LETTERS

Jun 1, 2000 12:00 PM

APRIL FOLLY I bought the Sounds of Silence sample CD reviewed in April [see "Quick Picks: Sanyiu Samples" in the April 2000 issue of EM], and I want to mention something that the reviewer ignored: none of the underwater recordings hold any "air."

The joke is in the spirit of EM's forerunner Polyphony-nice to know that the tradition holds.

Terry Truhart via e-mail

Terry-I'm glad you enjoyed it. You wouldn't believe how many people we fooled-so many that I had to fess up to the joke in this month's "Front Page" column.-Steve O.

ON THE WRONG TRACK As a Macintosh user, I was not "a-Mazed" by your cover story [see "Making Tracks" in the April 2000 issue of EM]. It goes on for 37 pages (including ads). I'm interested in making music and recording, and so are many PC users, but 37 pages is too much. Do I have to buy a PC to have an interest in your magazine? Are you telling me that there are no comparable products on other platforms? Is your magazine a subsidiary of Microsoft Enterprises? If you do not have the intellectual subjectivity (because you use Windows?) to edit a magazine for all your readers, leave the job to someone else.

You went on for 37 pages without considering even one program on any other platform. A big chunk of the magazine was useless to me and many others. Pro Tools, Cubase, Digital Performer, AudioDesk, BIAS Peak, and many other programs have Mac users. I know my voice doesn't mean much to you, but I am really frustrated by your attitude, and as tiny as my voice may be, I'll be spreading the word from now on!

Daniel Cabana via e-mail

Daniel-On the contrary, your voice means a lot, which is why I'm replying publicly and at length. To begin with, we write about a variety of Macintosh and cross-platform products. In fact, we reviewed four cross-platform products in the same April 2000 issue in which "Making Tracks" appeared. That doesn't include the lead review, which was the Mac-only Digidesign Digi 001, featuring in-depth coverage of Pro Tools LE 5.0.

"Making Tracks" discussed audio-only multitrack editing programs, not digital audio sequencers such as Mark of the Unicorn Digital Performer and Steinberg Cubase or 2-track programs like BIAS Peak. We covered six dedicated multitrack audio editors for the PC-more than enough for one article. Had I dealt associate editors Dennis Miller and David Rubin one more program, they might have gone insane. (By the way, both Miller and Rubin use Mac and Windows computers for music production.)

We ran a cover story on digital audio sequencers for Mac and Windows ("Sequencing Games") in July 1999 and a cover story on 2-track audio editors for Mac and Windows ("Shaping Better Waveforms") in March 1999. Most of the versions that we wrote about are still current. We also have separately reviewed the current versions of all the products that you named except Digital Performer/AudioDesk, and our upcoming review of Digital Performer 2.7 will include full coverage of its audio features. (AudioDesk is basically the audio section of Digital Performer.)

Versions 5 and higher of Pro Tools are digital audio sequencers. Otherwise we would have included it in "Making Tracks," because it runs under both Windows NT and the Mac OS. In the July 2000 issue, we will present a huge review of the Pro Tools/24 Mix system and the full-featured Pro Tools 5 software.

There remain only two dedicated multitrack audio editors for the Macintosh: AudioDesk, which I have discussed, and BIAS Deck, which hasn't had a major upgrade in several years. We will review Deck when a significant upgrade is released. So eventually you will get everything you asked for.-Steve O.

THE WHOLE TRUTH In your article "To Tell the Truth" [see the March 2000 issue of EM], you state that the Oktava MC012 is not available as a matched pair. I did some research and found that not only is a matched pair available, but it comes in a handsome cedar box. And can you beat the price? It's $629 for the pair, including several interchangeable capsules. I got this information on the Web from a place called the Sound Room (www.oktava.com).

Thank you for an otherwise extremely well written and informative article. It was very helpful.

Don Devine Los Angeles, CA

MANLY WORDS Bjorn Dittmer-Roche [see "Letters: A Little Respect" in the April 2000 issue of EM] may take offense at the "sexist" nature of some of the product ads in EM, but such is the nature of the music business. Pop music, which is often an expression of sexual themes, relies on technicians who passionately articulate their craft in similar terms. This male-dominated (and male-invented) field has produced its own colorful idiom.

Of the many talented female performers and writers I've met, none, not even the technically enlightened, ever got turned on by a cool piece of electronic gear. Conversely, I've never met a male engineer who hasn't at least once described a product using sexual language; for example, "That bass's got balls."

