Letters to Mix

THANK YOU, GEOFF Many thanks for interviewing Geoff Emerick. I named my (now 13-year-old) first-born son in his honor, both for my enjoyment of his work


Many thanks for interviewing Geoff Emerick. I named my (now 13-year-old) first-born son in his honor, both for my enjoyment of his work and the fact that I thought “Geoffrey with a G” was just a super-cool name (and this was back in 1989!).

Any chance of a similar interview with Norman Smith? I'd love to hear his tales of sessions with the Fab Four and the Floyd, and haven't heard of what or how Norman is doing in some time.
Mark Zampino
Owner, Ledge Vu Media


I would like to add a couple of comments to Gary Hall's article on AES routing switchers (October 2002). While routers are relatively rare in audio studios, they are commonplace (in fact, indispensable) in television broadcast and production. I have noticed that some companies that make AES routing products aimed at the “studio” market do not always implement them similarly to broadcast routers.

For example, the typical broadcast-type router (whether for AES audio, analog audio or video) allows any input to be routed to any number of outputs simultaneously. This means that the router effectively acts as a “distribution amp” to send the same signal to multiple destinations. However, some smaller AES routers I have seen do not allow this function; each input can only be routed to a single output at a time. This is an important point to keep in mind.

I also want to mention that almost all broadcast router manufacturers have products that will handle AES signals. Usually, these are independent modules that are linked with modules that route other signal formats, but can also function alone with a variety of control panels and other options. These manufacturers include some mentioned by Hall, plus Leitch (one of my personal favorites), Sigma, Utah Scientific, Grass Valley Group, Philips, Sony and others.

While it may not be worthwhile for a small studio to investigate all of these options, I wanted Mix readers to be aware of the larger world of routing switchers outside of studio applications.
Eric Wenocur
Lab Tech Systems


As the industry leader in quality, affordable cables and adapters, it's easy to understand how some may not be aware of our other strengths. What Gary Hall did not mention (“Digital Audio Routers,” October 2002) is that Hosa (www.hosatech.com) also offers leading-edge digital and cabling solutions.

Our PBP-362 Optical Patchbay transfers S/PDIF Toslink and ADAT formats with the tactile joy of an analog patchbay, which was nominated for a 2002 TEC Award. The OGC-361 Optical Extender (S/PDIF Toslink or ADAT Lightpipe) allows TOS fiber to be extended as far as 500 feet, and our new FXT-401 FireWire Extender transcends the 15-foot cable limit for up to 162 feet.

Our Zaolla cables (www.zaolla.com) use the atomic superiority of silver for transference, which is simply unavailable from copper-based products, no matter what the brand. Since AES, industry titans are calling us, creating a buzz; we welcome the challenge.
Rob Manning
Zaolla & Hosa Technology


I guess I shouldn't have been surprised by the recent column written by Paul Lehrman (“We Don't Need No Steenkin' Ethics!,” October 2002). After all, I haven't met many advocates of free markets among the music community. Although your ethics advice was good, the political commentary was way off the mark.

Mr. Lehrman, I have enjoyed reading your column for years, but when it comes to politics and economics, you would do very well by picking up a few books or enrolling in a couple of courses. I would suggest starting with anything written by Ayn Rand or Thomas Sowell.

To portray government regulation as the cure to all of our economic problems ignores the history of the 20th century and the idea of how freer a country is, the more prosperous it is. It's preposterous to suggest that the Roosevelts' government-intervention policies were a good thing. But the real circus is the antitrust laws. Did you know that under those laws if businesspeople set their prices lower than their competition, they could be found guilty of “unfair competition”; if they set them higher, then they could be found guilty of a successful “intent to monopolize”; and if they set them equal to their competitors, they could be guilty of “collusion” or “conspiracy”? I guess we entrepreneurs are all criminals then.

If I wanted to read the same leftist rhetoric, there are many magazines where I can get it, but Mix would be the last place I would expect to find it. Please, Paul, with all due respect and admiration, go back to audio-related subjects.
New York City


Your “Steenkin' Ethics” article in the October issue is so dead-on. Your thoughts on the steady decline of corporate ethics and moral responsibility echo my personal sentiments to the core. The big question is how do we reverse this trend as a nation and as an industry? The question I ask myself at the end of each day is, “Did I perform today with integrity?” Sometimes, I fantasize about being a happy moral slacker. It would be so much easier, but I just can't do it. You could have been a slacker and not printed that article. Go forth and inspire.
Pat Hutchinson


Thanks for your “Mixing for the Dancefloor” article (October 2002). I was excited to see that article on the cover. It's great to know you guys are paying some attention to electronic/dance music. Please keep more articles like that coming! It's so hard to find an American magazine that actually writes about creating dance music that speaks to working professionals in the music industry. Every American dance-music magazine I've picked up seems to think that its target audience is all high school or college kids, and I find the dumb-downed articles not only useless but annoying. So keep it up and I'll continue to be a very happy Mix subscriber.
Matt Druid
President/CEO Fusion Sound Lab Ltd.

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