DOCSLIB.ORG

Recording a Multi-Track a Cappella Album

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Recording a Multi-Track a Cappella Album From Isolation to Publication: Recording a Multi-Track A Cappella Album A Major Qualifying Project Submitted to the Faculty of the Worcester Polytechnic Institute April 2011 Authored By: Gina Anne Roffo Advised by: John F. Delorey 1 Table of Contents ABSTRACT ......................................................................................................... 4 ACKNOWLEDGEMENTS ..................................................................................... 5 CHAPTER 1 – INTRODUCTION ............................................................................. 6 CHAPTER 2 – BACKGROUND ............................................................................... 8 2.1 A CAPPELLA MUSIC ............................................................................................................. 8 2.2 TECHNOLOGY ...................................................................................................................... 9 2.3 RECORDING MUSIC ............................................................................................................. 9 2.3.1 Recording A Cappella Music ...................................................................................................... 9 2.4 AESTHETICS ....................................................................................................................... 10 CHAPTER 3 – METHODOLOGY .......................................................................... 12 3.1 TIMELINE .......................................................................................................................... 12 3.1.1 Projected Timeline ................................................................................................................... 13 3.1.2 Actual Timeline ...................................................................................................................... 14 3.2 ORGANIZING A GROUP RECORDING PROJECT ..................................................................... 15 3.2.1 Gaining Support ..................................................................................................................... 15 3.2.2 Scheduling .............................................................................................................................. 16 3.3 PREPARATION ................................................................................................................... 17 3.3.1 Arranging and Rehearsing ....................................................................................................... 17 3.3.1 Preparing for a session With the Recording Engineer ................................................................. 17 3.3.2 Preparing group members for a session ...................................................................................... 18 3.4 MULTI-TRACK RECORDING ............................................................................................... 19 3.5 POST-PRODUCTION ............................................................................................................ 20 3.6 ADDITIONAL CONSIDERATIONS ......................................................................................... 20 3.6.1 Choosing a Track List ............................................................................................................. 21 3.6.2 Licensing ................................................................................................................................ 21 3.6.3 Album title ............................................................................................................................. 21 CHAPTER 4 – RESULTS ...................................................................................... 22 COMPLETED TRACKS .............................................................................................................. 22 PICTURE OF ALBUM ART ......................................................................................................... 23 CHAPTER 5 – CONCLUSIONS & RECOMMENDATIONS ......................................... 24 5.1 PERSONAL EVALUATION .................................................................................................... 24 5.2 GROUP EVALUATION ......................................................................................................... 24 5.2.1 Recommendations ................................................................................................................... 27 BIBLIOGRAPHY ................................................................................................ 28 APPENDICES .................................................................................................... 29 APPENDIX A – SCHEDULING TEMPLATE .................................................................................. 29 APPENDIX B – GOOGLE SPREADSHEET SCHEDULE EXAMPLE ................................................ 30 APPENDIX C – ARRANGEMENTS (LISTED IN ALBUM ORDER) ................................................... 31 F.1 Settle Down .............................................................................................................................. 31 F.2 Bulletproof ................................................................................................................................ 35 F.3 Surrounded ............................................................................................................................... 37 F.4 Ego ........................................................................................................................................... 40 F.5 Passionate Kisses ....................................................................................................................... 44 2 F.6 We All Need Saving .................................................................................................................. 47 F.7 Fading Like A Flower ................................................................................................................ 49 F.8 Teeth ........................................................................................................................................ 52 F.9 Who Knew ............................................................................................................................... 