I penned this article below about RE/P's demise over 21 years ago. Yet, each month I get many inquiries about the now famous pro audio publication. So, I'm keeping track of who's looking for RE/P and why? Click the link below to join the ever growing list of audio people who want to see this magazine available again.
If my collection becomes legally available for distribution I'll let you know.

Please note that I'm not distributing or sharing scans or copies of RE/P stories, ads, photos, or materials.

I Want To See RE/P Available Again!
PLEASE NOTE: I'm not distributing scans or copies of RE/P stories


Goodbye Recording Engineer / Producer Magazine
© Mike Konopka 1992

It's hard to believe that after over 22 years of serving the interests of the technical and creative community, Recording Engineer/Producer (RE/P) magazine has published its last issue...

As a fledgling musician in the early Seventies, I remember my first really important "Pentwater" session at Streeterville Studios in downtown Chicago. (I think a long haired rookie engineer named Jim Dolan was given the task of dealing with our 90 piece drum kit!) Recording in a big downtown studio for the first time was quite scary, so I calmed my nerves in Streeterville's lounge by fumbling through a copy of this way cool "studio" magazine that featured an interview with Pink Floyd's "Dark Side of the Moon" engineer Alan Parsons. That magazine was RE/P. I couldn't believe the detail that this story went into...mic charts, drum set-ups, effects patches, even a diagram of pan placements for the final mixdown!! There was simply no other source for this behind-the-scenes info.

Needless to say, I liberated (this was the 1970's) that early copy of RE/P from Streeterville. (Sorry, Jim!) Upon further study at home, I discovered RE/P to be great source for information on acoustics, microphones, new technologies like 24 track, and those great interviews with engineers and producers which explained how my favorite records were recorded and mixed!

I was hooked on RE/P. I even made up a fictitious studio letterhead (Moon Studios) in order to get an "industry" subscription. RE/P had a major role in fueling my desire to become a recording engineer.

So I'm of the recording generation that grew up on RE/P and that's why I'm saddened to see them go belly up. Maybe I wish that musicians were as idealistic as in the Seventies, maybe I wish that the growing home studio/shrinking recording budget problem facing the industry would just go away! But it's not going to. I hope that the audio community will continue the pursuit of excrements....I mean excellence that RE/P did for the last 22 years.

(Editor Timothy R. Powell's note: I would like to "second" Mike's thoughts. RE/P was a great influence in my career and I will sorely miss it.  Being a young engineer and stuck in a small studio in the suburbs of Chicago, I was frustrated about the lack of shoulder-rubbing with hit-making engineers. After all, the craft of audio engineering is best taught through a mentor/apprentice relationship. I didn't have that kind of opportunity. But via the in-depth articles and interviews in RE/P, I was able to learn the hip tricks and hipper attitudes that helped to bridge that learning gap.
RE/P was also a great supporter of EARS, The EARDRUM, and our more controversial concerns. When we were debating the expansion of the GRAMMY awards for engineers, RE/P strongly supported our cause. Let's hoist a few rounds at the next EARS meeting for a the passing of a great magazine. R.I.P. RE/P!!!!)

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