[mcp6453[_2_]]

I haven't received a Mix Magazine in a while. Have I let me subscription lapse?
Are they still publishing?

[Ethan Winer[_3_]]

On Oct 26, 10:55 am, mcp6453 wrote:
I haven't received a Mix Magazine in a while. Have I let me subscription lapse?
Are they still publishing?

I got October 2010 a few weeks ago.

[gtbuba]

On Oct 26, 1:05*pm, Ethan Winer wrote:
On Oct 26, 10:55 am, mcp6453 wrote:

I haven't received a Mix Magazine in a while. Have I let me subscription lapse?
Are they still publishing?

I got October 2010 a few weeks ago.

Mix magazine is ok. I think they are still around. Getting pretty
thin. Back in the 1980's I got them free. A few years ago I had a
subscription. Seems like not long after they got 2 years upfront they
were trying to sell me on something else. Weird. Tape OP is my
favorite. GT

[mcp6453[_2_]]

On 10/26/2010 6:50 PM, gtbuba wrote:
On Oct 26, 1:05 pm, Ethan Winer wrote:
On Oct 26, 10:55 am, mcp6453 wrote:

I haven't received a Mix Magazine in a while. Have I let me subscription lapse?
Are they still publishing?

I got October 2010 a few weeks ago.

Mix magazine is ok. I think they are still around. Getting pretty
thin. Back in the 1980's I got them free. A few years ago I had a
subscription. Seems like not long after they got 2 years upfront they
were trying to sell me on something else. Weird. Tape OP is my
favorite. GT

I think I've stopped getting Tape Op. Maybe my mail man is stealing them.

[Jay Ts[_2_]]

mcp6453 wrote:
gtbuba wrote:
Ethan Winer wrote:
mcp6453 wrote:

I haven't received a Mix Magazine in a while. Have I let me
subscription lapse? Are they still publishing?

I got October 2010 a few weeks ago.

Mix magazine is ok. I think they are still around. Getting pretty thin.
[...] Tape OP is my favorite. GT

I think I've stopped getting Tape Op. Maybe my mail man is stealing
them.

Well, I think Tape Op has gradually been getting somewhat better,
so maybe he is. But seriously, maybe it's time you checked
your subscription at the Tape Op website. Maybe an email from
them asking you to refresh your subscription got spam filtered.

I have very appreciative memories of Mix from around
1990 (maybe a few years either way). As I remember it,
they found really good people to interview, and asked
really good questions. The magazine did a great job of
being informative, educational, and enjoyable to read.

I'd like to see Tape Op become more like that.

Jay Ts

[Scott Dorsey]

Jay Ts wrote:
I have very appreciative memories of Mix from around
1990 (maybe a few years either way). As I remember it,
they found really good people to interview, and asked
really good questions. The magazine did a great job of
being informative, educational, and enjoyable to read.

I'd like to see Tape Op become more like that.

I think Tape Op is trying very hard to match that model. Considering they
have a tiny fraction of the budget that Mix had in the early nineties, and
the industry they are serving has a tiny fraction of the budget as well,
I think they are doing very well. They are trying for the same mix of
historical "how we did this album" articles and current "how you can do this"
articles, and doing very well.

The reviews in Tape Op drive me up the wall, but then so did the reviews in
Mix anyway.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Joe Danger]

Originally Posted by Jay Ts[_2_]

mcp6453 wrote:
gtbuba wrote:
Ethan Winer wrote:
mcp6453 wrote:

I haven't received a Mix Magazine in a while. Have I let me
subscription lapse? Are they still publishing?

I got October 2010 a few weeks ago.

Mix magazine is ok. I think they are still around. Getting pretty thin.
[...] Tape OP is my favorite. GT

I think I've stopped getting Tape Op. Maybe my mail man is stealing
them.

Well, I think Tape Op has gradually been getting somewhat better,
so maybe he is. But seriously, maybe it's time you checked
your subscription at the Tape Op website. Maybe an email from
them asking you to refresh your subscription got spam filtered.

I have very appreciative memories of Mix from around
1990 (maybe a few years either way). As I remember it,
they found really good people to interview, and asked
really good questions. The magazine did a great job of
being informative, educational, and enjoyable to read.

I'd like to see Tape Op become more like that.

