Envelope Filter, November 2008
Nov 1, 2008 12:00 PM
LETTER OF THE MONTH
TIME, SHMIME: IT'S NEVER TOO LATE
It seems like just a few years ago (well, probably more than a few) that I would listen to songs on the radio and ask myself, “How do they do that?” or even, “What does it take to make a record like that?” Coming from old school, where I used to human beatbox and battle rap against rival crews/competition, I knew that I wanted to make music but just didn't have the knowledge and equipment to do it. I'll admit, I dabbled a little with my Casio keyboard and even placed in a talent show with one of my good friends playing that theme song to Beverly Hills Cop. Fast-forward through college and more than 15 years of serving and traveling across the world thanks to the in U.S. Air Force, I found myself coming back to the one thing I've loved all of these years: music. However, now the playing field is much different. Technology and the Internet have made it possible to produce, collaborate and ultimately remix any song from the comfort of my budget home studio.
I've been a subscriber to your magazine for only about five months, but the articles — from tips on Pro Tools and reviews of the hottest gear to interviews with artists/producers — have brought a newfound desire to “remix” my life at the tender age of 37 and do something that I really enjoy once again. I may not be the top independent producer/composer on the street; however, I've had growing success in the past year, so these young cats better watch out because the old man is still hungry and getting better every day. No matter what your dream, if you have the passion, commitment and willingness to succeed, with a little bit of sacrifice, it's never to late to remix your life a little bit.
Billy G. Roberson Jr., B Rob Productions
Tucson, Ariz.
For sending in this month's winning letter, Billy G. Roberson Jr. wins KeyToSound Production Pack (MSRP: $179). If you send in the most inspired/love-filled/hate-filled/hilarious/insane correspondence next month, you'll win the Hercules DJ Console Rmx digital dual mixing deck (MSRP: $349). All you have to do is send a letter to remixeditorial@remixmag.com. Please include your full mailing address. And for more chances to win prizes, visit http://remixmag.com/contest for the latest Remix-sponsored contests.
THE MESSAGE
I love being a musician. I love being a DJ. In fact, the reason I became a DJ was so that I could play music I had produced. Still, anytime I introduce myself as a DJ, I get comments similar to the anonymous letter that appeared in the October 2008 issue of Remix (“Um…Er…,” p. 10). People accuse me of bastardizing the industry and say that we're not musicians, and that they could do everything I could with an iPod and a mixer and get paid just as much. Well, then do it! And do it for free for three years until you establish a name for yourself.
As for [the letter writer's] ignorance, specifically toward rap music (“audio pornography” and the dumbing down of society and all that) — have you listened to it? Or have you listened to a portion of it? Hell, you turn on the radio and hear one track and then classify the whole genre based on that track? I'm sure if you removed your head from your southern cavity, you'd see there is more than one voice in rap. Listen to the great vibes that Blackalicious creates, or the lessons a rap band like Gang Starr has taught. Too many people hear the words but don't listen to the message. So just listen, and you might see that rap/hip-hop is not dumbing us down; rather, it's making us think.
Anonymous
Via e-mail
TOTALLY FRICKIN' AWESOME!
I just happened upon Jason Scott Alexander's article on your site (http://remixmag.com/tech_features/remix_freakin_faders; from the April 2006 issue, p. 54). I just had to write to tell you how superb I think it is, and I can't remember the last time I wrote to any editor for anything.
The writing, descriptions, detail, insights, expert quotes and analysis of technique and tools are uncommonly good. Reading this article made me want to jot down nugget after nugget of useful information, while almost overwhelming me with how much I have left to learn, attempt and perfect — and that's a damn good and rare thing in an article of this nature.
I do electronic music (write/record/mix) and am in the middle of mixing a very dense piece, and if I didn't have a looming deadline, I would be exploring virtually every tip and trick in this article on this project — it's that good (the article, of course…well, hopefully the music, too).
A deep and sincere thanks to Jason (and his interviewees), as well as to all at Remix responsible for promoting this kind of quality studio journalism.
Anonymous
Los Angeles, Calif.
YOU'VE MISSED THE POINT
I read your article “Phantom Power: Limiting Lowdown” (p. 44) in the September issue of Remix. I think you've missed a number of points that need to be discussed. First of all, most limiters are designed to detect peak content and adjust the overall audio envelope accordingly, whereas most compressors adjust the overall audio envelope by reacting to changes in the average level.
As a result, more than a few decibels of “limiting” usually results in very audible degradation of the audio. Usually, more compression is possible because the peaks are not, in effect, modulating the overall audio envelope. Most of these devices get used as complex effects generators as opposed to real level controls.
There is one unit that is remarkably different in its use/effects: the InnerTube Audio Atomic Squeeze Box. While nearly all units, whether limiter or compressor, have few issues in their attack functions, nearly all of them suffer in the release department, thus generating obvious audible artifacts. The Atomic Squeeze Box is the only unit that has circuitry that automatically tracks the audio envelope on the release side of its operation. As a direct result, huge amounts of control are possible, with virtually no audible effects (other than volume control).
Just so you understand what I'm talking about, 20 dB of compression on an out-of-control vocal is entirely possible.
Richard Guy
Via e-mail
Thank you, Richard. I agree with your statement, “Most of these devices get used as complex effects generators.” In fact, I explored this very topic in “Phantom Power: Metamorphosis” in the September 2007 (p. 56) issue of Remix. I believe that compression/limiting is one of the most overused and misused tools by audio engineers. However, I also believe that in the right hands, they can in fact be used effectively as an effect — if done so with purpose.
In respect to the InnerTube Audio Atomic Squeeze Box: I have not had the chance to personally use one, but according to the Website, engineer Steve Albini loves it. If it's good enough for Steve (and that says a lot), it's certainly good enough for me. — Doug Eisengrein
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