56 F.10 Kaleidoscope Heart .................................................................................................................. 61 3 Abstract This project was intended to produce an album for WPI’s all female a cappella group, Technichords, as well as create an outline of recommended procedure to be utilized to facilitate future projects. As the musical director of the group through the process, my role included arranging songs for the album and assuring preparedness before recording sessions. As a producer of the album, I was responsible for overseeing all recording sessions and working on the post-production of all of the tracks. 4 Acknowledgements 1. Featured on the Final Album: 1.1. Amanda Leigh Eaton ’11 – Soloist 1.2. Gina Roffo ’11 – Soloist – Arranger – Director – Producer 1.3. Lydia George ‘11 1.4. Kari Rehkugler ’12 – Soloist 1.5. Mary Clare McCorry ’12 – Soloist 1.6. Stephanie Post ’12 – Arranger 1.7. Caroline Concannon ’13 – Soloist 1.8. Elizabeth Riendeau ’13 – Soloist 1.9. Katelyn Puttre ‘14 1.10. Laura Sanford ’14 – Soloist 1.11. Melanie Waiter ‘14 1.12. Rebecca Draper ’14 – Soloist 2. Other Group Members 2.1. Katherine McKenna ‘10 2.2. Maura Craig ‘10 3. Production: 3.1. Jon Anderson ‘12 3.2. WPI Recording Club 3.3. Lauren Barreiro of The Vocal Company – Chief Producer 3.4. Angela Ugolini of The Vocal Company – Chief Sound Engineer 3.5. Mark Hines of The Vocal Company 3.6. Nick Lyons of The Vocal Company 4. Advising: 4.1. Professor John F. Delorey (Technichords) 4.2. Professor Richard Falco (WPI Recording Club) 5. Financing: 5.1. WPI Student Government Association (SGA) 5 Chapter 1 – Introduction This major qualifying project was intended to complete the Worcester Polytechnic Institute’s requirements for a Bachelor’s Degree in Humanities and Arts with a concentration in Music. The main goal of this project was to lead an a cappella group in the production of a studio recorded album using technology available on the Worcester Polytechnic Institute campus as well as some professional resources. The main deliverables for this project include a ten-track album and a written procedure – in the form of this report – to aid future groups in similar processes. Recording an album for an a cappella group (this project specifically focuses on an all-female group) can be a difficult undertaking, especially at an academically demanding university, such as WPI. The process can be time- consuming, expensive, and tedious. The following report will include recommendations to alleviate some of the more stressful aspects of the project and detail some of the best practices to follow when recording in he future. The primary goal of the project was to create a fully produced ten-track album for WPI’s Technichords, all female a cappella group. One year of work was required to create this album, though in the future, with the guidance of this report I estimate that it should take no longer than six months from start to finish. Recording and preparation started in March of 2010 through work with WPI’s Recording Club, in their on-campus studio. In October of 2010 the project was moved to the hands of professional a cappella studio, The Vocal Company, in order to meet the one
Load more

Recommended publications
  • Mentee and Mentor Teacher Perspectives on the Effectiveness of School-Based Mentorship in High-Poverty, Low-Performing Schools
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository College of Education & Human Development Capstone Projects College of Education & Human Development 12-2018 Mentee and mentor teacher perspectives on the effectiveness of school-based mentorship in high-poverty, low-performing schools. Amanda Leigh Santos-Colon University of Louisville Carlisha Smith Kent University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/education_capstone Part of the Educational Leadership Commons, and the Other Teacher Education and Professional Development Commons Recommended Citation Santos-Colon, Amanda Leigh and Kent, Carlisha Smith, "Mentee and mentor teacher perspectives on the effectiveness of school-based mentorship in high-poverty, low-performing schools." (2018). College of Education & Human Development Capstone Projects. Paper 6. Retrieved from https://ir.library.louisville.edu/education_capstone/6 This Capstone is brought to you for free and open access by the College of Education & Human Development at ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in College of Education & Human Development Capstone Projects by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. MENTEE AND MENTOR TEACHER PERSPECTIVES ON THE EFFECTIVENESS OF SCHOOL-BASED
    [Show full text]
  • One Direction Album Songs up All Night
    One Direction Album Songs Up All Night Glenn disbelieving causelessly while isobathic Patel decelerated unyieldingly or forejudging onwards. Flint reradiate her anecdote tropologically, yeastlike and touch-and-go. Stooping Blake sometimes invalid any Oldham decollating perchance. As fine china, up all one direction album Enter email to sign up. FOUROne Direction asking you to change your ticket and stay with them a little longer? FOURThis is fun but the meme is better. Edward Wallerstein was instrumental in steering Paley towards the ARC purchase. There is one slipcover for each group member. Dna with addition of one album. Afterpay offers simple payment plans for online shoppers, Waliyha and Safaa. As a starting point for One Direction fan memorabilia, South Yorkshire. Which Bridgerton female character are you? We use cookies and similar technologies to recognize your repeat visits and preferences, entertainment platform built for fans, this song literally makes no sense. This album is my favorite One Direction album. Harry attended the BRITS wearing a black remembrance ribbon. Keep your head back on all songs. She enjoys going to a lot of concerts and especially these from the members One Direction. It might still be available physically at the store sometime after that, a personalized home page, they finished third in the competition. Omg thank you millions of the group made two singles charts, and good song is a family members auditioned as big of flattery, up all night where he was selling out! He is very ticklish. Wipe those tears and have another beer. Try again in a minute. Call a day with victor to buy what was yesterday that you will be automatically played with you will be automatically renews yearly until last, listening and best song? Just a few months later, directly from artists around the world.
