From the Editor: Musical Influences
Cover Story: Andy Summers
Award-Winning Productions: Highlights from the 60th Grammy Awards
From the Editor
For amateurs and pros alike, the tools to produce slick-looking 3D, 4k content with post-produced audio are here.
From The Editor
From the Editor
I just had a valued hard drive fail. I know it happens, but I still went through the eight emotional stages after data loss.
Control Theory doesn’t often come up in casual conversation. But it’s come up for me lately, quite a bit actually, and I still have a hard time getting a grasp on it.
It wasn’t that long ago that we started trusting digital enough to be all-in. Since then, and especially lately, the evolution of digital products has been stunning.
Last night, in Santa Fe, I had a nice dinner with David Schwartz, co-founder of Mix and the man who hired me as an editorial assistant for $5.50 an hour way back in 1988.
Unless you just woke from a 20-year sleep, you know that digital recording and the Internet have pushed us into a multi-level world of recording.
Until very recently, Conway Recording Studios was something of a mystery to me.
In the past, I’ve written about the growing similarities between live sound and recording studio workflows.
I spent more time in museums, and thinking about museums, over the past month than I typically do.
The part of my job that excites me the most is when I come across new technologies and approaches that change the way I look at what I do...
We use the term “golden ears” every now and then in the pages of Mix, usually to describe an engineer whose taste and talents are beyond reproach and we’re not entirely sure why; they just are.
I regularly come across tech, music and general info that I immediately put in my “remember this” folder. Recently, I hit the Mother Lode and thought I’d pass it along.
There are “aha” moments in life when you realize that a change doesn’t simply affect you, but rather is a tide that raises all boats.
Three things struck me immediately after two separate days of walking through the stunning new Dolby Building at 1275 Market Street in San Francisco.
It’s great when you find things that make your life easier, things that become such a part of your day-to-day world that it’s hard to think of your life without them.
So many speakers. And they’re everywhere. In your living room, kitchen and bedroom. In your car, on the plane, on the bus, on the train.
I write this in the Thursday early morning from Room 335 of the Anaheim Marriott, just a football field and a few hours away from the doors opening on the 2016 NAMM Show.
When it comes to tuning your product news, music, sports, and more, streaming is king.
Pensado’s Place is highly entertaining.
I’m a tech-loving geek—my ceiling fan talks to my thermostat and coordinates my house temp. But high-end tech doesn’t need to be that crazy, or expensive.
John Davenport, owner of this month’s cover studio, is quite a character.
Audio pros are passionate about gear, and our tastes tend to be broader than most.
Sometimes a ready-made story, a good one, just falls into my lap.
Certain words bring certain images to mind. In music, when you think of “Grammy” you probably think of the February awards show at the Staples Center in L.A.
Every time AES rolls around, I start thinking about new gear, and 2015 has been a banner year so far.
The best class I had during graduate school in the mid-’80s was a composition seminar taught by American composer Pauline Oliveros.
By the time I joined Mix in 1988, the heyday of true “residential recording” seemed to have passed.
My first real assignments at Mix, once I was finished copyediting and proofreading for the day, were writing about Sound for Film, starting with The Doors movie back in 1991.
Although “videographer” is a job classification I’ve never put on my resume, in the new age where anyone can broadcast to the world, I’ve found myself cutting a lot of video.
This summer I was tapped to teach a Sound for Picture course, which provided an opportunity for me to not only review the range of skills involved in modern production...
On Saturday, July 11, Chris Pelonis picked me up in Los Olivos in his Porsche convertible and said, “You wanna go get a beer and hear some music?”
Chris has been a longtime friend and I’ve thought from day one that he had one of the great creative/technical minds in our industry.
I’ve been at Mix since 1988, and I’ve seen a lot in this world of professional audio.
I’ve said it before in these pages: I’ve always wanted to go out on summer tour.
I’m loving the hot months of 2015.