LETTER OF THE MONTH
Feb 1, 2006 12:00 PM
LET'S CALL IT COOPERATION
Over the years, I have gone back and forth between software and hardware. I learned how to program a drum machine XOX-style via FruityLoops and Rebirth. I then abandoned software for the Akai MPC, Roland XOX drum machines, etc. But I struggled to make anything really good, and the time it took to make a beat discouraged me because I was used to the computer and the samples available online. On the Akai, you had to put samples on floppy or Zip or manually record them, which was too time-consuming for me. Therefore, I switched back to FruityLoops and Cool Edit Pro. Then, Reason was unleashed and became the first piece of equipment I haven't abandoned; I can make music that people can't tell was made in Reason.
Soon after, I obtained Live 1, then 2, then 3, but didn't like them. However, Live 4 was awesome, and now I use Live 5 on a daily basis. But I needed something for when I didn't feel like being in front of a computer. So I bought an Elektron Monomachine, and I knew I would be going back to hardware again. This time, I am not abandoning software. When one isn't inspirational to me, I move to the other. There is nothing like twisting a knob and listening for a change that makes everything pop into place. And there's nothing like sitting at your computer and not having to hook up wires or move things out of storage. The bottom line is that both have their place in the electronic music world.
It takes hard work to make good music, regardless if you use software or hardware. Grooveboxes get a bad name, but if you work hard and tweak them, they can sound great. Software gets a bad name, but if you get past presets, you can get amazing results. Eventually, after hard work, it all comes together regardless of what equipment you use.
John Gellings
Jersey City, N.J.
For sending in this month's winning letter, John Gellings wins a pair of Stanton DJ Pro 3000 ($199) DJ headphones. If you send in the most inspired correspondence next month — or simply the letter we like the best — you will win a pair, too. All you have to do is send an e-mail to remixeditorial@primediabusiness.com. Please include your full mailing address.
LET MUSIC BE SEEN
I'm a first-year subscriber to your magazine. I love it — so much useful information! In your recent article on Boards of Canada (“Emotional Abuse,” December 2005), Mike Sandison said, “We usually imagine our music to have a visual element while we're writing it.” I share the concept and enjoy the visual cinematic approach to music creation. It inspires me day after day, as a joint owner of a multimedia studio. We incorporate video, photography, custom graphics and audio for projects that range from music CDs to advertising and film production. Remix reviews of products and software such as Rain Recording LiveBook and Apple Final Cut Pro are very informative and considered a third hand here at the studio. I would like to thank Remix for your interest in multimedia, and we hope to see some visual libraries show up in “Tech Sector” because creativity keeps us all in the mix!
Walter Raines
Columbia, S.C.
NEVER TOO LATE
Bravo to you guys. I've been reading articles on your Website, and they've helped me through my midlife crisis to figure out how to do what I've always wanted to do — work with dance music. Finally, I subscribed!
I look forward to learning much and maybe satisfying the one thing that I haven't followed through on in life. I graduated from UW Madison in '89, passed the CPA exam and graduated from law school. I do a lot of criminal defense and tax work, and I love representing the little guy.
But I DJ'd all through college. I have a ton of old industrial, house and freestyle on vinyl. I always thought I had that one new-school remix on a cool old song. From your mag, it looks like the technology is out there for me to give it a shot.
Jeff Purnell
Milwaukee, Wis.
CATEGORICALLY SPEAKING
Though music has its differences and has its own types or styles, we can all agree about its expression. With this expression, we then break it down as to type and try to define music. One time, 2Pac was interviewed and asked, “How do you define gangsta rap?” He replied, “I can't. I don't know what gangsta rap is.” He was looked at like he was crazy.
Truly, though, how can you define rap/hip-hop into classes like that? Maybe his music was tough and rugged to some, but it's music, and it was his life and experiences. He was just telling his story, what he'd seen. Now rap is classified into different types — gangsta/hardcore, gospel, experimental, pop, etc. Overall, it's all music, and I agree as to classifying it into genres: rap, pop, rock, R&B, jazz, oldies, punk, country, etc. But breaking down rap beyond the rap/hip-hop standpoint is too deep. It's like we're trying to tell someone who each person is each time we describe it. Let's just let the people be themselves.
Dennis Thornton II
Vista, Calif.
MATTER OF OPINION
While reading the November issue, I came upon the review for the Stanton T.120C turntable. I must say that after reading the article, I was a little upset. I can see why you think the T.120C is a great turntable. The features that it has are really great, and they are features that I would use and have been using ever since I purchased a set of Numark TTX1 turntables nearly two years ago. Not only did Numark put all of the features that you listed for the T.120C into the TTX1, but it also has some better and more interesting features as well: easily interchangeable tone arms (curved or straight), an information screen and a pitch control that can be switched with the rpm buttons for a battle-style setup.
By far, Numark has considered every aspect of DJing and put a lot of time and research into the TTX1 turntable. I find it very sad that any other company can rip off most of the great features that Numark has had in production for nearly two years and gain praise as the “innovators” of the turntable industry.
“Caster” Troy Purkis
Marshfield, Wis.
OOPS
In our excitement to tell everyone about the Remix Hotel event in Los Angeles (“Frequencies,” January 2006), we neglected to mention that it happened Nov. 4-6, 2005. Next up is Remix Hotel Miami (March 22-26), and we look forward to returning to L.A. in the fall.
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