LETTER OF THE MONTH

Jan 1, 2007 12:00 PM

THE 11 DAYS OF EDS. NOTES

2006 has been prolific for me musically, and Remix had a lot to do with it. The year opened with me embracing change more openly (January 2006, “Sea Change”). I stopped and smelled the roses with the realization that outside of music, there is inspiration to music (February 2006, “Feed Your Head”). I made sure to challenge myself whenever the chance came up, trying to avoid becoming complacent and too comfortable with my musical creations (March 2006, “20/20 Hindsight”). Procrastination became a dirty word, and I deleted it from my mental database, recognizing that the end result of it could be severe repercussions (April 2006, “So Long, Farewell”). I searched for the spark and/or inspirational trigger when musical motivation was at its low. What a feeling it is when you find that spark (May 2006, “Get on the Freeway and Drive”). Hearing from Remix that I can do it was a tremendous spark in itself. I never really doubted myself, but I was leery at times; I gotta listen to my gut (June 2006, “$$ for Nothin', Chicks for Free”).

Remix is not only talk; it's also a door to exposure (July 2006, “We Have a Winner!”). One thing I have heard many people say is “never quit.” I keep chipping away with whatever musical tools I can get my hands on (August 2006, “Patience, My Friend”). CDs, music files, vinyl or whatever comes next, I don't care — they all are making me a better DJ/artist, and I will continue to be open to all that is relevant, new and different as long as it upgrades my game (September 2006, “Adapt or Die”). I am from the old-school, and I know that great music has been done with 4-track recorders, so Kylee's mic story has helped me, and I hope others know that what you buy should be what you need, not because it is expensive or a known superstar uses it (October 2006, “Bolt From the Blue”). I have been taking my time finishing a music project. When you finish a project, it should be exactly what you wanted (November 2006, “Rush Order”).
Jorge Garcia
Miami, Fla.

For sending in this month's winning letter, Jorge Garcia wins his own Audio-Technica ATH-PRO700 SV (MSRP $279) professional monitor headphones and the UDG Producer Bag (MSRP $199). If you send in the most inspired correspondence next month — or simply the letter we like best — you will win the M-Audio MidAir 25 (MSRP $249.95) wireless MIDI controller. All you have to do is send an e-mail to remixeditorial@remixmag.com. Please include your full mailing address.

MIGHT AS WELL FACE IT

Some people are addicted to caffeine and nicotine. I am addicted to buying musical equipment. Kylee Swenson's October Editor's Note, “Bolt from the Blue,” helped me realize that I am addicted to the pursuit and purchase of recording equipment. No matter how much I save and buy, I am never completely satisfied. I find myself sifting through magazines like Remix and Electronic Musician, drooling over elaborate home studios stuffed with the latest equipment and software.

As a one-man band (singer, songwriter, rapper, producer), I rely heavily on fanciful equipment to make the best of the time in my miniature studio. I used to buy gear out of necessity, but after reading Swenson's article, I realized my recent purchases have been more out of want and desire than necessity.

I wanted to improve my sound with refined recording equipment, but in the process of penny-pinching, I spent the past two years wearing the same dingy white T-shirts, raggedy socks and worn-out tennis shoes. I realized that (although I may never stop buying equipment), it is important that I appreciate what I have and not purchase wastefully. I have made enough sacrifices for the time being, and I think it's time to step back, use what I have to its fullest potential and buy some fly clothes to match my funky-fresh beats.
Eric Mire
Milwaukee, Wis.

SPRECHEN ZIE SPIEGEL

Thank you for Bill Murphy's article on electronic-music icon Laurie Spiegel. I managed an NYC Apple dealership in the mid '80s that carried both alphaSyntauri music systems for the Apple II series and Music Mouse for the Mac. I sold a lot of Music Mouse software to folks looking for an inexpensive way to explore music on the early Macs (and sold the last stock of alphaSyntauris to a few brave souls looking for a powerful but cheap digital-synthesis engine).

Laurie was a frequent visitor to the store and alphaSyntauri User Group meetings. Unlike other NY/NJ-area electronic-music explorers of that day, Laurie was a shy presence. But, like the others, she was full of optimism and youthful evangelism for the good things electronic music could provide in the form of cultural and educational possibility. I keep waiting for a Music Mouse plug-in (I have a floppy disk copy in an old wooden case), but in the meantime, I listen to Laurie's wonderful music, especially Obsolete Systems. Thanks for giving respect to a worthy individual.
Jim Combs
Decatur, Ga.

MMM… THAT'S GOOD ALIAS

In the mid-'90s, I was a mix engineer. Not a programmer, producer, consultant or studio musician (all of which are now in my job description), just a mix engineer. I used to sit in front of a huge console in a fancy studio, listen to music, press little buttons and turn little knobs, making sure that the producer's vision was realized. Quite often, the console was an SSL. Nowadays, those sessions have given way to a more in-the-box approach, mixing in Pro Tools in someone's room.

So you can imagine how pleased I was to see the Duende review in the October issue of Remix. Quite a well-written article, although when I saw the word “proliferous” at the end, I had to turn to the title page to see who wrote it. That's when I saw the name Art Vandelay. I've heard this name before… perhaps on a syndicated TV comedy show? Well, nod to Seinfeld or not, Mr. Vandelay did a great job, most notably for his in-depth comparison with the Waves SSL bundle that I had been eyeing for awhile. Kudos as well to SSL for making a product that is perfectly geared for these modern times. To survive as professionals in the music industry, we have had to reinvent ourselves and hone our chops in areas that used to be outside our purview. It's nice to see SSL do the same.
Dave Saronson
New York, N.Y.

JUST A LITTLE PATIENCE

A beautiful song is a communication of the spirit. Putting a promoter, bean counter and music director in the middle of that is like putting a pimp in the middle of a husband and wife. They should never be allowed to influence production in any way. This is a law of good economics. The more artistry you don't tarnish, the more hit songs you'll have. Stress and deadlines kill not just creativity, but that spiritual bond as well.

Sure, musicians will never be done with their work, but I remember when Stevie Wonder delayed an album three years! It was Songs in the Key of Life, the host to at least four top-ranking songs of all time. Those producers who have prospered over the past 50 years of music were, in retrospect, those who knew when to shut up and hand out a few extra beans to accommodate those less disciplined but highly creative and profitable artists. As part of the cat-and-mouse game of artistry vs. management, good managers create generous deadlines.
Mike “Dr. Disco” Rogalski
Lancaster, Calif.

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