Jay Ts

When I open the mailbox and see Tape Op it makes may day, Larry and his crew always have good articles, and focus on the fun part of recording instead of the latest software. Mix has been getting gradually thinner over the years. I still have all mine from the 80's and they were like encylopedias each month - of course the studio gear was bigger back then too. Think 1,000 lb 16 track Scully. I've also got all my first issues of "Modern Recording" from the 70's. Wonder if their worth anything?

joedangerrecords.com

[Mike Rivers]

On 10/27/2010 9:23 AM, Scott Dorsey wrote:

Jay (I think) wrote:
they [Mix] found really good people to interview, and asked
really good questions. The magazine did a great job of
being informative, educational, and enjoyable to read.

I'd like to see Tape Op become more like that.

I think Tape Op is trying very hard to match that model. Considering they
have a tiny fraction of the budget that Mix had in the early nineties, and
the industry they are serving has a tiny fraction of the budget as well,
I think they are doing very well. They are trying for the same mix of
historical "how we did this album" articles and current "how you can do this"
articles, and doing very well.

I think this is OK in concept, but I have a problem with a
magazine that's primarily interviews. It's a rare Tape Op
review that i read all the way through because I'm just not
interested in the production or recording techniques that
the interviewees are using - when they even describe what
they're doing in a way that I could try them. Most of the
people who they interview aren't very technically oriented
so if they stumble across a technique or a device that they
liked and used, they can't really explain what it does or
why it does it. I find that frustrating.

The reviews in Tape Op drive me up the wall, but then so did the reviews in
Mix anyway.

I'll second that. I want to know how things work and how to
work them, not just that this mic sounded fabulous on the
writer's piano.


--
"Today's production equipment is IT based and cannot be
operated without a passing knowledge of computing, although
it seems that it can be operated without a passing knowledge
of audio." - John Watkinson

[Ethan Winer[_3_]]

On Oct 27, 10:30 am, Mike Rivers wrote:
I'll second that. I want to know how things work and how to
work them, not just that this mic sounded fabulous on the
writer's piano.

Exactly. To me, the worst articles - and I see them all the time - are
fan-boy interviews where some famous musician who is clueless about
audio attempts to "educate" us about audio principles.

--Ethan

[Scott Dorsey]

Mike Rivers wrote:
I think this is OK in concept, but I have a problem with a
magazine that's primarily interviews. It's a rare Tape Op
review that i read all the way through because I'm just not
interested in the production or recording techniques that
the interviewees are using - when they even describe what
they're doing in a way that I could try them. Most of the
people who they interview aren't very technically oriented
so if they stumble across a technique or a device that they
liked and used, they can't really explain what it does or
why it does it. I find that frustrating.

I agree, or else they give an explanation that is patently wrong. Thing is,
Mix magazine has been the same way too.

The reviews in Tape Op drive me up the wall, but then so did the reviews in
Mix anyway.

I'll second that. I want to know how things work and how to
work them, not just that this mic sounded fabulous on the
writer's piano.

Yeah, but that actually costs money. There are fewer and fewer people that
know how things work every year too.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Jay Ts[_2_]]

Mike Rivers wrote:
Scott Dorsey wrote:
Jay Ts wrote:
they [Mix] found really good people to interview, and asked really
good questions. The magazine did a great job of being informative,
educational, and enjoyable to read.

I'd like to see Tape Op become more like that.

I think Tape Op is trying very hard to match that model. Considering
they have a tiny fraction of the budget that Mix had in the early
nineties, and the industry they are serving has a tiny fraction of the
budget as well, I think they are doing very well. They are trying for
the same mix of historical "how we did this album" articles and current
"how you can do this" articles, and doing very well.

I think this is OK in concept, but I have a problem with a magazine
that's primarily interviews. It's a rare Tape Op review that i read all
the way through because I'm just not interested in the production or
recording techniques that the interviewees are using - when they even
describe what they're doing in a way that I could try them. Most of the
people who they interview aren't very technically oriented so if they
stumble across a technique or a device that they liked and used, they
can't really explain what it does or why it does it. I find that
frustrating.

Both of your above comments explain my feelings almost exactly.
I really appreciate how good Tape Op is doing, considering, but
I'm also frustrated that the end result isn't as interesting
as it could be. I think they need to find "bigger fish" to
interview, and also learn to ask better questions.

I found the most recent issue better than previous ones, and
I hope it indicates they are headed in that direction.

The reviews in Tape Op drive me up the wall, but then so did the
reviews in Mix anyway.

I'll second that. I want to know how things work and how to work them,
not just that this mic sounded fabulous on the writer's piano.

