How to Make Loops on Tape Machines

Tape is great but it's also a massive pain in the arse. I've got mountains of unreleased ones of those in the computers like to be honest at this point I am and more than likely none of that will ever see the light day. If you're going to use tape and really want it to sound taper or whatever turn the computer off and just try and do it all on the tape machine because it's where you get the real kind of juice out of it.

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In this episode, John ventures over to Clapton to join James Ellis Ford and talk about how he wrote, recorded, and produced the album ‘The Hum’.

His debut solo release after almost two decades working with some of the world's biggest artists, James looks back on how his approach to music has changed over the course of the album, reflecting on the different mindsets and decisions that come with producing his own work compared to that of others.

As well as a deep dive into his vast studio setup and hybrid system of new and old creative techniques, we’re treated to thoughts on the fine line of ironing out the humanness of mistakes, and how more often than not, pieces of gear can give you back ideas that you’d never have expected.

Listen to find out which undiscovered mics are used across almost all of the records he works on, how to implement a Frippertronics-style tape setup, and what you can create when you push a bass clarinet to its limits.

Tracks discussed: I Never Wanted Anything, Squeaky Wheel, The Yips

LINKS TO EVERYTHING TAPE NOTES

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Listen to ‘The Hum’ here.