” But, in reality, whether one
should have visitors during any recording scenario (whether while home recording, on a
remote session, or in a studio) is the actual question that should be asked. What a visitor
dropping by will bring to the table can potentially be either helpful or disruptive. What
is confusing is that many of the most common disruptive visitations are completely
unintentional. It’s hard for anyone that has never been on the performers’ side of the
recording equation to understand the focus needed, the vulnerability present, and the
amount of time some of the work takes. The more that the visitor is respectful of the
attention needed for the project, the more positive their appearance will be. Remember,
a friend or loved one quickly dropping off some (probably much
needed) food or refreshments can be a real positive for everyone.
Some visitors can bring a needed uplift to a session. It might be a friend of the
musicians, who is also a musician, that adores their music, and who is excited to hear
the songs they love come to life. These people can provide a sort of “virtual audience”
for the group. Sometimes a respected musician can be a boost to
long day, and positive feedback on the work going on from a peer always feels great.
As a bonus, impromptu “guest spot” overdubs can sometimes shine a new light on a

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song’s possibilities.

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Family members can bring good or bad elements to a session, depending on
the situation. Children can give a recording parent a nice boost, but as the studio
can seem interminably boring to an outsider, keeping kids’ visits brief is important.
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Band managers and record label folks can be a mixed bag. Some bring
the enthusiasm of a fan, and make everyone feel good about the project. Others may shine
a more pragmatic light on the proceedings, and wonder why time (and money) is being
spent on a particular song or part. Not exactly conducive for the most creative flow.
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One of the most disruptive situations I’ve ever been in involved with was a television
crew, sent to do a short documentary about a band working in my studio. Video crews
can slow everything down, make everyone feel awkward on camera, and impede the
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sort of brutal honesty in communications that is needed in the studio. Usually still
photographers can be less intrusive, but I’ve had a few that stuck around far too
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long and never stopped chatting. “Hey, we’re working!”

Producers should be aware of the impact that folks dropping in and out can have.
Situations where friends of the artists coming by can get disruptive and should be dealt
35

with by the producer. Clearing the room and maintaining order to keep sessions on track
is their responsibility; plus they can play “bad cop” if needed, and be the buffer
between the artist and their pals. Engineers, assistants, and interns should understand
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the impact that any of their own visitors will have, and limiting these intrusions is
highly important.
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Studio managers, studio owners, and other business infrastructure people should also be aware
of the repercussions of their drop ins. I’ve watched in horror as a studio manager gave me a tour
by barging into just about every session in a multi-room facility. I’ve also totally understood when
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I wished to see a famous facility and the owner declared rooms off limits due to session lock outs.
Whether your next tracking or mixing session has people dropping by is up to everyone. Artists
should express their needs for privacy, or for a communal vibe. What they desire from a session is
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paramount. Musicians being comfortable, and getting great music tracked, are always
the most important factors to consider! r

66/Tape Op#124/End Rant/

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