DOCSLIB.ORG

EERING MAGAZINE Recording, Broadcast and Sound Contracting

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
EERING MAGAZINE Recording, Broadcast and Sound Contracting EERING MAGAZINE recording, broadcast and sound contracting fields ■ring 2 to 8 trk: The Smaller Recording Studio as: Signal Processing Equipment * t a J 5Y Jc ^ j^POLK ST J^URG n i » ^ Its time to seize power. 7/ ! Tascam's Studio 8 puts all the power of a professional recording facility into an 8-track production system that's as easy to handle as your own instrument. Forget bewildering patch bay jungles. The fully assign- able 8 buss mixer sends your signals anywhere you want them with the flick of a switch. Forget open reel headaches. The unique Load feature loads the tape, senses the end automatically and never lets it run off the reel. And because Studio 8 uses 1/4" tape, you'll never be stuck trying to find someone's rare proorietary tape format. Forget video hassles. The "One Plug" SMPTE/EBU interface gives you easy synchronizer or editor connections. But there's something more. Something that's greater than the sum of the features. Startling sound. No other system has Tascam heads. Which means that no other system has the impact and clarity that come from Tascam's thirty years of recording experience. Quality production is what you do. Do it whh a major recording studio. Take control of a Tascam Studio 8. TASCAM © 1987 TEAC Corporation of America, 7733 Telegraph Road, Montebello, CA 9D640. 213/726-0303. Circle 12 on Reader Service Card JULY\AUGUST 1987 VOLUME 21 NO.4 MEAT AND POTATOES 24 Corey Davidson Editor/Publisher Larry Zide HANDS ON: THE SHURE WIRELESS MICROPHONE 44 Associate Publisher Elaine Zide SYSTEMS Drew Daniels Editorial Assistant Carol A. Lamb LAB REPORT: APHEX ESP-7000 ENHANCED SEPARATION 48 Technical Editor PROCESSOR Corey Davidson Len Feldman Contributing Editors Bruce Bartlett Mark E. Battersby Brian Battles Barry Blesser A REVIEW OF TELEVISION STEREO Drew Daniels 38 Len Feldman Marshall King Graphics & Layout Karen Cohn iZiulio SPLASH 19 Stuart Hollinger and IVes Pacanas HOT TIPS FOR THE SMALLER STUDIO 22 John Barilla RECORDING TECHNIQUES: TAPE RECORDING,PART 30 Bruce Bartlett TEK TEXT #103: DEMAGNETIZING A TAPE RECORDER 41 John G. (Jay) McKnight About the cover LETTERS 2 • When is a picture worth 2,000 CALENDAR 2 words? The composite photo, taken TALKBACK 2 by Jim Cassidy, of the control room ON TAXES and ceiling of Studio A, exemplifies 4 design concepts and how they relate Mark E. Battersby to the quality of product achieved at ADVENTURES Cove City Sound Studios of Glen Brian Battles Cove, Long Island. ON LAW 12 Kent Klavens Q. CT BOOK REVIEW-Jortn Eargle About the 2-8trk cover 15 C_c • Page 18. Looks like an ordinary EDITORIAL-IN MY OPINION-Drew Daniels 16 •<[ > small studio in an ordinary place? NEW PRODUCTS 52 c Wrong! It is a small studio run by (Q PEOPLE, PLACES, HAPPENINGS 54 C Stuart Hollinger and Wes Pacanas, v> CLASSIFIED 56 but read more about it and its un- CO usual location in our story Splash, FROM HERE AND THERE 55 00 beginning on page 19. BUYERS GUIDE: SIGNAL PROCESSING EQUIPMENT 59 Department of Corrections CALENDAR Denver, CO- September 29-30 Subject: Tascam ATR 60/2T 2- • On Saturday, August 29, the Washington, DC- October 27-28 Track Recorder/Reproducer- Lab UCLA Extension Department of the For information contact: Report by Len Feldman. Arts will present a special program, SynergeticAudio Concepts, PO Box 1239, Bedford, IN 47421. A correction: "Professional Practices for Record- ing Engineers," for those interested In our last issue, May/June 19S7, the in pursuing recording engineering or Lab Report contained all the correct who may already be working in the information and data, but it had the industry and wish to expand their ex- TALKBACK wrong photo of the unit. Here is the pertise. Among the specific topics to coned photo of the Tascam ATR be discussed with industry guest 60I2T. speakers will be an overview of the Dear db, profession, professional conduct in I have some old 2-track masters 1 the studio, trade magazines, trade or- dug out of my library. Some are 10 + ganizations such as Naras and the years old; some are on acetate-based AES, legal aspects of recording and tape. job hunting. The program will take place in Room 39 Haines, UCLA, The trouble is, when I play these 10am-4pm, for a fee of $25.00. old masters, they sometimes make an audible "squeak" on the tape re- For details contact: corder heads. These tapes are quite UCLA Extension dry with age. Is there any lubricant I P.O. Box 24901 can treat them with to eliminate the Los Angeles, CA 90024 dryness causing these audible (213) 825-9064 squeaks against the tape heads? Thank you. • The seventh annual CMJ Music Marathon is a four-day music in- Yours, dustry conference held at