Author Profile

Thomas Kenny

Mix Editor Tom Kenny joined Mix in 1988 after receiving a masters' degree in journalism from Indiana University in Bloomington. He has written extensively for Mix through the years, developing the Sound for Picture section in 1991, followed years later by a book on the subject. He was named Editor in 2003.

Mix Regional Florida: Trevor Fletcher, Hit Factory Criteria

It’s always good, when talking about south Florida, to check in with Hit Factory Criteria VP and general manager Trevor Fletcher. After 30 years, his often-wry cynicism is in perfect balance with his informed optimism. He also loves music, and he loves Miami. ......

The Industry and the Engineer

There is a long tradition of artist-industry collaboration in professional audio, and it comes in many, many forms—the artist, in our case, being the engineer and producer—from the simple product endorsement in a print ad, to exclusive mics in a Grammy broadcast, to a name plug-in collection for sale. In some way, shape or form, every product manufacturer, software or hardware, works with......

Sweetwater Studios

It would be difficult to overstate or overdramatize the success story embodied in the rise of Sweetwater over the past 35 years. By any measure—financial, educational, professional, ethical, philanthropic or creative—the company and its people have a story to tell. And most of them at some point will involve the company’s enigmatic, confident, committed, optimistic and quietly driven founder......

The Exodus in Atmos

It’s a Ridley Scott epic, a biblical story with swords and battles and locusts and seas parting. And it’s an open palette for sound, from a sound-oriented director. It also was the first Dolby Atmos film to be mixed in London’s Twickenham Stage 1 on the Neve DFC, by the mix team of Paul Massey, Mark Taylor and Oliver Tarney, who also supervised. Here, Tarney recounts some highlights. ......

It’s All About the Experience

You can’t talk about recording studios without talking about their “vibe.” From the late 1950s and early 1960s, when visionaries like Bill Putnam, Tommy Dowd, Rudy Van Gelder and Cosimo Matassa broke away from the broadcast lab-coat model and began producing records, Vibe became one of the great differentiators for artists looking to book a studio and make great music. That sense of Vibe, of......

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