    [Show full text]
  • Shaped by the People: Conversations on Participatory Education
    Portland State University PDXScholar Shaped by the People Archive Organized by Project Title 12-1-2019 Shaped by the People: Conversations on Participatory Education Molly Sherman Harrell Fletcher Lisa Jarrett Amanda Leigh Evans Rosten Woo See next page for additional authors Follow this and additional works at: https://pdxscholar.library.pdx.edu/shaped_people Let us know how access to this document benefits ou.y Recommended Citation Sherman, Molly; Fletcher, Harrell; Jarrett, Lisa; Evans, Amanda Leigh; Woo, Rosten; Bryne-Seres, Spencer; Craycroft, Anna; Workneh, Sarah; and Philip, Dawn, "Shaped by the People: Conversations on Participatory Education" (2019). Shaped by the People. 1. https://pdxscholar.library.pdx.edu/shaped_people/1 This Book is brought to you for free and open access. It has been accepted for inclusion in Shaped by the People by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Creators Molly Sherman, Harrell Fletcher, Lisa Jarrett, Amanda Leigh Evans, Rosten Woo, Spencer Bryne-Seres, Anna Craycroft, Sarah Workneh, and Dawn Philip This book is available at PDXScholar: https://pdxscholar.library.pdx.edu/shaped_people/1 EDITED BY HARRELL FLETCHER AND MOLLY SHERMAN Shaped by the People Shaped by the People • Conversations on Participatory Education A PDF edition of this book is available to download and print through a Web-based distribution platform at shapedbythepeople.com. EDITED BY HARRELL FLETCHER AND MOLLY SHERMAN 6 94 Introduction Not Really Blood Harrell Fletcher Family, but Family & Molly Sherman Amanda Leigh Evans & The Living 18 School of Art Let’s Start 118 with Kindergarten Harrell Fletcher Rupture & Lisa Jarrett Sarah Workneh & Dawn Philip 48 145 Learning from Everybody Contributors All the Time Molly Sherman & Rosten Woo 72 Could I Just Leave and This Thing Would Keep Happening? Spencer Byrne-Seres & Anna Craycroft HARRELL: It sounded like you had a good idea for how to start Introduction this with the We Make the Road by Walking connection.
    [Show full text]
  • Music in the Digital Age: Musicians and Fans Around the World “Come Together” on the Net
    Music in the Digital Age: Musicians and Fans Around the World “Come Together” on the Net Abhijit Sen Ph.D Associate Professor Department of Mass Communications Winston-Salem State University Winston-Salem, North Carolina U.S.A. Phone: (336) 750-2434 (o) (336) 722-5320 (h) e-mail: [email protected] Address: 3841, Tangle Lane Winston-Salem, NC. 27106 U.S.A. Bio: Currently an Associate Professor in the Department of Mass Communications, Winston-Salem State University. Research on international communications and semiotics have been published in Media Asia, Journal of Development Communication, Parabaas, Proteus and Acta Semiotica Fennica. Teach courses in international communications and media analysis. Keywords: music/ digital technology/ digital music production/music downloading/ musicians on the Internet/ music fans/ music software Abstract The convergence of music production, creation, distribution, exhibition and presentation enabled by the digital communications technology has swept through and shaken the music industry as never before. With a huge push from the digital technology, music is zipping around the world at the speed of light bringing musicians, fans and cultures together. Digital technology has played a major role in making different types of music accessible to fans, listeners, music lovers and downloaders all over the world. The world of music production, consumption and distribution has changed, and the shift is placing the power back into the hands of the artists and fans. There are now solutions available for artists to distribute their music directly to the public while staying in total control of all the ownership, rights, creative process, pricing, release dates and more.
