ENVELOPE FILTER
Apr 1, 2005 12:00 PM
LETTER OF THE MONTH
CREATIVE SPARK
For the past two years, I have been searching and searching for information, products and technology to help make my home studio adequate. If it wasn't for the information in Remix, I would have had to give up even before I started. During those two years, I used the information from Remix to help me piece my home studio together, and it is looking great.
I live in a little rural town in Ohio, so information about the recording process is hard enough to come by, and to add on to that, I'm only 15. But I set my mind to it and have been working my tail off to help make my studio a success. I've used equipment that ranges from old record players and reel-to-reels to DigiTech effects pedals and high-quality condenser mics. Throughout my journey, I've come to realize that if you want the best sound, you have to combine the best of both worlds.
I used my computer to host the recording program Cubase. I had a mic input jack, but I needed something that could help hook up more than one mic. I thought about a mixing board, but when you're a teenager, money isn't something that comes in great abundances. So I had to try and find something that was affordable and practical. Then, it hit me! Earlier in the year, a friend of mine had repaired and old P.A. head that had been struck by lightning. I hooked it up to my computer and let the good times roll. With the P.A. head, it allowed me to hook up a multiple amount of mics and still allow an effects pedal without a great amount of feedback interfering with the tracks. It was a godsend, and it has definitely helped make my studio a success. All in all, even though my studio isn't perfect, it's coming along pretty well thanks to the information from Remix and “lightning”-fast thinking skills.
Dillon Bock
New Knoxville, Ohio
For sending in the “Letter of the Month,” Dillon Bock receives a Zoom PS-04 personal multitrack studio. If you send in the most inspired correspondence next month — or simply the letter we like the best — you will win an E-mu Proteus X ($199.95) desktop sound module. All you have to do is drop an e-mail to remixeditorial@primediabusiness.com. Please include your full mailing address.
TECHNOLOGY VS. COMPOSITION
I couldn't agree more with your “Editors' Note” column “Don't Sweat the Small Stuff” (February 2005). It's a subject I'm continuously debating with my colleagues and fellow composers. As a marketer in the UK for the latest gear releases, it's my duty to say that every bit of new kit is better than anything else. And this, I do truly believe; the debate, however, is that musicians think that they need all the best hardware and software to write great pieces.
So I've concluded the following: In the field that we are in, there are two categories — those who are technoids and want the latest and best gear because they enjoy learning about the equipment, putting the music second, and those who don't give a toss about the equipment as long as it sounds good, placing the emphasis on the composition. The latter are the individuals who actually finish an album and have a better opportunity of commercial success than the technoids. Ironically, it's usually the latter who get signed with their rough demo, and then the label sends them off to the technoids to produce the album.
Brian Borcherds
London
POWER UP
St. Louis has become a tough town for career musicians. Like so many other independent studios, my business crumbled to nothing after 9/11. No longer were people willing to pay a couple hundred bucks for a professional recording. Now, everyone just “produces” on a buddy's workstation. But that's cool. Power to the people, right?
Having re-entered the straight life using the business part of my music-business degree, I stay connected to the world of electronic music through your balanced coverage of artists, technology and techniques. I can't believe you packed exclusive coverage of Black Eyed Peas, Thievery Corporation, the Chemical Brothers and Erasure all into one issue (February 2005). Remix magazine is much more than just a “CliffsNotes Guide to Modern Music.”
David Seymour
St. Louis
GEAR SCHMEAR
Being an instrumental musician primarily, I was never very interested in electronic music because of the artificial feeling that is sometimes given off. My first true encounter with electronic music was in a remix contest in honor of Miles Davis' work. When I saw what some of the contestants had done to make the songs on the album different but still maintain that organic element that one gets from live instrumental performances, I was instantly amazed. Since then, I have been fascinated by the art of making music electronically.
However, I have been a little disappointed with the amount of attention that equipment receives. It is true that gear is very important in the production of high-quality, professional-sounding music, but there are many great musicians who are able to perform as well as record high-quality music without having any of the latest, most expensive gadgets and instruments. Music is not about equipment or even necessarily technique. What we do — be we musicians, singers, composers or DJs — is make music for other people to enjoy, to make art that is beautiful and unique.
Daniel Velez
Bethesda, Md.
CREDIT WHERE IT'S DUE
I keep reading letters that are submitted from artists and DJs about who should obtain credit for when a DJ performs. Why can't all artists just open their eyes and see that it is a symbiotic relationship? Yes, most artists are much undercredited for their musical works; they spend months perfecting their music and spend huge amounts of money to keep their studios running. However, DJs play a very important role in our music being heard, thus creating publicity and sales.
The problem is that most DJs try to take credit where it's not deserved, standing on stages like they created the music. Let's face it: Without musicians, they would not have amazing sound palettes to use to mix. The truth is, we are all artists. DJs should announce the artists they play, and musicians should promote DJs who play their music. In this time of crappy music and horrible record labels, we need to stick together.
Paul Rhodes
Los Angeles
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