Is it surprising, then, that some manufacturers appeal to this idiom when advertising-and even naming-their products? Remember the Aphex Big Bottom derriere logo? Electric Mistress, anyone? What kind of woman is Lucille? The list goes on.

That there aren't more women in the audio field has nothing to do with how they are or are not "encouraged at a young age to fiddle with computers [and] 4-track recorders." Little girls, unlike little boys, naturally prefer toy dolls to toy trucks. Would feminists deny audio craftsmen their parlance in retribution for nature's disparity? Does the field really suffer from a lack of sexual diversity? I hope EM preserves its freedom in advertising, at least until as many women object to the naked-body ads in Cosmo.

Les Barker Atlantic City, NJ

GRAND THEFT AUDIO I've read many articles on sampling legality, and I'm pretty clear about using another artist's musical "bites." Legal permission, royalties, and credits for original performers are now commonplace for hip-hop CDs. But what about sampling dialogue from movies for use (often out of context) in my music?

Of the hundreds of recordings I own that use audio clips from movies (mostly industrial/electronica), not a single one lists the movie production companies or distributors. I'm talking about major-label artists such as Ministry and Skinny Puppy. They use samples from dozens of movies (from obscure, B-grade horror films to big-studio classics), but they don't list performance rights in the liner notes. On the other hand, Information Society's debut album suffered a six-month delay while their label struggled to get the legal rights to use Star Trek dialogue in their music. (This may be a different scenario, though, because the samples that they used were from television episodes, not movies.)

I have some choice film tidbits "blended" into my CD, but I'm terrified of selling it on the Web and getting slapped with a lawsuit. How did other artists get away with it? Should I disguise the samples with filters, lower the pitch, bury them in the mix, and so forth? Or is sampling dialogue from films considered parody and fair use (in a fairly loose interpretation, of course)? Your insight is greatly appreciated.

Michael Stephens Portland, OR

Michael-The movie or television production company is the copyright holder that owns all rights to the original work, including the exclusive rights to make copies or derivative works. When you sample an audio piece from a production, you're arguably infringing upon these rights. Additionally, the production company purchased the rights from the actors who performed on the original work, so any other use of the work for an unintended purpose (such as using a voice on a record when the performer only thought he or she was making a TV show) may open you and the original production company to potential liability from that actor.

Even taking into consideration the budget constraints of independents like yourself, I advise you to "clear" your sample by asking for permission. If you do go the route of "burying" the sample or changing it dramatically, an element of risk will still exist.-Michael A. Aczon

MAD SCIENTIST Thanks for the great article on rack-mounting computers [see "DIY: Rack-Mounting Your PC" in the March 2000 issue of EM]. Another option is to use your existing case, provided it fits in your rack. Here's how I did it.

First I bought a piece of aluminum for the face. I then calculated how much to mill for the CD-R, CD-ROM, floppy, and removable drives. Then I machined the back of the plate so that I could screw it to the computer case.

I'm thinking of turning this experiment into a full-time operation, building complete systems that include a keyboard, monitor, and mouse as well as the rack-mounted CPU. I'm even planning new designs that feature anodized covers.

Ivan Gomez via e-mail

THE DEFENSE RESTS It's very apparent from the "Letters" column in your April 2000 issue that you can't please everyone all the time. The petty criticisms of your magazine were quite irritating, to say the least. Every issue is well worth the money I put forth for it. I don't find every article useful for every situation, but your magazine has a wonderful way of spanning the amateur-to-professional spectrum and giving everyone something that can improve their recordings. For that I thank you.

On a side note, I think the January 2000 issue's black cover is fine [see "Letters: Cover Story" in the April 2000 issue of EM]. Black doesn't have to be a color of doom, gloom, and despair. It is rather the "fullness" of all colors mixed together. Philosophically speaking, it could be interpreted as the mixing of musical styles, cultures, and technology.

Some people throw the baby out with the bath water. My approach is to use what's beneficial, disregard what doesn't apply to me, and always remember that it's all about the vibe! Peace.

Mike Wharton, TX

ERROR LOG April 2000, "Out of the Bottle," p. 79: The third sentence should be "His past credits include Phil Collins's "Sussudio," Chaka Khan's "I Feel for You," and Steve Winwood's "Higher Love." David Frank's work on these songs included arranging and playing, not production.