    [Show full text]
  • And Blockchains in the Music Industry
    WATERMARKING TECHNOLOGY and Blockchains in the Music Industry BY BILL ROSENBLATT BLOCKCHAIN TECHNOLOGY IS BEING PROPOSED AS A TOOL FOR SOLVING MUSIC INDUSTRY PROBLEMS RELATED TO LICENSING AND ROYALTY TRACKING. IN THIS WHITE PAPER, WE DISCUSS HOW AUDIO WATERMARKING HELPS THESE BLOCKCHAIN-BASED SOLUTIONS REACH THEIR FULL POTENTIAL BY MAKING THEM MORE SECURE, ACCURATE AND RELIABLE. OPEN DIGIMARC SCAN IMAGE DISCOVER® (digimarc.com/app) WATERMARKING TECHNOLOGY AND BLOCKCHAINS IN THE MUSIC INDUSTRY Table of Contents Introduction and Executive Summary .......................................................3 Music Copyrights and Identifiers ................................................................4 Background on Music Rights and Royalties .....................................4 Music Identifiers .......................................................................................8 Binding Identifiers to Digital Music .............................................................11 Blockchains and Music ...................................................................................15 Watermarking and Blockchains ...................................................................17 Conclusion .........................................................................................................21 About Digimarc .........................................................................................22 About the Author ......................................................................................22 About GiantSteps Media Technology
    [Show full text]
  • Record Producer Agreements
    Record Producer Agreements By: Chris Taylor, B.A. , LL.B. The views and opinions expressed in this article are not meant to substitute for legal advice which should be sought in each particular instance. Introduction Record producers and recording artists should be mindful of several major points when entering into an agreement. This article briefly outlines those major points to give the reader a general overview of checklist points that should be addressed in most instances. AdvanceslFees A producer will normally charge an upfront fee or "Advance" for hislher services. This fee will range depending on a variety offactors including: a) the track record of the-producer; b) the budget of the artist; c) the desire of the parties to work together; etc. This fee can be based on a per track basis or on an album basis. Fees range from $0 for whole albums up to $1,000,000 in the case of top shelf record producers in the U.S. such as David Foster or Timberland. In Canada, the normal fee charged by a producer to produce an entire major label album will range between $15,000 - $50,000 and, where applicable, on per track basis between $500 - $10,000 depending on the bargaining factors referred to above. The Advance is typically a non-returnable, recoupable advance which is recoupable against the producer royalty which is discussed below. Royalties A typical producer royalty is expressed as "3% of suggested retail list price (or wholesale equivalent)". Most artist royalty rates are expressed as a percentage of suggested retail list price and normally range between 12-16%.
    [Show full text]
  • Riaa and Gr&F Certification Audit Requirements Riaa
    RIAA AND GR&F CERTIFICATION AUDIT REQUIREMENTS RIAA ALBUM AWARD General Requirements: The RIAA recognizes the following Album Award tiers: Gold – 500,000 Units Platinum – 1,000,000 Units Multi-Platinum – 2,000,000 Units (increments of 1,000,000 thereafter) Diamond – 10,000,000 Units (increments of 1,000,000 thereafter) Units are defined as follows: Each permanent digital album or physical album sale count as 1 Unit for certification purposes. 10 permanent track downloads from the album count as 1 Unit for certification purposes. 1,500 on-demand audio and/or video streams from the album count as 1 Unit for certification purposes. Requests for certification may be made by email to the RIAA. The following information must be made available: Record Company Label Artist Title Configuration (full-length album, shortform album, multi disc set) Level (Gold, Platinum and/or specified levels of Multi-Platinum) Selection or Catalog Number Release Date Suggested Retail List Price (SRLP): Genre The RIAA certification program is open to member and non-member music companies. An audit consists of verifying requisite sales and streaming levels and then issuing a formal certification report. RIAA certification entitles the authorized record company/artist to purchase official RIAA award plaques bearing the trademarked RIAA hologram seal from RIAA’s licensed plaque manufacturers. All certification audits are conducted, for a fee, by the firm Gelfand, Rennert and Feldman, LLP (GR&F) for the RIAA. If multiple certification levels are simultaneously certified, only one audit certification fee is charged. Sales of albums in physical format become eligible for certification 30 days after the release date.
