By George Petersen

EVER WONDER IF SOMEONE’S PUTTING YOU ON? We always appreciate getting e-mails and comments about Mix and the industry in general, but every once in a while, we just gotta wonder whether someone’s putting us on. It’s the web equivalent of the phrase “O.K., Where’s the hidden camera?”—wondering whether Allen Funt is gonna come out from behind a curtain. And sometimes, maybe it’s simply a sad reflection on whoever actually sends these things.


One time, some guy inquired, asking for a recommendation about what kind of outboard mic preamp he should buy. Someone told him his tracks would sound much better if he bought a Neve preamp. I replied that to in order for us to maintain some kind of impartiality, we have a policy of not recommending any specific products unless it is part of a written article, review, etc. But out of curiosity, I asked him what kind of mics he had. He replied he had a couple of Shure SM57s.

Believe me, there are few mics more amazing than this must-have, time-tested classic, but at this point the “Candid Camera” alarm went off in my mind. However, diplomacy set in and I recommended he could probably get more quality for his money by first getting some better mics which later—once he’s ready to invest in a super-quality preamp—would really make sense. Problem is some schmoe, an “expert,” no doubt, gave some one-size-fits-all advice that really didn’t fit his particular situation.


Another time, some guy e-mailed after reading what we assumed was a thoroughly tongue-in-cheek article I wrote on the back page of our AES issue last year with a bunch of joke press releases called “Products You Won’t See at AES”. You can check it out here: CLICK HERE FOR ARTICLE.

Among other things—including gems such as “The Roach Coach Music Library,” a “Drunkulator” plug-in and a “Stoogelizer” outboard processor—the list described the “Virtual Sur-Reality” helmet, which would give users the visual impression they were mixing in Abbey Road studios or the Sydney Opera House rather than the cheesy studio or dumpy basement club they were in.


It was written in jest, yet some poor soul actually thought it was real (talk about sur-reality!) and wondered how he could contact the manufacturer. I’m sure it was quite a letdown for this person to hear the truth, but maybe there’s a lesson to be learned here that indicates there might be a market opportunity for someone to actually make such a product. Any takers? And hey, if it’s on the Internet, it’s gotta be real… doesn’t it?

When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com/ariel.html and check ‘em out.
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By George Petersen

IT AIN’T EVERYDAY, BUT ONCE IN A WHILE I have the pleasure of talking to Fletcher, the founder/audio cult leader of Mercenary Audio, MercenaryAudio.com. And while we don’t always agree, I definitely respect this guy for his audio saavy–which is most impressive. He’s occasionally been the center of controversy, such as the time that the centerpiece of his AES booth was an Alesis ADAT and a Mackie 1604 mixer, held high for all to see–impaled on a huge metal spike. I think he referred to that as an art project, but later acquiesced to pressure from the AES to take it down as it offended certain showgoers.

Another time, some bozo was trying to sell replacement speaker cable kits with a pair of standard household AC plugs wired to 1/4-inch connectors. The idea was that if you needed a 100-foot speaker line for a live gig, you’d just attach these adapters to an orange AC extension cable and you’d be set. Well, set for electrocution–in case someone accidentally plugged one end into a 110-volt outlet while the other was in your amp/mixer etc. Great concept, perhaps, but a VERY BAD IDEA. Anyway, Fletcher offered his own protest by outlining a body silhouette (it might have been Eveanna Manley’s) on his booth floor in yellow tape, looking much like a crime scene right after CSI-AES arrives.

Anyway, we chatted for a while and somehow got on the subject of the weirdest calls we’d ever received. I recounted one I got from some guy who couldn’t find original Shure SM57 mics. He called a half dozen retailers, who only sold SM57-LC mics. What happened to the real thing–the classic that everyone uses on everything from snares to Fender Twins? I’m not sure if he was saddened or relieved when I simply told him that the “LC” designation simply meant “less cable,” meaning it didn’t come with a cord. The guy’s response was simply: “Oops. sorry…” [click].

