About MT-Base

Welcome to MT-Base.

We hope that you’ll find our articles interesting. We are here to express our opinions in a well mannered, unforceful way.  We are open to publishing articles from anyone, so if you do wish to write something for us, please go ahead and email it to graeme @ graemerawson.co.uk and we’ll probably put it up, if it’s not offensive to anyone. Below is a quick introduction to our main contributors.

Contributors:

Graeme Rawson (website)
I am a freelance sound engineer and music technology teacher based in Reading, UK. I graduated from university with a 1st class honours BA in music technology and landed straight into work both practising it and teaching it.

I love recording a wide range of musical genres. I am experienced in recording rock and pop acts as well as orchestras, sections and choirs.  I am also a synthesizer fan and enjoy designing my own synths in Reaktor and Max/MSP.

I am currently associated with Silver Street Studios in the centre of Reading, where I operate as a recording and mix engineer and producer. Outside of Silver Street I do film sound, music mixing and some mastering using my home Pro Tools set up.

Lets face it, I’m hooked on all areas of Music Technology but in addition to it I am also a singer/songwriter, composer and guitarist. I also currently teach AS and A-Level Music Technology at Willink School in Berkshire.

Max Woodhams
I entered the world of Music Technology by not being talented enough at the guitar. Living in a house with two other guitarists, I was the one with an eMac on it’s last legs, experimenting with the intricacies of Garageband, instead of learning my scales and chord shapes.

It was the sight of a Sony DMXR100 digital desk that brought a tear to my eye, and I dropped out of guitar school to go learn about all things music tech. The Sony DMXR100 can still bring a tear to my eye today, but only when thinking about how horribly broken the one I used became.

These days I run Logic Pro and Pro Tools. I am an Apple convert, but not a zealot. I tend to produce more than I engineer, due to my guitar background, but I do love getting a great drum sound. I write music as often as possible in a rock band, and I am writing a second progressive rock album with a friend. I am addicted to the studio environment, and in fact get the shakes if I have not produced in a while.

Chris Morrow
Like the majority of this generation’s sound engineers, I have a chocolate teapot degree which taught me everything and gained me next to nothing. But then, Music technology isn’t about making money or earning respect. It is about making sounds and then recording those sounds, and I do rather a lot of that.

I stumbled haphazardly into the world of music technology around 5 years ago, and quickly became enamoured with and entirely overwhelmed by the sheer possibilities that the subject had to offer. It is an overt science and a secret art, requiring not that the end product is right, but that it is good. A subject where the focus is never in what you do or what you use, but in how or why you did it.

Music tech has a million different branches, but I like to focus on the very simple premise of recording a sound in the best way possible. I have worked on a multitude of different projects within a myriad of different genres and yet I feel that every single one, regardless of equipment, performers or timeframe, is solely dependant on considering the sound you are recording and thinking creatively about how best to capture it. This is an art that I always feel requires more discussion than comparing one charmless box of diodes with another.

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