Emotional Recordings

I readily identified with the discussion of capturing emotion in recordings (see “Production Values: Pushing the Right Buttons” in the July 2007 issue of EM). In particular, I could relate to the million-dollar question: why do performances sound so gripping on analog?

As a veteran of countless hours of sessions, both analog and digital, dating from the early 1970s until now (and on both sides of the control room glass), my answer to that question is that there was a greater number of gripping performances taking place in studios in the analog days. Technology required it. The studio clock was ticking, editing options were limited, and even punching in was a suspenseful event for all involved (particularly for the person pushing the red button). A bad punch was not undoable and could be very costly. Consequently, on an analog recording session, the energy level on both sides of the glass was high. That energy could be heard in the performances.

While I don't deny the sonic differences between analog and digital, the fact is that engineers are still discovering new ways to make digital technology more expressive, just as they did with analog, in both cases over a period of many years. But never does the emotion come from the equipment. That can only come from the performers. Bill Bottrell's approach — namely, to go for early takes and immediacy — is an excellent one for capturing emotion. If more sessions were still done as if you couldn't pitch-correct, cut and paste, or even punch in, we would hear a lot more of that old emotion in contemporary recordings, regardless of which recording technology is used. Of course, that approach would also cost a lot of “artists” their careers, and that, more than any technological advancement, would pave the way for better music recordings.
Daniel O. Baker
via email

Networking to Success

We would like to thank you again for your support and for allowing us the opportunity to express how we have been blessed during the past year.

We (Dehn and Tania from the band Pavmire) joined MySpace last June. Since then we have been getting booked for shows in downtown Houston, Texas, and have been recognized by DJs, record labels, promotion companies, and magazines, all because of MySpace. We also met DJ Ambition, who is now a third member of our band.

Our songs were being played at well-known clubs, and we're very grateful about that to this day — but how many times should your songs get played until you get signed? When we finally realized how good of a promotion site MySpace is, we extended our music to magazines, radio stations, and so on, and then we met you.

Since you wrote about us in your e-newsletter, eMusician Xtra, a lot of opportunities have emerged: a horror movie project starting production next spring, possible deals with two record labels, bookings for electronica/industrial events, collaborations with other bands (including a compilation CD with the electronica band Dyksick), a contact from Paul Cooke (former member and founder of Sade) wanting to produce a track for us, and more fans. So many wonderful things are happening to us, and we think we left out a few!

When we met, Dehn was the only member of Pavmire, and Tania had just come from serving a year in Iraq. Both of us had big dreams of being famous musicians, and now, because of MySpace and you, it is all happening. Anything that not only helps you be heard but also builds your résumé will increase the possibility of making it big. Years ago, it was very difficult just to get record labels to listen to your demo. Now MySpace has made it easier.

Thanks again. We are forever indebted to you for your support. Next time, we just may be on the cover! (Hint, hint.) Lots of love to the staff at Electronic Musician.
Pavmire
www.myspace.com/pavmire02
via email

KP3-Inspired Tips

I just wanted to let you know how much I enjoy your magazine's helpful reviews and articles. In the July 2007 issue of EM, I read the Korg KP3 review by David Battino, even though I already own one.

Some good news for EM readers: I've installed the latest firmware updates, and the MIDI sync issues have been resolved. (I can't speak for Auto BPM, as I don't have a need for it.)

I am already a staunch devotee of the KP3, so the reviewer's “Loop Trigger Hack” was a real gem of a tip! It would be great if all your reviewers went to the depth that Mr. Battino has, providing the reader with useful undocumented features.

Lastly, I suggest that EM readers not go into a KP3 purchase with any preconceptions of how they plan to use it. Rather, let it inspire you to all the possibilities. Thanks again.
Mark Kunoff
Bloomington, Indiana

OurSpace

Electronic Musician keeps me informed about the latest upcoming and existing technologies I need to maintain a modern studio. As a sound designer and producer, I rely on Electronic Musician to bring diverse resources together in one format, saving me much time when searching for new devices and methods of sound production.

Electronic Musician is an essential aspect of learning for any progressive musician, engineer, or producer. Thanks, and keep up the great work!
Benjamin
www.myspace.com/geodemosaic
via MySpace

You guys always come up with great ideas for each issue. The article on common mixing mistakes (see “Twelve Common Mixing Mistakes” in the July 2007 issue) was a genius idea. Good job and thanks to all the staff at EM. From the editors to the people taking the pictures, you guys set the standard when it comes to making a music magazine.
Nico Canada
www.myspace.com/nicocanadamusic
via MySpace

We Are All Musicians

I was amazed and pleased to see that you did a story on the many musicians who have physical disabilities (see “Overcoming Adversity” in the May 2007 issue of EM). These people always get overlooked and deserve recognition like everyone else. Thank you for taking the time to acknowledge all people that create music.
Carmen Rizzo
Hollywood, California

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