Fletcher laughed, and then recounted a tale of some guy who called him a few years ago, looking for an original “blackfaced” ADAT. Given the Mercenary boy’s history with ADATs, he figured someone was putting him on, because even if someone did want an ADAT tape machine, they’d most certainly opt for one of the later versions with the improved electronics and transport. This guy went on to explain that he’d read about people printing rhythm tracks to tape as an effect, had tried it with an ADAT and really dug the way it “warmed” up the sound… This guy was certainly off his rocker, but had done the near-impossible, something that few have ever accomplished, leaving the quick witted–and highly opinionated–Fletcher himself speechless. The story is almost unbelieveable, yet Fletcher swears that it’s true. Ask him sometime.

When not working on MIX stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com/ariel.html and check ‘em out.
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By George Petersen

I FIRST GOT A REAL SWISS ARMY KNIFE back in the early ‘70s, when I spent a lot of time troubleshooting gear. I finally managed to destroy it (it essentially was worn out to the nubs) after it saved my butt about a thousand times, repairing hundreds of pieces of A/V gear, from simple P.A. rigs to elaborate 70mm projection systems with 6-channel Dolby playback. I even filed down the flat screwdriver that stuck out of the side of the knife body at a 90-degree angle so it would fit those reverse-threaded XLR set screws that holds the connector into place. That same attachment also made for a pretty formidable brass-knuckle effect, although that particular usage wasn’t mentioned in any of the official Victorinox literature.

Anyway, it’s too late for Christmas now, but I just heard about a slick new entry in the Swiss Army line—even cooler than the company’s Cyberknife of a couple years back, the one that even included mini Torx drivers for repairing PCs.

Although it’s a whopping $1,200 retail, Wenger Giant Swiss Army Knife™ V1.0 #16999 certainly tops anyone’s gift list—or for those companies looking for the ultimate in tradeshow swag—this one’s the ticket. At an actual size of 8.75×3.25-inches (WxL); and weighing in at 2 pounds, 11 ounces, it’s a bit large for the average pocket. However you get a lot here…

It touts 85 implements with 110 functions in all including a 2.5″ 60% serrated locking blade; nail file, nail cleaner; corkscrew; adjustable pliers with wire crimper and cutter; removable screwdriver bit adapter; 2.5″ blade for official world scout knife; spring-loaded, locking needle-nose pliers with wire cutter; removable screwdriver bit holder; phillips head screwdriver bit 0; phillips head screwdriver bit 1; phillips head screwdriver bit 2; flat head screwdriver bit 0.5mm x 3.5mm; flat head screwdriver bit 0.6mm x 4.0mm; flat head screwdriver bit 1.0mm x 6.5mm; magnetized recessed bit holder; double-cut wood saw with ruler (inch & cm); bike chain rivet setter, removable 5mm allen wrench, screwdriver for slotted and philips head screws; removable tool for adjusting bike spokes, 10mm hexagonal key for nuts; removable 4mm curved allen wrench with philips head screwdriver; removable 10mm hexagonal key; patented locking philips head screwdriver; universal wrench; 2.4″ springless scissors with serrated, self-sharpening design; 1.65″ clip point utility blade; philips head screwdriver; 2.5″ clip point blade; golf club face cleaner; 2.4″ round tip blade; patented locking screwdriver, cap lifter, can opener; golf shoe spike wrench; golf divot repair tool; 4mm allen wrench; 2.5″ blade; fine metal file with precision screwdriver; double-cut wood saw; cupped cigar cutter with double-honed edges; 12/20-gauge choke tube tool; watch caseback opening tool; snap shackle; mineral crystal magnifier with precision screwdriver; compass, straight edge, ruler (in./cm); telescopic pointer; fish scaler, hook disgorger, line guide; shortix laboratory key; micro tool holder; micro tool adapter; micro scraper–straight; micro scraper–curved; laser pointer with 300 ft. range; metal saw, metal file; flashlight; micro tool holder; philips head screwdriver 1.5mm; screwdriver 1.2mm; screwdriver .8mm; fine fork for watch spring bars; reamer; pin punch 1.2mm; pin punch .8mm; round needle file; removable tool holder with expandable receptacle; removable tool holder; special self-centering screwdriver for gunsights; flat philips head screwdriver; chisel-point reamer; mineral crystal magnifier, fork for watch spring bars, small ruler; extension tool; spring-loaded, locking flat nose-nose pliers with wire cutter; removable screwdriver bit holder; phillips head screwdriver bit 0; phillips head screwdriver bit 1; phillips head screwdriver bit 2; flat head screwdriver bit 0.5mm x 3.5mm; flat head screwdriver bit 0.6mm x 4.0mm; flat head screwdriver bit 1.0mm x 6.5mm; magnetized recessed bit holder; tire tread gauge; fiber optic tool holder; can opener; patented locking screwdriver, cap lifter, wire stripper; reamer/awl; toothpick; tweezers; and of course, a key ring—you won’t lose your keys if this sucker is attached—guaranteed.