New York Don Spence City's Roosevelt Hotel (45th St. and Madison Ave.), October 29-Novem- Don, ber 1. Music Marathon consists of Surprisingly, or not, this problem of panel discussions, seminars, work- "squeak" is not uncommon and, shops, exhibits, club showcases and furthermore, is occasionally a problem the nationally televised 1987 New for many in the post-production areas. Music Awards presentation held at However, there are a couple of fairly the Apollo Theatre on Halloween acceptable solutions. The best one was night. suggested by Jack Clark, the Re vox di- For information contact: vision shop manager at Studer Re vox CMJ Music Marathon America. He submitted the following: Warm temperature and higher 830 Willis Ave. humidity of the air can lead to a par- REMOVES VOCALS FROM RECORDS! Albertson, NY 11507 Our VOCAL ELIMINATOR can remove most or tial dissolution of the magnetic tape virtually all of a lead vocal from a standard stereo record and leave most of the background untouched! slide coating. This results in in- Record with your voice or perform live with the • SYNERGET1C AUDIO CON- creased friction on the tape guide backgrounds. Used in Professional Performance yet connects easily to a home component stereo CEPTS announced their fall elements and recording heads, which system. Not an equalizer! We can prove it works over schedule for their two-day audio en- leads to a stronger contamination. the phone. Write or call for a free brochure and demo record. w • ^ m gineering seminars. The classes are Mechanical tape squealing can then intended specifically for those seek- occur. This problem can be solved by ing a better basic understanding of adding liquid lubrifying fluid. how to solve everyday audio and The FilMagic Distributors Group acoustic problems. Demonstrations Inc. sell a tape maintenance kit called include signal alignment of loud- the FM-LL. In this kit comes a speakers, measurement of %ALcons Before You Buy! complete array of maintenance fluids and RASTI, the fundamental differ- •Time Delay • Compressor/Limiters (including a lubricant) with a flange- r^ • Reverberation • Expanders ence between impulse and energy CO • Crossovers • Spectrum Analyzers type pylon. Another possible solution O) • Noise Reduction • Parametric EQ time curve measurements, and the comes from the engineers at Tascam Don't have regrets about paying too much for a proven procedure to follow when de- (/) lesser product. In demos and comparisons, we'll Corporation of America. They sub- 13 show you why we're Better! Our Factory Direct signing large loudspeaker arrays. O) sales allow us to produce a Superior product and 13 offer it to you at a Lower price. Call orj write for a mitted the following: Tascam manu- < free full length Demo Album and 24 page brochure. Lansing, MI- August 26-27 factures a stainless steel cleaner, Write to: LT Sound, Dept. MR, PO Box 338 which is very high in silicon content, D Stone Mountain, GA 30086 Chicago, IL- September 15-16 In Georgia Call (404)4931258 Kansas City, MO- October 6-7 that makes an excellent tape-head lu- n "D TOLL FREE: 1-800-241-3005 - Ext. 6-A New York, NY- October 14-15 bricant. a CM Who would believe a microphone this flat Model AT871 UniPlate1" Condenser Cardioid could have a curve to match! If you've tried other response so vital to ical noise. The electronics are hemicardioid bound- natural sound audibly quieter as well - a tre- ary microphones, reinforcement. mendous advantage in typical you may have boundary microphone applica- been disappointed Outstanding tions. We also include a low-cut in the sound... Gain-Before-Feedback switch to help control acoustic thin, peaky, and room noise. The AT871 can be requiring lots of equal The AT871 UniPlate Cardioid has both the polar pattern and powered by an internal battery ization. If so, it's time to listen or from 9-52VDC phantom response curve to provide to ours: the new AT871 power. higher gain-before-feedback UniPlate Condenser Cardioid. than you may have thought possible. But better gain- Effective Problem Solver UniPoint Technology before-feedback and a great The AT871 is solving problems at Work sounding element are only in stage sound reinforcement, Our experience pioneering a part of the story church sound, teleconferenc- UniPoint miniature condensers ing, boardroom applications... permitted us to take a new Less Noise Two Ways even TV and film locations. approach to boundary micro- Wherever great sound is By using a very low-mass phone design. We optimized diaphragm and a case heavier needed...unobtrusively. We the basic UniPoint cardioid urge you to test the AT871 than the others, we sharply element for boundary use, side-by-side with any of the reduced sensitivity to mechan- creating remarkable reach and rest. Choose your most critical presence, yet retaining ex- sound problems.