I have a dream: Someday, when Tape Op is all grown up,
they will go on the road to Salvador, Brazil, and do a
full report on the annual Carnival parade there. They will
explain how they put on a show with millions in the audience,
and with the bands all playing from the "trio eletricos",
which are huge trucks rolling slowly down the street,
each with electrical generators, complete sound systems, and
wireless audio and TV links to media and reporters. It will
be a special issue on this subject, with articles explaining
the audio engineering, and interviews with some of the top
engineers. After reading it, I will feel that I actually
understand (at least the basics of) how they make it all work.

Jay Ts

[Scott Dorsey]

Jay Ts wrote:

I have a dream: Someday, when Tape Op is all grown up,
they will go on the road to Salvador, Brazil, and do a
full report on the annual Carnival parade there. They will
explain how they put on a show with millions in the audience,
and with the bands all playing from the "trio eletricos",
which are huge trucks rolling slowly down the street,
each with electrical generators, complete sound systems, and
wireless audio and TV links to media and reporters. It will
be a special issue on this subject, with articles explaining
the audio engineering, and interviews with some of the top
engineers. After reading it, I will feel that I actually
understand (at least the basics of) how they make it all work.

I bet that if you pitched it to them, they would publish such an article
if you went down and wrote it.

I am pretty sure they wouldn't pay for you to go to Brazil the way Mix
would have twenty years back.

But I think it's less a matter of "growing up" as a matter of the fact
that the budgets to send people to Brazil to check on Carnival engineering
just don't exist any more.

Even so, I'd like to see that article.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Mike Rivers]

On 10/27/2010 1:23 PM, Scott Dorsey wrote:

I want to know how things work and how to
work them, not just that this mic sounded fabulous on the
writer's piano.

Yeah, but that actually costs money. There are fewer and fewer people that
know how things work every year too.

Yeah, but the few of us who are around don't cost them a lot
of money. What costs money is the paper and ink to print
more pages. And I suspect that their reader surveys are
guiding them more to "Tell us what mic Taylor Swift's
engineer used on her vocals" than how he chose the mic and
what the room was like where the vocals were recorded.




--
"Today's production equipment is IT based and cannot be
operated without a passing knowledge of computing, although
it seems that it can be operated without a passing knowledge
of audio." - John Watkinson

[[email protected]]

MIke Rivers writes:
snip
Yeah, but the few of us who are around don't cost them a lot
of money. What costs money is the paper and ink to print
more pages. And I suspect that their reader surveys are
guiding them more to "Tell us what mic Taylor Swift's
engineer used on her vocals" than how he chose the mic and
what the room was like where the vocals were recorded.
THis is true, but telling me about both is important. wHere
she was positioned in that room as well grin.





Richard webb,

replace anything before at with elspider
ON site audio in the southland: see www.gatasound.com

[Ty Ford]

On Wed, 27 Oct 2010 16:03:18 -0400, Mike Rivers wrote
(in article ):

On 10/27/2010 1:23 PM, Scott Dorsey wrote:

I want to know how things work and how to
work them, not just that this mic sounded fabulous on the
writer's piano.

Yeah, but that actually costs money. There are fewer and fewer people that
know how things work every year too.

Yeah, but the few of us who are around don't cost them a lot
of money. What costs money is the paper and ink to print
more pages. And I suspect that their reader surveys are
guiding them more to "Tell us what mic Taylor Swift's
engineer used on her vocals" than how he chose the mic and
what the room was like where the vocals were recorded.


Good call, Mike. This is a new kind of "data compression." In some cases the
backside info may not matter. In other cases it really does. Unfortunately,
if you don't know, you don't know.

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[David Aguilera[_2_]]

On 10/27/10 6:23 AM, Scott Dorsey wrote:
Jay wrote:
I have very appreciative memories of Mix from around
1990 (maybe a few years either way). As I remember it,
they found really good people to interview, and asked
really good questions. The magazine did a great job of
being informative, educational, and enjoyable to read.

I'd like to see Tape Op become more like that.

I think Tape Op is trying very hard to match that model. Considering they
have a tiny fraction of the budget that Mix had in the early nineties, and
the industry they are serving has a tiny fraction of the budget as well,
I think they are doing very well. They are trying for the same mix of
historical "how we did this album" articles and current "how you can do this"
articles, and doing very well.

The reviews in Tape Op drive me up the wall, but then so did the reviews in
Mix anyway.
--scott

The reviews are evil.