Yeah, well we’re pretty used to it at this point.
You know what we mean.
It’s the look that passes across a passel of upturned faces when you’ve said something that baffles. Single eyebrow raised, head tilted. It’s like showing your cat a mic pre: They just don’t get it. Because unless it can be eaten or attacked [or a third option that we’re too family friendly to mention this soon in the mag], its full dimension eludes kitty capture.
And so it goes with this month’s bete noire: THE STUDIO.
Do we eat it, attack it, leave it for dead, transform it, recreate it, or all, or none, of the above? The studio space, where music making is captured in little boxes for a document that will far outlive most of us, is changing and has changed in all kinds of wild and wooly ways.
Older, bigger dinosaurs, in a development that will surprise absolutely no one who’s been awake the last few years, are dropping, frozen out of some of the more nimble futures playing out in people’s bedrooms, garages, and on their laptops. Younger, smaller places, not trouble free by any means, are up against round hole-square peg problems with both space and technology. And through it all the stunning and almost obvious admission: It’s still about just getting the sound into and out of the little boxes.
So we start at the start with JEFF GLIXMAN’s pre-production primer, J.J. BLAIR’s big studio-small space crammed creation, room tuning with RUSS BERGER, and room design with LARRY SWIST; we trundle headlong into How To: Re-Mic, Protect Your Power, Handle Delays and Reverbs, and Master In Your DAW; and finally, tete á tete’s with CHRIS LORD-ALGE, ROB LEWIS, ISIS, and THE CRYSTAL METHOD.
Did we mention the gear lunacy with THE TOP 10 PIECES OF HARDWARE THAT STILL MATTER, the WAVES HARDWARE/ SOFTWARE COMPARISON SHOP, INSIDE EVENTIDE, and all the other scathingly honest review action therein?
We just did? Ohhhh . . . purr-fect.
And the tidewaters of confusion recede. . . .