Aug 1, 2001 12:00 PM

INFAMOUS OMISSION
I am amazed. I hadn't realized that Pearl Harbor was shot as a silent movie and all the sound was added in post. At least that is the impression the reader gets from your article on Pearl Harbor in the June issue. I don't mean to detract at all from the wonderful job done by the PH post team, but there was, in fact, an excellent mixer on the set and, by all accounts, he did a great job. I've heard that 99% of the dialog was from the production tracks, and many of the airplane and battle effects were those recorded on set.
Don't feel bad, though. This is the third article I've seen on sound for Pearl Harbor that made no mention of Peter Devlin, the production mixer. I think your reporter missed out on a good story. As exciting as the post suites are, every now and then something interesting happens on set, too.
William Sarokin
Via e-mail

EXTRA CREDIT
Hey, how about a little credit here! I would like to make the suggestion that future issues of Mix magazine showcasing newly built studios mention the pro audio dealer who equipped the studio.
I am not asking for credit for the dealer who just sold the gear. I'm talking about the person who met with the studio designer, got the gear there on time, arranged the wiring, and even helped find the right contractor for HVAC, electrical wiring and physical studio construction.
This type of dealer is hard to come by, but they are out there. I know, because I am one of them. I am not looking for credit for just myself, even though I did supply the studio on the cover of your June issue (Metropolitan, Bryn Mawr, Pa.). Mainly, I think Mix readers should have a better idea of what is involved in putting together a recording studio.
Perhaps Mix magazine could request that information when spotlighting these new studios. The same way everyone wants proper credit on that Grammy-winning album, pro audio dealers look for the same kind of mention and appreciation when they've done their job well, too.
George Hajioannou
www.angelmtn.com

KUDOS FOR THE Q&A

Congratulations on the May 2001 issue's interviews with Armin Steiner and Elliot Mazer. I was fortunate to work with Armin on several occasions at Capitol Studios, but even before that his Sound Labs was a legend in the '70s L.A. studio scene. Elliot and I worked together at the Automatt in San Francisco, although not on the same projects.
I learned quite a bit about recording from both of them, and, while it's good to learn about the latest bells and whistles, these two gentlemen have a lot to share with Mix readers. They have managed to survive the ever-changing world of recording by using their knowledge about basics and applying it today. Sometimes “old school” is the best school.
Leslie Ann Jones
Skywalker Sound

MAC DEFENDER
A reader submitted feedback on computers vs. “stand-alone” DAWs (September 2000). He expressed concern that this is a “transitional time for the Mac, with OS X threatening to outdate existing software…” He also claimed that “Mac [is] abandoning the PCI slot on many new models.” I am a happy Mac engineer and find these arguments for preferring stand-alone DAWs as alarmist and irrelevant.
It's true that Apple's models, such as the iMac and G4 Cube, have no PCI slots and, therefore, would be inappropriate models for digital audio workstations. However, these models were not designed for audio engineering, whereas the G4 is a superb candidate for audio applications, having three PCI slots and the speed to make “host-based” workstations competitive with dedicated board systems. Of course, adding RAM and SCSI drives will add to the sticker price, but once your machine is built, numerous applications can use that hardware: from multitrack DAWs to MPEG encoders and CD recorders. Even a laptop, like the PowerBook (or PC laptop) can connect to a Magma PCI expansion unit. Imagine running Pro Tools MixPlus on a laptop. With the computer appearing in so many of our daily tasks, it might as well earn its keep and track a few sessions. Older Macs still have high-end life in them, too. I had a “Cold Fusion” (8100/100) lying around, so I installed an Audiomedia II (NuBus) in one of its slots and Digital Performer. Now I have a very inexpensive solution to 24-bit mix archival. Yes, the Audiomedia II's digital-in handles 24-bit digital audio even though its analog-in converts at 16-bit (64).
As for OS X, it won't “outdate” existing software. All our apps that run on OS 9 will run in emulation mode on OS X. But when audio software comes along that's written for OS X it'll be well worth the upgrade. Right now, no MIDI/audio software takes advantage of the single-processor G4's 128-bit processing ability, not to mention the MP G4's throughput. I've written MOTU, who are still working on their G4-friendly Digital Performer. But, in all honesty, compared with the speed and track allocation I was used to before getting the “Sawtooth,” I'm well pleased with the investment. Once software catches up, the Mac will improve in performance. Maybe a stand-alone DAW is attractive for its ease of use. It's definitely more “plug and play” than configuring a Mac. I hated computers until I saw what could be done with music on them.
Of course, a stand-alone DAW is really just another computer, but with limited upgradability. I use four Macs of various vintage at my studio: a Cold Fusion, a Nitro, a Gossamer and the Sawtooth. They're very reliable machines and, except for the G4, were bought second-hand. The DAW in the window drives a hard bargain, indeed. This was written on a “Carl Sagan.
For info on PowerMacs, check out www.apple-history.com.
Lastly, I don't run the Internet on my DAWs. This avoids the unlikely, but possible, event of a Mac virus. Also, Internet applications are only data-sensitive, unlike audio applications, which are time-sensitive as well. I've been told that an inherent incompatibility resides in this difference of protocol, and, therefore, one shouldn't mix one's audio with one's browsing. Maybe that's overly cautious, but I shouldn't want to lose someone's project for any reason.
Andrew Hamilton
www.studiobdigital.com

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