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Recording SoftWare for Blind people. Can anybody Please help?

Hands On – Lexicon PCM 70 (part 1)


There are those who always want the latest, the most up to date, the flashiest
and, perhaps, most expensive car on the market. Then there are those who prefer
to own and drive an acknowledged classic, a Mark II Jaguar perhaps or an original
Lotus Elan. A third group of people will understand the true function of personal
transport apparatus and buy a low mileage secondhand mass market saloon, knowing
that it will get them from A to B with the least fuss and least cost. There
is a little of all of these ways of thinking in each of us, and it affects the
way we see studio equipment too. If you have the latest and the best, then you
know that your productions are breaking new ground and if your work finds favour
then others will follow in your footsteps. If you use a classic piece of musical
or studio equipment, then you know that the sounds you are dealing with have
proved their worth, and marketability, thousands of times over. If you follow
the third path, then you’ll be looking to buy a piece of equipment that
does the job the way you want to do it at the least cost. This is perhaps the
most sensible option. Do you agree?

No, I didn’t think you would. ‘Sensible’ people don’t
get involved in music, they become lawyers, accountants and college lecturers.
Safe, steady occupations, far removed from the thrill and excitement of working
with music and sound, and handling equipment which has the capability of producing
combinations of harmonies and timbres which have never before been experienced
by human ears. Getting the job done efficiently and at least cost is not wholly
compatible with producing an artistic product which eventually may affect the
life and thoughts of those who hear it on record, tape or CD. (And before all
those legal, financial and educational readers of Sound on Sound start writing
me hate mail, I was of course referring to the perceived image they have for
people outside these occupations. I know they are very exciting fields to work
in really!)

One of the advantages of working with acknowledged classic pieces of equipment
is that you can have a great deal of confidence that the sound they produce
is right. Some top engineers can trust their ears totally, and if it sounds
right to them then it is right without a shadow of a doubt, but lesser mortals
like the rest of us find it helpful to have the benefit of other people’s
judgment. When you have finished a track, don’t you always play it to someone
you know and hope that they say they like it (and that they won’t just
say they do to be nice)? Another way of getting the benefit of other people’s
judgment is to use classic equipment. If a particular piece of equipment is
well liked and well used by top engineers the world over, then it must be good
mustn’t it? Of course, if you don’t use your own judgment too then
your end product isn’t going to be terribly original, the important thing
for a piece of music is for it to have a combination of the familiar and the
new. Familiar chord and rhythmic structures together with an inventive use of
melody perhaps. This is always the case with successful music. If absolutely
every element of a new piece of music was totally novel, then we wouldn’t
recognise it as music.

David Mellor

Layout, Signal Flow & I/O

Layout, Signal Flow & I/O

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David Mellor



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