Of all these functions, my fave would have to be the “12/20-gauge choke tube tool” (some of use work some pretty tough gigs), but the “shortix laboratory key” sounds intriguing as well…

Wanna check it out? Just click here…

When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.

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By George Petersen

AFTER WAY TOO MANY YEARS, APPLE FINALLY did a real makeover on Logic, its flagship music/audio production software, now offered as the “Logic Studio” bundle of production tools. It’s sort of the Final Cut Studio approach, which includes FCP, Soundtrack Pro 2, Compressor, DVD Studio Pro, Motion and more–pretty much a script to screen package.

And there’s a lot of good news here. Gone is Logic’s clunky look, instead Logic 8 uses a single-screen interface that’s streamlined and fast. The surround mixing is elegant and there’s a vocal comping feature that’s just amazing. Also in the bundle is Soundtrack Pro 2 (the same version from the FCP Studio bundle), Studio Instruments, Studio Effects (with some 80 plug-ins) and Studio Sound Library, with 18,000 Apple Loops and 1,300 sampled instruments. At $499 it’s almost stupid NOT to buy this package—whether you own a Mac or not.

But what really floored me was the not-so-lowly MainStage. Intended to simplify using software instruments onstage, this standalone app provides a live performance rig for guitar/keys/bass. Virtual keys instruments and guitar/amp/effects modeling is nothing new, but what’s the big deal?

First of all, ya gotta wonder why this is in a studio production bundle anyway. Someday, Apple might wise up and include this with its iLife software, but that’s not the point. I was absolutely amazed by the keyboard setups and their ability to do splits. Again, no biggie—I even have left/right-hand organ/bass splits on my vintage ’60s Farfisa organs. Custom splits are nothing new and nearly any decent keyboard controller can store/recall different split presets for different songs. Yet the real trick with MainStage’s split keyboard mode is its ability to do intelligent splits.

Many of us have experienced the frustration of playing a bass line that as it moves up the scale, will eventually start playing piano notes. But playing left-hand bass/right hand melody parts on a keyboard that can move the split as you play, keeping you in range is pure magic. Evidently MainStage runs some algorithm that tracks your hand movements and moves the split point accordingly. It’s awesome and is probably worth the program’s $499 bundle price. Of course, once your include all the other apps—Logic 8, Soundtrack Pro 2, etc.—this is one amazing bargain.

When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.

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By George Petersen

WITH THE AUDIO EDUCATION FOCUS IN THIS MONTH’S MIX, I figured I rant about the learning process. When I was a high school kid back in the Paleolithic 1960s era, I wanted to learn electronics. I experimented a lot (destroying a few radios along the way), assembled Heath and Knight kits, and regularly built DIY projects featured in Radio-Electronics and Popular Electronics magazines. In-between splattering solder on my thumb and digging into these articles to figure out how to adapt the circuits to 220V/50 Hz operation (I was living in Europe at the time), I couldn’t help but notice some ads featuring a stern-faced guy who said, “Get more education or get out of electronics!”

The pitch was to promote a correspondence school’s learn-at-home electronics course. These days I can’t even recall which school it was from, but that man’s message was clear and very relevant. Today’s systems—live or recorded, analog or digital, virtual or actual— are more complex than ever, and keeping up with changing technologies requires continuing education.

However, textbook and in-class training alone aren’t enough — actual hands-on experience can make all the difference in the world. For example, changing a diaphragm on a high-frequency compression driver isn’t exactly rocket science. All you have to do is select the right replacement part (with the proper impedance), remove a few screws, match the polarity of the wires, plop the new one into place, and tighten things down.

