From the Editor
From The Editor
From the Editor
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.
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.
Until very recently, Conway Recording Studios was something of a mystery to me.
I spent more time in museums, and thinking about museums, over the past month than I typically 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.
Three things struck me immediately after two separate days of walking through the stunning new Dolby Building at 1275 Market Street in San Francisco.
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.
Pensado’s Place is highly entertaining.
John Davenport, owner of this month’s cover studio, is quite a character.
Sometimes a ready-made story, a good one, just falls into my lap.
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.
I’ve said it before in these pages: I’ve always wanted to go out on summer tour.
You don’t know Dwight. There’s really no reason you should. He’s not a recording engineer or live sound professional. He doesn’t make audio products...
Back in 1989 when I walked into John Mellencamp’s Belmont Mall Studios off Highway 46 east of Bloomington, Ind., I had no idea that I was looking into the future.
I’m of mostly Irish descent, and I come from a large family. My undergrad degree is in history and my master’s is in journalism. I love a good story.
When we last featured Capitol Studios on the Mix cover, in November 2012, we invited a whole gang of L.A.’s finest engineers and producers...
Toto could have easily phoned this one in and nobody would have blamed them, or even criticized them.
There is a long tradition of artist-industry collaboration in professional audio, and it comes in many, many forms
You can’t talk about recording studios without talking about their “vibe.”