It's Like This
You see... we have a responsibility.
Sounds pompous, doesn't it; the sort of thing your dentist tells you about your teeth when he wants you back in the chair six months later.
A few of you may already be reading one of the technical instrument magazines, but most of you will only be used to the weekly pop press which listens to music instead of making it.
We are different. Sense, not sensation. Essentials, not essays. You see... we have a responsibility.
If a pop paper writer told you an album was the best plastic ever pressed, you might buy it and hate it. Maybe the writer was in a hurry, he only listened to the record once, he didn't want to annoy the band, he got it wrong. So you've wasted a fiver.
If we get the review of an instrument wrong, and you mistakenly buy the gear on our recommendation, that's not a fiver lost, it's not a tenner, it could be anything between £100 and £1,000 or more.
And what if we only did reviews and never stopped to explain how the gear actually worked - what all those phrases like MIDI, FM, and phase-reversal really mean? Well, everybody understands them, don't they?
No. They don't. That's one of the worst curses technology has inflicted on the musician in the last ten years... the fear of asking questions, the fear of being made to look stupid because you can't comprehend the page of closely typewritten Arabic on the back of the specification sheet. Worse, you're not even sure which part of it is important for you to understand to get on with the enjoyable job of making music.
Well, we're not going to convert you into master carpenters or physics graduates or computer programmers. You're musicians, you play the gear; you don't build it, you don't solder it together.
We are going to do three things for you. You are going to do one for us.
We'll tell you a piece of equipment is worth buying if it advances your chances of making music - not if it's a clever twist in technology for no reason, or an old package with new colours.
We'll show you how to get the most out of it, whether that involves tips for your fingers, or tricks for the gear. Have a look at this month's Vibrato, Skill Centre, Synth Sense and Program Notes pages for a start.
And if there's one fight we are going to win, it'll be the one where we knock the nonsense out of technology.
And what are you going to do for us? You're going to get better at Making Music.
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