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To appreciate the brilliance of a true masterpiece, you need more than simply a perfect instrument – the AKG C 414 XL II. Updated with nine selectable pickup patterns, it delivers tailor-made precision that captures even the finest nuances.
• The unique sonic signature of the highly sought after AKG C 12 • Proven reference quality since 1971 for accurate, beautifully detailed pickup • Stereo sets matched to within 1dB in sensitivity and frequency response
Perception 820 TUBE
Distributed in the UK and Eire by Sound Technology Ltd | 01462 480000 | www.soundtech.co.uk T E C H N O L O G Y Welcome MTM
Bob Katz gives us his views and insights into the still-ongoing
Loudness Wars - p38
One of the most often-asked question we hear – both from newcomers to music technology as well as those who have been writing and recording their own music as a hobby for some time – is how commercially recorded tracks (more accurately the engineers behind those tracks) sound so tight and perfect in the drum department. And drums, of course, form the backbone of the majority of modern music, so it would seem a key component that most people would try to get right. In reality, though, there are so many variables to this particular aspect of recording that no ‘magic bullet’ exists. There is simply no single technique you can apply that will magically remedy all your drum-track ills...
However, the knowledge accumulated by the many years of combined experience that the MTM crew possess has been collated and presented in this month’s cover feature. Along with insights from professional producers and writers, we hope to dispel some of the more publicly aired myths about drum production and present you with a blank canvas onto which you can paint your own unique take on the humble drum track. But it’s a road that’s best travelled with experimentation in mind, so dust down your software of choice and get ready to dig in.
In this issue wehopetodispel someofthemorepublicly aired mythsaboutdrumproduction
Also bear in mind the words of wisdom given to us by this month’s interviewee – the great Bob Katz. Pushing things too hard and trying to follow the crowd too closely all too often is to the detriment of your music. Take it easy, then – and enjoy the issue! Lewis Brangwyn Editor email@example.com
THIS MONTH’S WRITERS,PRODUCERS AND MUSIC TECHNICIANS
HOLLIN JONES Long-serving Music Tech crew member Hollin Jones is a hip hop producer and writer as well as aMac specialist and occasional university lecturer. He specialises in Reason and Cubase.
MARKCOUSINS Mark is, among other things, a composer for BMGZomba. His work has been used on BBC, ITV, Channel 4 and Five. Mark’s long career makes him ideally placed to bring you our Logic Workshops every month.
HUWPRICE Huw is an engineer and producer with specialist knowledge in all areas ofmusic technology, though his favourites are monitors andmics. Read his opinions on recent models in the Reviews section.
MIKE HILLIER Mike Hillier started his career atMTM, helping to bring you the latest news and reviews. He’ still with MTM,of course, but also works as a freelance engineer at London’s prestigious Metropolis studios.
DON’T MISS OUR GREAT SUBS OFFER! Get THREE issues of Music Tech for a mere £5 if you subscribe today – turn to page 96 for more details.
magazine October 2011 | 03