Load more

Recommended publications
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end.
    [Show full text]
  • Frank Zappa and His Conception of Civilization Phaze Iii
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters & Producers Across 900 Popular Songs from 2012-2020
    Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters & Producers across 900 Popular Songs from 2012-2020 Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Karla Hernandez & Kevin Yao March 2021 INCLUSION IN THE RECORDING STUDIO? EXAMINING POPULAR SONGS USC ANNENBERG INCLUSION INITIATIVE @Inclusionists WOMEN ARE MISSING IN POPULAR MUSIC Prevalence of Women Artists across 900 Songs, in percentages 28.1 TOTAL NUMBER 25.1 OF ARTISTS 1,797 22.7 21.9 22.5 20.9 20.2 RATIO OF MEN TO WOMEN 16.8 17.1 3.6:1 ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 ‘19 ‘20 FOR WOMEN, MUSIC IS A SOLO ACTIVITY Across 900 songs, percentage of women out of... 21.6 30 7.1 7.3 ALL INDIVIDUAL DUOS BANDS ARTISTS ARTISTS (n=388) (n=340) (n=9) (n=39) WOMEN ARE PUSHED ASIDE AS PRODUCERS THE RATIO OF MEN TO WOMEN PRODUCERS ACROSS 600 POPULAR SONGS WAS 38 to 1 © DR. STACY L. SMITH WRITTEN OFF: FEW WOMEN WORK AS SONGWRITERS Songwriter gender by year... 2012 2013 2014 2015 2016 2017 2018 2019 2020 TOTAL 11% 11.7% 12.7% 13.7% 13.3% 11.5% 11.6% 14.4% 12.9% 12.6% 89% 88.3% 87.3% 86.3% 86.7% 88.5% 88.4% 85.6% 87.1% 87.4% WOMEN ARE MISSING IN THE MUSIC INDUSTRY Percentage of women across three creative roles... .% .% .% ARE ARE ARE ARTISTS SONGWRITERS PRODUCERS VOICES HEARD: ARTISTS OF COLOR ACROSS SONGS Percentage of artists of color by year... 59% 55.6% 56.1% 51.9% 48.7% 48.4% 38.4% 36% 46.7% 31.2% OF ARTISTS WERE PEOPLE OF COLOR ACROSS SONGS FROM ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 ‘19 ‘20 © DR.
    [Show full text]
  • Equalization
    CHAPTER 3 Equalization 35 The most intuitive effect — OK EQ is EZ U need a Hi EQ IQ MIX SMART QUICK START: Equalization GOALS ■ Fix spectral problems such as rumble, hum and buzz, pops and wind, proximity, and hiss. ■ Fit things into the mix by leveraging of any spectral openings available and through complementary cuts and boosts on spectrally competitive tracks. ■ Feature those aspects of each instrument that players and music fans like most. GEAR ■ Master the user controls for parametric, semiparametric, program, graphic, shelving, high-pass and low-pass filters. ■ Choose the equalizer with the capabilities you need, focusing particularly on the parameters, slopes, and number of bands available. Home stereos have tone controls. We in the studio get equalizers. Perhaps bet- ter described as a “spectral modifier” or “frequency-specific amplitude adjuster,” the equalizer allows the mix engineer to increase or decrease the level of specific frequency ranges within a signal. Having an equalizer is like having multiple volume knobs for a single track. Unlike the volume knob that attenuates or boosts an entire signal, the equalizer is the tool used to turn down or turn up specific frequency portions of any audio track . Out of all signal-processing tools that we use while mixing and tracking, EQ is probably the easiest, most intuitive to use—at first. Advanced applications of equalization, however, demand a deep understanding of the effect and all its Mix Smart. © 2011 Elsevier Inc. All rights reserved. 36 Mix Smart possibilities. Don't underestimate the intellectual challenge and creative poten- tial of this essential mix processor.
