Mix (magazine)

Mix (magazine)
Title	Mix
Frequency	Monthly
Category	Trade magazine
Firstdate	1977
Country	United States
Language	English

Mix (magazine) is a United States–based trade publication covering professional audio, recording technology, and related industries. Founded in the late 1970s, the magazine chronicled developments in audio engineering, recording studios, live sound, and music production, engaging professionals associated with companies and institutions such as Sony, Universal Music Group, Warner Music Group, Capitol Records, and BBC. Mix provided reporting, reviews, and analysis relevant to practitioners connected to Abbey Road Studios, Sun Studio, Electric Lady Studios, Capitol Studios, and festivals like Glastonbury Festival.

History

Mix was established in 1977 amid growth in multitrack recording and the rise of entities like Dolby Laboratories, AKG Acoustics, Shure Incorporated, Neumann, and EMI. Early coverage intersected with technological milestones involving Analog recording, Digital Audio Tape, and formats championed by firms such as Sony Corporation and Philips. The magazine documented studio innovations tied to projects by labels including Motown Records and producers linked to artists like The Beatles, Led Zeppelin, Pink Floyd, Michael Jackson, and Madonna. Through the 1980s and 1990s Mix tracked shifts related to Compact Disc, MIDI, and companies such as Steinberg Media Technologies, Alesis, Roland Corporation, and Yamaha Corporation. The publication reported on corporate and legal developments involving BMG, EMI Group, and Universal Music Group mergers and the broader industry responses to events like the advent of Napster.

Editorial Focus and Content

Mix concentrated on professional topics including studio design, signal flow, acoustics, and recording consoles produced by manufacturers like SSL (Solid State Logic), Neve Electronics, API (brand), and MCI (recording company). Coverage included product reviews of microphones from Shure, Neumann, and AKG, preamplifiers from Focusrite, and digital audio workstations such as Pro Tools, Logic Pro, Cubase, and Ableton Live. The magazine examined practices used by engineers and producers associated with studios like Trident Studios and professionals linked to acts including Nirvana, U2, Radiohead, and Beyoncé. Editorials often referenced standards developed by organizations such as AES (Audio Engineering Society) and regulatory contexts involving Federal Communications Commission matters impacting audio transmission and broadcast chains at networks like NPR, BBC Radio 1, and MTV.

Publication and Distribution

Published in print and later online, Mix was distributed to subscribers, recording facilities, educational institutions such as Berklee College of Music, Curtis Institute of Music, Royal Academy of Music, and retailers supplying brands like Gibson, Fender, Marshall Amplification, and Roland. The magazine partnered with trade shows and conferences such as NAMM Show, AES Convention, Mobile World Congress, and IBC (conference), serving attendees from labels like Island Records and companies including Avid Technology and Apple Inc.. International distribution reached markets in United Kingdom, Germany, Japan, and Canada, where professionals at studios and broadcasters used Mix content alongside textbooks and standards from institutions like SAE Institute.

Notable Contributors and Interviews

Mix featured articles and interviews with engineers, producers, and artists linked to high-profile projects and institutions: conversations about recording techniques involving names associated with George Martin, Quincy Jones, Rick Rubin, Brian Eno, and T Bone Burnett; engineers and mixers tied to Alan Parsons, Chris Lord-Alge, Andrew Scheps, Bob Clearmountain, and Eddie Kramer; and artists connected to Paul McCartney, Sting, Prince, David Bowie, and Kendrick Lamar. The magazine published technical columns by experts associated with AES and instructors from McGill University Schulich School of Music and New York University Steinhardt School. Coverage included studio profiles of facilities used by Coldplay, Foo Fighters, Daft Punk, and Kanye West.

Industry Impact and Awards

Mix influenced procurement and design choices within the professional audio industry, affecting sales and reputations for manufacturers such as SSL, Neve, Avid Technology, Universal Audio, and Waves Audio. Reviews and gear tests in Mix carried weight similar to awards and recognitions conferred at events like NAMM Technical Excellence & Creativity Awards and acknowledgments from Grammy Awards committees when engineers and producers sought industry validation. The magazine documented winners and nominees connected to Recording Academy recognitions and reported on developments at institutional award ceremonies including Technical Grammy considerations and honors endorsed by organizations like AES.

Digital Presence and Archival Access

Mix expanded into digital publishing with online articles, podcasts, and video interviews hosted on platforms connected to companies like YouTube, Vimeo, and distribution partners such as iTunes and Spotify for podcast syndication. Its archive served as a resource for researchers at libraries and museums, cited alongside collections at institutions like Library of Congress, British Library, and university archives at UCLA and NYU. Digital back issues and searchable databases were referenced by academics and professionals in studies tied to innovations from entities such as Dolby Laboratories, Bose Corporation, and Sennheiser.

Category:Audio engineering publications