However, there’s one detail that shouldn’t be overlooked: the procedure should be done with a nonferrous screwdriver. Unless you’re using a brass or an aluminum screwdriver, the powerful gauss field of the driver’s magnetic structure will yank the tool out of your grasp, attracting it into the center of the driver, instantly shredding the fragile, and very expensive, diaphragm. When it happens in the real-life, non-textbook world, it’s not a pretty sight and hardly a lesson that’s soon forgotten.

Other lessons aren’t so technical. Once, while walking through an audio school, I noticed a leather couch in the back of one of the facility’s control rooms. I asked the instructor if he felt the material was the right choice for a school, where students—carrying a pencil (or even a screwdriver) in their back pockets could damage the upholstery. The instructor replied that if this scenario did occur, it would be better for a student to learn the lesson at school rather than on the job. His reply was simple, but spot-on.

For me, that decades-old message from the mean-looking guy in that electronics magazine still holds true.

When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.

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By George Petersen

WALKING AROUND THE AES SHOW LAST WEEK, ya couldn’t miss it. Right out in the middle of the exhibit floor at New York City’s Javits convention center was a huge 30×30-foot pad of astroturf, with a rustic-looking cabin sitting right in the middle of it.

What is it? It’s a copy of Peter Gabriel’s backyard songwriting sanctum, equipped with a Solid State Logic AWS 900+ console /workstation controller, SSL XLogic outboard gear and additional Gear provided by Guitar Center Pro, including a Pto Tools HD rig, Auralex acoustic treatment, Argosy studio furniture and Henick-Lane air conditioning. Mix editor Sarah Jones and I sat down with Gabriel during the show and got his take on this. (Click here to check out the video interview.) Bringing “turnkey” to a whole new level, this “Shed of your Dreams” studio costs under $250K, depending on exact finish, specifications, the exact gear you choose and location—the user only need provide a concrete pad and electrical service.

Evidently the reaction at the show was overwhelmingly positive and from what I hear, several orders were placed. But $$$ aside, the concept of having a cool, prefab studio laid down at your location over a matter of days has a lot of merit.

The building itself is a 240-square-foot Summerwood Cheyenne cabin and it had a great vibe of its own. Gabriel’s own shed is decorated with some amazing (and quite valuable) artwork that’s NOT part of the purchase price. But as an avid art collector myself, I’d have no problem finding stuff from my own to spruce the joint up.

As an aside, my wife and I collect a variety of styles, but lately have been focusing on illustration art from science fiction. To get an idea of how cool some of this stuff is, you can check out one dealer we occasionally buy from—Worlds of Wonder at www.wow-art.com. Hey, just don’t complain to me next month because you spent all you money there, but even if you don’t, it’s a great source of eye candy—or a way of finding the right artist for your next album cover.

And while I was on the web, I checked out the Summerwood Products site www.summerwood.com (the guys who built the Gabriel shed) and was impressed by the array of designs and possibilities offered. More eye candy to be sure…

When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.

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By George Petersen

EVERYTHING SEEMS TO HAPPEN IN THREE’S. I’m not sure if it was my good or bad luck, but all three of the Fender tube amps in my studio have died in the past couple weeks. I’ve got a 1972 Deluxe Reverb, and two 1969 Bassmans—one with a stock 2×15 cab (we use that for bass) and the other set up for guitar with a Fender Showman Tone Ring single-15 cab, with the original JBL D130 woofer and the bizarre—yet cool-sounding—ported design.

The good luck part was that these things have run for decades (some, like the Deluxe—with the original tubes) and almost no maintenance. The bad luck part was that they all finally stopped working. Anyway, I figured it was time to go through these thoroughly, clean ‘em up inside and out and start from scratch—with all new tubes. I called Groove Tubes and they were very helpful with suggestions on exactly what tubes to use. They rate their power tubes with individual distortion ratings, so you can tailor the tunes to the spacific application/musical style/tone you’re looking for. So getting the tubes was the easy part.