    [Show full text]
  • Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D
    CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral.
    [Show full text]
  • Orban FMX Brochure
    www.SteamPoweredRadio.Com July 10, 1986 Dear Broadcaster: Thank you very much for your interest in OPTIMOD-FMX. Enclosed is a package of information from both Orban and CBS. I ' m sure you will find it interesting. In our articles, we explain why the Orban OPTIMOD- FMX will be substantially different and better than units offering only the CBS "developmental" design. Until IC chips become available, FMX receivers will be very scarce. The latest information from CBS is that the first chips will roll off the line during the summer of 1987 , permitting receivers to be available just prior to Christmas 1987 . Orban expects to begin accepting orders for OPTIMOD- FMX in the Fall, with deliveries beginning late i n the year. As we have more information available, we will s end it to you. If you have any additional questions, feel free to call me on our toll- free number: 800- 227- 4498. Thank you for your confidence in OPTIMOD- FMX . Best regards , Howard Mullinack Marketing and Sales Manager Br oadcast Products www.SteamPoweredRadio.Com Orban Associates Inc. 645 Bryant Street San Francisco, CA 94107-1693 Main: (415) 957-1063 (Sales): (415) 957-1067 Telex: 17-1480 Cable: ORBANAUDIO Highlights D Increases stereo coverage area-to almost The Model 8150A OPTIMOD-FMX is a complete, that of the mono coverage area- self-contained stereo generator. It combines a newly­ for receivers equipped with FMX designed ultra-high-performance stereo encoder with the Orban FMX compander and subcarrier generator, decoders. including remote control facilities and an integral power D Fully compatible with non-FMX equipped supply.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]
  • Attributes and Tuning of a Parametric Equalizer
    Attributes and Tuning of a Parametric Equalizer White Paper Authored by: Ed Heath – Senior Audio Engineer, Bogen Communications, Inc. www.bogen.com Specifications subject to change without notice. © 2020 Bogen Communications, Inc. 740-00144A 2008 Attributes and Tuning of a Parametric Equalizer All heard sound is a subjective experience. Multiple factors contribute to our perception of sound quality. The equipment used to record a sound and the audio system used for its playback will both dramatically affect the observed quality of a finished recording. In an environment in which sound is played through a speaker, the physical space can deaden (absorb) some frequencies, while the natural resonance of the room can enhance others. Sound systems can change the perceived quality of sound for the listener by enhancing or decreasing the output power at specific frequencies through the use of an equalizer. Voice and music playback can thus be tuned to the listener’s preferences. When it comes to equalizing your sound, a parametric equalizer (EQ) is one of the most versatile equalizers you can use. That’s because it offers the flexibility to make vastly different types of alterations to the sound of an audio signal. A parametric EQ allows you to make both very subtle and extreme changes to the frequency spectrum of your audio. Similarly, you can both pinpoint very specific frequencies to equalize, and make broad changes to large groups of frequencies. A parametric EQ enables increases in gain (boosts) or reductions in gain (cuts) to relatively narrow bands of the frequency spectrum. The frequency response curve of a parametric EQ at a given frequency band resembles the shape of a bell.
    [Show full text]
  • Fmx480 Digiplexer User's Manual
    FMX480 DIGIPLEXER USER’S MANUAL Date: 08/07 Navigator ® and AUDEMAT-AZTEC ® are registered trademarks of AUDEMAT-AZTEC Company. Audemat-Aztec SA – Audemat-Aztec INC WEB: www.audemat-aztec.com - e-mail: [email protected] Page 1 CONTENTS 1. INTRODUCTION............................................................................................................................................. 6 1.1 GENERAL INFORMATION ............................................................................................................................ 6 1.1.1 About Audemat-Aztec............................................................................................................................. 6 1.1.2 About RDS.............................................................................................................................................. 6 1.1.3 About FMX 480...................................................................................................................................... 6 1.2 BEFORE STARTING.......................................................................................................................................... 7 2. PRODUCT PRESENTATION ........................................................................................................................ 8 2.1 LIST OF INCLUDED ACCESSORIES ............................................................................................................... 8 2.2 GENERAL SPECIFICATIONS OF THE FMX480.............................................................................................
