WHAT? YOU WERE NEVER WHAT? YOU WERE NEVER WRONG BEFORE? There’s an error in the section on Elliot Scheiner in “Six on Six: Drums” ( EQ , June 2005). Regarding Steely Dan’s Gaucho , Dan Daley writes that Bernard Purdie played “most of the drum parts for the record.” I haven’t listened to that album in years, but as


There’s an error in the section on Elliot Scheiner in “Six on Six: Drums” (EQ, June 2005). Regarding Steely Dan’s Gaucho, Dan Daley writes that Bernard Purdie played “most of the drum parts for the record.” I haven’t listened to that album in years, but as a big fan of Steely Dan in high school and college, I always read the liner notes and was curious about the musicians; I had a hunch that this wasn’t correct. So I checked the liner credits on my vinyl copy of Gaucho, and it says Purdie played only on “Babylon Sisters.” Steve Gadd played on three songs, Rick Marotta on two, and Jeff Porcaro on one.
Bob Karty, Oakland, CA

Dan Daley responds: Elliot had a faulty recollection. After hundreds of albums over 30 years, it’s forgivable. You, sir, are a sharp-eyed aficionado of music minutiae and we need more folks like you to help us beleaguered journalists keep the records straight. Seriously.



1) Missing Mission of Burma photo credits: Diane Bergamasco (black and white quartet), Josh Dalsimer (color trio) and Jon Strymish (color quartet).

2) Peter Prescott’s drums are not green. They are black. The set he uses now is red.

3) From BOB WESTON: The correct tech sheet for ONoffON:

Roger Miller: Ampeg B-15 simultaneously as a second amp.

Clint Conley: Sunn Model T guitar head, Ampeg SBT 2x15 cabinet, not an SVT.

Bob Weston: Sony TC-580 3-speed 2-direction tape deck, not an Otari.

Recording: Maybe a Sennheiser 409 or 609 on one cone of the Marshall and some ribbon mic on the other . . . a Coles 4038? I forget what was on the B-15. And maybe a guitar ambient mic in the corner. But they all went to separate tracks.
Additional APIs racked up by the Hardys and my Millennia HV-3B, in addition to the Alactronics.

Mixing: Other gear I brought along and used: a Distressor, a modified LA-4, and an LA-22. I’m sure we used Q’s Pultec, Summit TLA-100, Neve 33609 comp, Dynamites, PCM-60, PCM-41, and the EMT Plate.

Mastering: For the all-analog mastering transfer, we used Sterling’s Studer A-80 with the preview-head so that we could avoid using the DDL when feeding both the program signal and the preview signal to the cutting lathe. An ATR-102 was used for the CD and SACD transfer.


I was reading the article about Security (EQ, May 2005) and wanted to tell you that I worked at this studio (as manager) on the weekends while Andy Wallace was mixing the last Linkin Park album and I can tell you I have never seen security like that before. I kid you not when I say the hard drives for the project were watched by two armed guards 24 hours a day when they were not in use, and no CDs were allowed to be given out without consent by like four different people. It was crazy.
Peter Weis


Steven [Alvarado] (EQ, August 2005) says “MP3 is not proof positive” of recording quality indifference since “teenagers across America spend thousands of dollars on big sound systems in their cars.” GET REAL!!! Most of what’s spinning in these big systems is MP3 crap! I’m constantly amazed how bad most of these systems sound, regardless of what’s playing in them: one-note bass reproduction, no mids, and a treble boost that’s raw and harsh enough to cut the vehicle’s glass. What hi-fi? The listener hasn’t a clue what good sound is to begin with! And then they pop in their low-fi downloads . . . I can make better-sounding cassette tapes (except for the tape hiss) than what I hear coming from some of these download sites! The MP3 and its ear-bud listening environment is producing a generation of music listeners with pathetic hearing acuity. Having been in pro audio for over 25 years, I don’t hold much in the way of expectations for high-end audio when we old geezers are gone.
Atom Shop


Your “Myths Revealed” article on phantom power (EQ, April 2005) inadvertently perpetuates a myth about why phantom power does not interfere with the audio signal. You say “when pins 2 and 3 are added, the +48V is cancelled out.” Phantom power is not “cancelled out” as common mode noise is on a balanced line. It does not appear to the receiver as a signal but merely a DC offset that is usually filtered by blocking caps or a transformer. Therefore, it is not cancelled via common mode rejection; it is not a source of interference or noise to begin with
.I enjoyed the rest of your article quite a bit. I would love to see manufacturers design good +48V supplies and I am interested in this trend toward higher supply voltages.
How about an article on the ridiculous idea many folks have that you can eliminate background noise by taking a snippet of the noise, invert the polarity and add it back with the original signal. Or perhaps the silly idea of “microphone reach”. Another idea, although not quite a “myth”, is the cause of proximity effect, since so few people understand what really causes it. Just a few ideas.
Best regards,
Brad Duryea, Principal Consultant
DMG Systems

Lynn Fuston responds: Good catch. I bet fewer people understand CMRR than they do Phantom power. But you are absolutely correct. And all the contributors to that article even proofread it. Pat yourself on the back for spotting that one.


I have had a subscription to EQ magazine for several months now and there have been several how-to articles on using Cubase SX, Sonar, and Cakewalk. I used to use Cubase SX, but after switching to Pro Tools LE I haven’t looked back. I find it strange that a magazine includes in almost every article something about the artist using Pro Tools in his/her studio yet there’s nothing in your tech or tips sections about it. If Pro Tools is the industry standard, how come there are no articles in your magazine for us readers that use it?
Thank you,
Steve Crowley, Pioneer, CA

Check out this very issue. Pro Tools tips (page 74) from the cat that wrote the book, natch. —Editor


I have a complaint regarding the August issue of EQ. Being a Southern woman of a musical inclination, and you know us Southern women are of a God-fearing nature, and take our 10 commandments very seriously, in so much as we post them in every available public location, including monuments on court house lawns, I most certainly object to the spinal reference, “Steal This Issue”. I have never ever stolen anything in my entire life, and swear on my daddy’s grave that I would not, but you declared right there on the cover in black and white, (no pun intended), that I should “steal this issue,” and that is exactly what I did. No sooner had I pilfered said magazine than this little sassy clerk requested to look inside of my purse. Well to make a long story short, after Pedro had posted my bail, we went home to discuss the incident and a possible lawsuit. He explained to me that it was a thematic statement and you were making a point. . . . Well, encouraging the youth of our nation to steal ideas is bad. Your magazine has confused an entire generation of musicians. I, however, do believe that “judge not, lest ye be judged” and feel that although you have put me through a heinous day, all can be forgiven if I receive a lifetime subscription to EQ. And $436 to refund my court fees which will be due.
Thank you and God bless,
Betty Belle Sloan


I just finished reading the September issue of EQ on Microphone Madness. I must say it was quite interesting — Tape Op magazine look with ads from 1960’s Playboy.
Oh, and the microphone stuff was interesting too.
Barry Hufker