I must be getting old, because I had nearly forgotten the weirdness one encounters when disecting old Fender amps, with their arcane (those four long screws) method of hanging the amps upside down—bat style—inside the cabinet. That itself isn’t so weird as trying to figure out who actually has hands with fingers skinny or long enough to hold the nut in place while reassembling the thing. But reassembly wasn’t the problem. The hang-up (pardon the pun) came from the amp assembly getting stuck on part of the sheet metal that shields the top of the amp (under the handle) from stray cosmic radiation from other galaxies. So on one of the Bassman heads, I had to completely remove the front grille and take the amp chassis out the front of the cab. Yuk!

From, there, things were a lot easier, especially when I saw that all the caps looked good. Somehow I was expecting to see sweatly blobs of goo and drippy caps, but these looked fine. But ALL of the pots exhibited noise, so each one got a shot of Caig DeoxIT and came out sweet—no static at all… And besides blowing a ton of dust out, I also hit the tip contact on each jack with a couple light file strokes—just to clear the light corrosion that can build up. Then came a cabinet wipedown and reassembly the retubing, which was all Groove tubes, except for a favorite Mullard 12AX7 that went onto one channel on the “guitar” Bassman. I did have some Groove Tube 12AX7M’s (these are the modern recreations of the vintage Mullards), but since I did have one nice NOS Mullard, it went in anyway.

After a quick bias check (highly recommended) and a couple hours burn-in—probably not necessary, but after spending an afternoon working on the amps, it was Miller time (actually Dos Equis time) at the local taqueria, which provided a nice respite before giving the amps the listening test. All were greatly improved, but the Deluxe Reverb was absolutely amazing, with exceptional tone and sustain. Morale: if an amp’s worth having, it’s worth retubing—definitely.

When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.

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By George Petersen

HERE WE ARE AND AES IS JUST A MONTH AWAY! It doesn’t seem so long ago when we were at AES (at least the San Francisco show) and now AES is upon us once again. If you haven’t done so already, now–or at least 21 days before the show to get those advance-purchase fares–is a good time to lock in those cheap plane tickets. Or if you’re really lucky to live within a manageable distance—train tickets.

Or to steal the lyrics from a song about another U.S. city, “GONNA TAKE A BUS. GONNA TAKE A TRAIN. EVEN IF I GOTTA WALK, GONNA GET THERE JUST THE SAME…

New York AES is the place to be if you’re an audio pro. By all indications, the show’s gonna be great, with hundreds of exhibitors hawking the latest hoo-hahs and a great selection of workshops, papers and events to keep you way busy on October 5, 6, 7 and 8th.

But the magic of AES isn’t necessarily the show itself, but a gathering of the tribes and often the best place to find the real action is late night, at the bar of the Marriott Marquis or any of the dozen other official AES hotels. In fact the number of products on the show floor that are directly attributed to sketches made on rum-soaked cocktail napkins from last year’s AES is just as staggering as the comical gait that many attendees have when exiting the bars at closing time.

If you’re really smart, call the Iridium Jazz Club (212/582-2121) and snag a couple tickets for one of Les Paul’s shows, Monday night October 8th. Les is really an American icon and in a day when the word “living legend” is bandied around to apply to nearly anyone, Les is the genuine article. The shows start at either 8 or 10 pm, but it’s best to get there early to get good seats, as there are no reserved seats and it’s first come, first serve. Check it out at www.iridiumjazzclub.com.

If you’re really, really smart, bring something for Les to sign after the show. He’s usually pretty nice about such things, unless you walk in carrying a Strat. In that case, you’re on your own, and you certainly don’t want to mar your New York experience by needing to drag yourself into an emergency room to have a (Fender) guitar neck extricated from one of your body cavities. My advice? Leave the Strat at home, bring a CD, LP or your ‘58 gold top Les Paul guitar to get signed. And watch out, because Les sometimes “forgets” to return your pen after he autographs something. In any case, a performance by the Les Paul Trio is a wonderful and unforgettable experience that’s well worth the $45 ticket price. Don’t miss it!

And if you really need a great reason to attend NYC AES, just say the words “Ray’s Pizza” three times and you’ll be magically whisked to the doors of the Javits Center. But if that fails for some reason, just grab a cab… from anywhere. And for more info about the AES show, visit www.aes.org. You’ll be glad you did!

When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.

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