    [Show full text]
  • Vi Processor™ Card
    Vi Processor™ Card General The Vi Processor™ Card fitted to the Soundcraft Vi Series™ contains 8 powerful LEXICON® Effects Processing Units and 35 high-quality BSS® 30-band Graphic Equalisers. LEXICON® Effects Each Effects Unit can be inserted into any Output/Main Master bus or into any Input Channel, or it can be patched as an FX Return to an Input Channel, fed from an Aux send. Each FX Unit supports up to 30 different professional LEXICON® Effects. Effect Parameters can be easily changed via the VST Screens at a location on the Surface corresponding to where the FX is inserted or patched. Additionally, the Parameters can be viewed and changed in the FX Overview Page in the main menu. All Parameters from the 8 Effects Units and for all Effects Type are stored in the desk Snapshots. BSS® Graphic Equalisers The 35 BSS® 30-band Graphic Equalizers are permanently assigned to the 32 Output Busses and the three Main Masters. All Parameters from the GEQs are stored in the desk Snapshots. LEXICON® Effects Format Depending on the selected Effect Type, the FX processor works internally in one of three formats: The FX processor always has Stereo Inputs and Outputs. If the FX Type needs only a Mono Input, the Left and Right Input Signal are summed together. If the FX Type outputs only a Mono Signal then the Output Signal is distributed to both the Left and Right Outputs. The MIX Parameter adjusts the ratio between the original (dry) signal and the effects (wet) signal. Figure 21-1: FX Processor Configurations.
    [Show full text]
  • A History of Audio Effects
    applied sciences Review A History of Audio Effects Thomas Wilmering 1,∗ , David Moffat 2 , Alessia Milo 1 and Mark B. Sandler 1 1 Centre for Digital Music, Queen Mary University of London, London E1 4NS, UK; [email protected] (A.M.); [email protected] (M.B.S.) 2 Interdisciplinary Centre for Computer Music Research, University of Plymouth, Plymouth PL4 8AA, UK; [email protected] * Correspondence: [email protected] Received: 16 December 2019; Accepted: 13 January 2020; Published: 22 January 2020 Abstract: Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects. Keywords: audio effects; history; transsectorial innovation; technology; audio processing; music production 1. Introduction In this article, we describe the history of audio effects with regards to musical composition (music performance and production). We define audio effects as the controlled transformation of a sound typically based on some control parameters. As such, the term sound transformation can be considered synonymous with audio effect.
    [Show full text]
  • Creativity in Recording Studios
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Leeds Beckett Repository Producing Music, Producing Myth? Creativity in Recording Studios Brett D. Lashua Leeds Beckett University [email protected] Paul Thompson Leeds Beckett University [email protected] Abstract This paper presents research on the power of myth (Barthes 1972) and commonly accepted beliefs, or “doxa” (Bourdieu 1977), in shaping creative practices inside recording studios. Drawing from two ethnographic case studies of rock and hip-hop artists in recording studios, this paper addresses the (re)production of myths during studio sessions. Through critical incident analyses, we challenge romanticized representations of studios as individualistic spaces and highlight how mythic representations of creativity influence musicians’ technical expectations of recording processes. Additionally, we illustrate the circulation of, and moments of resistance to, myths from cultural domains outside of the studio that pervade practices within studios. In sum, we show that studios – sites involving the intense scrutiny of music-making – offer insightful contexts in which to examine how myth can shape recording processes and studio practices. KEYWORDS: creativity, rock, hip-hop, recording, myth, recording studios IASPM@Journal vol.6 no.2 (2016) Journal of the International Association for the Study of Popular Music ISSN 2079-3871 | DOI 10.5429/2079-3871(2016)v6i2.5en | www.iaspmjournal.net Producing Music, Producing Myth? 71 Introduction Popular accounts of creativity inside recording studios often mythologize and romanticize the record production process (McIntyre 2012). Romantic images of recording studios, and what apparently happens inside them, pervade popular media and are reproduced in Hollywood films and music documentaries; see, for instance: Begin Again (Carney 2013); Music and Lyrics (Lawrence 2007); Ray (Hackford 2004); Sympathy for the Devil (Godard 1969).
    [Show full text]