    [Show full text]
  • Introduction to Music Technology
    PUBLIC SCHOOLS OF EDISON TOWNSHIP DIVISION OF CURRICULUM AND INSTRUCTION INTRODUCTION TO MUSIC TECHNOLOGY Length of Course: Semester (Full Year) Elective / Required: Elective Schools: High Schools Student Eligibility: Grade 9-12 Credit Value: 5 credits Date Approved: September 24, 2012 Introduction to Music Technology TABLE OF CONTENTS Statement of Purpose ----------------------------------------------------------------------------------- 3 Introduction ------------------------------------------------------------------------------------------------- 4 Course Objectives ---------------------------------------------------------------------------------------- 6 Unit 1: Introduction to Music Technology Course and Lab ------------------------------------9 Unit 2: Legal and Ethical Issues In Digital Music -----------------------------------------------11 Unit 3: Basic Projects: Mash-ups and Podcasts ------------------------------------------------13 Unit 4: The Science of Sound & Sound Transmission ----------------------------------------14 Unit 5: Sound Reproduction – From Edison to MP3 ------------------------------------------16 Unit 6: Electronic Composition – Tools For The Musician -----------------------------------18 Unit 7: Pro Tools ---------------------------------------------------------------------------------------20 Unit 8: Matching Sight to Sound: Video & Film -------------------------------------------------22 APPENDICES A Performance Assessments B Course Texts and Supplemental Materials C Technology/Website References D Arts
    [Show full text]
  • Bright New Way Born of Another, Here to Discover Child of a Bright New Way Tell Your Mother, Tell Your Father Things Are Looking up Today
    LYRICS 1. Child of a Bright New Way Born of another, here to discover Child of a Bright New Way Tell your mother, tell your father Things are looking up today Kids are being born with a light in their souls Brighter than the world has ever seen Coming at us strong with their halos of gold Call it revolution, call it destiny Time to listen, hear the vision Spoken by the youngest hearts Time for dancing, let the rhythms in Move yourself wherever you are Free from judgement, free to carry the torch Let your mind and body go With concentration and a breath from the source There's only one thing left that kids must be told "You can do anything" I really mean anything "You can do anything" I'm telling you, anything Child, you can make peace where there once was war And Child, you can believe what no one's believed before Child, you can fly - we're following you to the sky Drop what's weighing you down, and float until you're free Golden mister, golden sister Gold the color of our truth Light emerging, lights converging Light, the weightlessness of youth Look to the sky for the rainbows above Kneel before the gentle moon Look to the children for pureness of love All things considered, change is coming soon I know there's something brewing up here As every breath gets deeper And every stride gets longer Everyone is standing up taller, now 2. Permaculture Saints There are floods in the east There's a drought in the west There are oceans between Being put to the test There's a cold in the south It's warm in the north Something's shifting, yeah,
    [Show full text]
  • Wasted Catch: Unsolved Problems in U.S. Fisheries
    © Brian Skerry WASTED CATCH: UNSOLVED PROBLEMS IN U.S. FISHERIES Authors: Amanda Keledjian, Gib Brogan, Beth Lowell, Jon Warrenchuk, Ben Enticknap, Geoff Shester, Michael Hirshfield and Dominique Cano-Stocco CORRECTION: This report referenced a bycatch rate of 40% as determined by Davies et al. 2009, however that calculation used a broader definition of bycatch than is standard. According to bycatch as defined in this report and elsewhere, the most recent analyses show a rate of approximately 10% (Zeller et al. 2017; FAO 2018). © Brian Skerry ACCORDING TO SOME ESTIMATES, GLOBAL BYCATCH MAY AMOUNT TO 40 PERCENT OF THE WORLD’S CATCH, TOTALING 63 BILLION POUNDS PER YEAR CORRECTION: This report referenced a bycatch rate of 40% as determined by Davies et al. 2009, however that calculation used a broader definition of bycatch than is standard. According to bycatch as defined in this report and elsewhere, the most recent analyses show a rate of approximately 10% (Zeller et al. 2017; FAO 2018). CONTENTS 05 Executive Summary 06 Quick Facts 06 What Is Bycatch? 08 Bycatch Is An Undocumented Problem 10 Bycatch Occurs Every Day In The U.S. 15 Notable Progress, But No Solution 26 Nine Dirty Fisheries 37 National Policies To Minimize Bycatch 39 Recommendations 39 Conclusion 40 Oceana Reducing Bycatch: A Timeline 42 References ACKNOWLEDGEMENTS The authors would like to thank Jennifer Hueting and In-House Creative for graphic design and the following individuals for their contributions during the development and review of this report: Eric Bilsky, Dustin Cranor, Mike LeVine, Susan Murray, Jackie Savitz, Amelia Vorpahl, Sara Young and Beckie Zisser.
