BURNING CORRECTION

The “Download of the Month” column in the “Front Panel” section of the October 2002 issue refers to BeatBurner as a VST plug-in. I downloaded it and found that it's actually a standalone program. I e-mailed the manufacturer, Code Audio, about this, and they responded that they have a VST version planned for release in January 2003.
Ben Munat
via e-mail

Author Len Sasso replies: Ben — Sorry for the confusion. BeatBurner started out as a Windows-only, standalone product. A Windows VSTi version was scheduled for release when I wrote my column, but after I turned it in, GMedia (www.gmediamusic.com) entered into an agreement to distribute a cross-platform VSTi version of BeatBurner. In addition, the release was postponed until the 2003 Winter NAMM show in January.

The standalone BeatBurner for Windows will continue to be available as a download (www.beatburner.com); the boxed VSTi (Mac/Win) version will be distributed by GMedia. According to the manufacturer, an upgrade path to the VSTi version will be provided for anyone who purchased the standalone version of BeatBurner.

SCHOOLS OF THOUGHT

Kudos on the article on audio schools (“Making the Grade,” October 2002). I'm the owner of a two-room studio and indie label here in Austin, and we've hired a number of grads from recording schools. One of them is entering her fifth year with us, and another has moved on to a job in Los Angeles. But in several other cases we weren't so lucky and ended up with kids who understood the technology but had no idea how much they didn't know. One actually cost us an album project by making snide remarks about the talent to a guy out in the lounge — who turned out to be her husband!

As your writer very wisely observed, it's the stuff they don't teach you that can be the most important. Your magazine always has something useful each month, but this was one of the best — we clipped the piece and hung it on the wall in the workshop, where all new interns can see it.
Sam Wilton
Jus Moi Studios
Austin, TX

I'd like to compliment Mr. Daniel Keller on a somewhat straightforward article about audio education. Compared with other magazines' editorial tips of the hat to trade-school advertisers, Keller's piece offered a realistic look at what trade schools are doing and what employers expect.

I graduated from both a four-year university and a trade school, receiving a bachelor's degree in music-industry studies with a business minor from the former and a certificate in recording engineering from the latter. I attended the trade school because I felt that I needed hands-on training before entering the industry. After attending both types of schools and subsequently working in my field of choice, I have some observations.

First, there is absolutely no comparison between going to a university and attending a trade school. None. Attending a four-year school offers students the best deal on a real, well-balanced education. (Check out the deals on state-supported universities and compare those with the price tags of most trade schools.) Also, Keller addresses an often-lamented lack of professionalism in fledgling music-industry employees. University students give themselves time to grow up and to develop the most important part of succeeding in any industry: social skills. Students who graduate from high school and immediately enter a trade school have less time to grow emotionally and intellectually.

Second, you can never predict what you'll do for a living. You might live off of a studio runner's paltry salary long enough to work your way up the ladder, but that might not be in the cards for everyone. Therefore, spending your educational dollars on attending a trade school is truly putting all your eggs in one basket.

A bachelor's degree means something outside of this relatively small industry. Having a piece of paper that proves you dropped $25,000 (or more) at a trade school means nothing to many people, except that you may not make very good economic decisions. At many universities across the country, students can pursue an education in recording or music while earning a degree that most everyone recognizes as something of real value.

Let's all be honest: recording education is a business. Why else do trade schools feel the need to advertise so often? Why don't universities advertise as much in comparison? If you are a potential recording-industry student, ask yourself these questions and look for answers before jumping into a major financial and educational commitment. While I feel that both types of institutions offer good educational intentions, potential students weighing their options need to decide who will ultimately benefit the most from their tuition dollars: themselves or the chosen school.
S. Jason Lynch
Los Angeles, CA

WE'VE GOT RHYTHM

I just finished reading your article on recording Latin percussion instruments (“Recording Musician: The Whole Enchilada,” October 2002), and I must say that it was a great read! Latin percussion is very popular down here in South Texas, and everything you mentioned in the article was right on. Your technique for miking a shekere is especially appreciated as I've been struggling to get a good, natural sound from shekeres for a while now. Keep up the great work!
Ray
Skunkative Records
via e-mail

TRUTH IN ADVERTISING

I like your magazine, but I feel a little duped by the September 2002 cover lines that say “create slammin' drum parts (even if you're not a drummer).” This suggests that the cover story will be somewhat instructional in nature, but in reality, the story is merely about new products. Talk about a wolf in sheep's clothing. You're doing nothing more than shilling the products of your advertisers rather than providing information on how to “create slammin' drum parts” as promised. I'm well aware that ads help pay your bills and salaries, but next time, please make your cover lines a little more truthful. Your readers are smarter than you think.
Pete Brown
via e-mail

DARE TO DREAM

Regarding Tim Mulac's letter (“Letters: If You Build It …,” August 2002), I too would like to see a MIDI pitch-bend pedal. It would operate exactly like the pitch-bend wheel on a synthesizer and perhaps include memory for storing different bend amounts. Because I play bass lines with my left hand while comping with my right hand, it would be great to be able to pitch-bend the bass with a footpedal.

However, the proposed two-pedal system would not have the playability of a pedal with a single center detent, bending notes like a rubber band in both directions yet always returning to normal pitch. Perhaps you could use a second pedal for modulation, and so on. I have yet to see such a device. It's surprising that no one has developed a pitch-bend pedal, because the potential buyers are out here.
Scott Demaray
via e-mail

Scott — Having used it for almost 20 years, I assure you that the twin-pedal system is eminently playable. With practice, it becomes second nature. I thought about making a pedal with a center detent, but even if I could have built such a device, using it to bend pitch accurately in both directions might have proven more difficult than mastering the twin pedal.

I generally use the two spring-loaded pedals to bend pitch, and I vary the bend range depending on what I want to play. But when they're used with a flexible synthesizer, MIDI processor, or sequencer, the pedals can send any continuous-controller message to any device on any MIDI channel. For instance, when I play left-hand bass, I can use one pedal for bending the bass sound (in either direction) and the other pedal for bending a lead part, each with a different bend range. But either pedal could just as easily have swept a filter or even sent several different controller messages at once.

Of course, the biggest practical advantage of the two-pedal approach is that you can build it yourself with little more than a pair of stock CV pedals, a couple of springs (which you can select for the proper feel), and epoxy.
— Steve O

WE WELCOME YOUR FEEDBACK.

Address correspondence and e-mail to “Letters,” Electronic Musician, 6400 Hollis Street, Suite 12, Emeryville, CA, 94608 or emeditorial@primediabusiness.com. Published letters may be edited for space and clarity.