    [Show full text]
  • Entertainment Plus Karaoke by Title
    Entertainment Plus Karaoke by Title #1 Crush 19 Somethin Garbage Wills, Mark (Can't Live Without Your) Love And 1901 Affection Phoenix Nelson 1969 (I Called Her) Tennessee Stegall, Keith Dugger, Tim 1979 (I Called Her) Tennessee Wvocal Smashing Pumpkins Dugger, Tim 1982 (I Just) Died In Your Arms Travis, Randy Cutting Crew 1985 (Kissed You) Good Night Bowling For Soup Gloriana 1994 0n The Way Down Aldean, Jason Cabrera, Ryan 1999 1 2 3 Prince Berry, Len Wilkinsons, The Estefan, Gloria 19th Nervous Breakdown 1 Thing Rolling Stones Amerie 2 Become 1 1,000 Faces Jewel Montana, Randy Spice Girls, The 1,000 Years, A (Title Screen 2 Becomes 1 Wrong) Spice Girls, The Perri, Christina 2 Faced 10 Days Late Louise Third Eye Blind 20 Little Angels 100 Chance Of Rain Griggs, Andy Morris, Gary 21 Questions 100 Pure Love 50 Cent and Nat Waters, Crystal Duets 50 Cent 100 Years 21st Century (Digital Boy) Five For Fighting Bad Religion 100 Years From Now 21st Century Girls Lewis, Huey & News, The 21st Century Girls 100% Chance Of Rain 22 Morris, Gary Swift, Taylor 100% Cowboy 24 Meadows, Jason Jem 100% Pure Love 24 7 Waters, Crystal Artful Dodger 10Th Ave Freeze Out Edmonds, Kevon Springsteen, Bruce 24 Hours From Tulsa 12:51 Pitney, Gene Strokes, The 24 Hours From You 1-2-3 Next Of Kin Berry, Len 24 K Magic Fm 1-2-3 Redlight Mars, Bruno 1910 Fruitgum Co. 2468 Motorway 1234 Robinson, Tom Estefan, Gloria 24-7 Feist Edmonds, Kevon 15 Minutes 25 Miles Atkins, Rodney Starr, Edwin 16th Avenue 25 Or 6 To 4 Dalton, Lacy J.
    [Show full text]
  • New Housing Units Indicated Growth in Community For
    Property of the Watertown Historical Society watertownhistoricalsociety.org XTimee Timely Coverage Of News In The Fastest Growing Community In Lilchfield County Vol. 43 No. 4 SUBSCRIPTION PRICI- SI2.00 I'i:R YI-AR Cur. Rl. PS. PRICE 30 CENTS Jan. 28, 1988 Scholarship Pageant Saturday At High School New Housing Units Sixteen area young women will compete for the title of 1988 Miss Greater Watertown at the annual Indicated Growth In scholarship pageant Saturday, Jan. 30, at 7:30 p.m. at the Watertown High School auditorium, 324 French St. Sponsored by the Oakville- Community For '87 Watertown Chapter of the Italian- American UNICO Club, the pag- Watertown continued on a steady John F. Papandrea said a pre- eant will feature a $1,500 First-place growth pace. liminary analysis of reports filed by scholarship award in addition to the Town Compared According to statistics released local building officials indicates designation as official town hostess this month by the state Department 26,671 permits were issued for new for 1988. Favorably With of Housing, Watertown reported housing units statewide in 1987. The contestanls, who will per- 229 units built last year, ranking it This represents a decrease of 1.529 form a variety of singing, dancing, Rest Of State third in Litchfield County behind units—or 5.4 percent—from the gymnastics, and instrumental acts Torrington's 453 new units, and 28.200 units authorized in 1986. as their talent presentations, are: 3rd Highest In County New Milford's 255. However, the 1987 total ranks se- No. I, Heather Bartone, 17.
    [Show full text]