DOCSLIB.ORG

A Short History of the Multitrack Recording Studio R

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Short History of the Multitrack Recording Studio R A Short History of the Multi-track Recording Studio (adapted from Wayne Wadham's Sound Advice -- a Musician's Guide to the Recording Studio): In general, there have been four separate stages in the development of music recordings studios, roughly aligned with each decade since the 1950s. Until the late 1940s, music was recorded in two ways, both mono. Many recording sessions were done direct to disc, with one or more lacquer masters cut right in the studio. If the music was for a film soundtrack, it was recorded directly onto a 35mm optical soundtrack negative. Running at 18 inches per second, and with about 55 dB signal to noise ratio (abbreviated S/N, a parameter we'll define later), this method gave better overall sound quality than any disc of the time. Tape recording, developed by the Germans during the Second World War, was used both in radio broadcasts and for the deciphering of intercepted code messages. The poor sound quality obtained on that early equipment, due largely to inferior tape, soon improved with the introduction of commercial recorders and new tapes by Telefunken in Europe and Ampex in the United States. These machines were mono, full track (one 1/4" wide track), running at 15 ips for music-quality performance. Lower speeds were usually reserved for voice recording. It was discovered early that you could overdub by playing back a previously recorded tape through a mixer, blending that with live mics, and sending the composite signal to a second recorder. In the history of record production, this simple step rivaled the invention of the wheel. Obviously, the pre-taped music lost a bit of sound quality and gained a bit of noise. Nevertheless, this technique did allow artists to add layers of new music. Such mono-to-mono copy overdubbing was the standard in pop music production up until 1962. Until that time, pop and rock records were made to sound good on AM radio-in highly compressed mono. Not much attention was paid to true stereo in pop and rock until 1967, when the Beatles brought out Sgt. Pepper's Lonely Hearts Club Band. While stereo was entering its second decade for classical and jazz recording, these genres were played primarily on FM. Rock was usually confined to AM until the early 1970s. Throughout the 1950s, record companies owned most of the better recording studios, renting un-booked hours to outside users for radio and TV commercial productions. There were very few independent studios of any real quality. For rock, the large, well-designed acoustic space did not matter as much as the engineer's ear for getting excitement into the mix. Of the staff engineers at major labels, certainly Billy Porter of RCA stands out. His work on Elvis Presley's earliest hits is a marvel, both for its fine technical quality and many innovative techniques. In the jazz field, Rudy Van Gelder engineered the Blue Note and Prestige sessions of John Coltrane, Miles Davis, and other artists. The crisp and clean cymbal and horn sounds on these tapes challenge even the compact discs on which they are now being rereleased. In 1955, hit guitarist Les Paul commissioned Ampex Corporation to build a custom recorder, with eight parallel tracks to be inscribed on special I"-wide tape. He and his wife, Mary Ford, had done many tape-to-tape records, layering six or more guitar and vocal parts, but they were displeased with the buildup of noise and distortion, not to mention the limited control inherent in the mixing process. The first Ampex 8-track was delivered the next year, and Les and Mary proceeded to make a string of Top 10 hits on it. He developed almost all the techniques and tricks that later became standard in multi-track sessions--headphone or cue mixing, sel-sync overdubbing, bouncing tracks, pre-laying effects and delays, and special vari-speed operations. The late 1950s brought an acceptance of the 2-track recorder in rock sessions, but mostly as a convenience in producing mono records. Basic tracks could be laid down on one track, some instrumental overdubs (perhaps even horns or strings) on the second track (recorded while these musicians heard a headphone playback of track 1 via the record head, later called sel-sync), then both tracks mixed onto the first track of a second machine along with another live overdub. The vocals might then be added on the remaining track of machine 2 and a mono mix made on to a full-track recorder. This process saves at least one tape generation on the basic tracks, gives better control over the level of each overdub, and does allow a remix of at least the vocals and completed tracks. The resulting 2-track tape makes pretty artificial stereo, as evidenced by hits as late as the Beatles' "Nowhere Man," in which all voices and the guitar solo are on one channel and everything else is on the other. As George Martin has pointed out, however, most records produced this way were not meant for stereo issue. The two tracks merely allowed better control over elements in the final mono mix. Record companies, in the wake of public demand for stereo, simply released anything they could find, no matter how artificial it sounded, and regardless of how much the artists objected. Ampex introduced a stock model of its 1/2" 3-track machine in 1960. It offered sel-sync on all tracks and gained its first acceptance with producers of jingles, mainly because a narrator could be added on the third track, rather than on a subsequent pass on 1/4" requiring another generation loss of the music. The 3- track did enable some of the first quasi-natural stereo pop records, however, since the lead vocals could now be mixed into the center, with the music on left and right channels. On the other hand, some rock engineers really had no idea of how to use the medium. There is even one story of a top engineer who used the third track only for acoustic or electric bass. In the mid-l960s $6,000 was a huge studio budget for a rock album. Just four years later, when 8-track became the pro format for rock, and when independent studios began springing up in every loft or converted office space, rentals rose to an unheard-of $60 per hour. This pushed 1969 album studio budgets up to around $10,000 with mix-downs, an amount that might only be approved for established artists-which still did not include AFM or AFTRA musicians' and singers' payments. A decade later, the average studio bill jumped to well over $30,000, with a few privileged artists spending upwards ol $500,000 per album just in studio costs. Yet in the same period of time- '69 to '79, retail album prices went from 9g6.98 to $8.98 list price, an increase of under 30%. Until around 1968, it was fairly standard practice to do two completely separate mixes of singles and albums-one for radio play in mono, the other for home playback in stereo. This caused sales and promotional problems when the mono and stereo mixes of a particular tune had a different sound or feel. Since the mix can make or break a record, labels wanted only the "hit" mix-mono-to be played on the air. Meanwhile, FM rock stations, then developing their first legs, insisted on playing stereo whenever available. As a stopgap some stations installed primitive delays and reverbs to simulate stereo. Others actually bootlegged stereo tapes of hits out the back door of certain studios-unauthorized midnight mixes made by underpaid engineers. CBS came up with a novel solution: Compatible Mixing. This was really nothing more complex than mixing to stereo tape while monitoring the process with both channels mixed to a mono signal. The finished mixes maintained their characteristic sound or punch whether played in mono or stereo. Often, simultaneous full-track and stereo machines ran to give a first-generation mono and stereo product. The process was discontinued in the early 1970s, when the major labels stopped pressing mono albums and singles. By 1970, 16-track was gaining acceptance for rock production in the United States, though even the Beatles continued to use 8-track through most of Abbey Road and Let It Be in that same year. The Ampex MM-1000 16-track package cost almost $35,000 and required a much more elaborate console than was previously available. Split designs became the standard, the main bank of faders used for mic/line inputs feeding the recorder, the monitor section off to the right used to provide cue mixes and other sub-mixes for reverb chambers, and so on. Although Ampex and Scully announced 24-track models to come, there was little rush to buy them because of the noise build-up inherent with so many separate recorded signals. The real demand for 24 tracks came from clients-artists and producers who wanted the control and versatility, even at the expense of more noise and cost. The Dolby A system provided just enough noise reduction to bring 16 tracks of tape noise back down to the noise level of a good 2-track machine, but the first systems were expensive-almost $2,000 a track! Not many studios could afford it, and not many artists wanted to pay the extra in rentals. By 1370 top studios were charging more than $100 per hour. Aside from refinements made in existing devices--quieter and more precise parametric equalizers, smoother compressors and better plate reverbs-few new tricks except mechanical flanging were added to the engineer's bag.
Load more

Recommended publications
  • 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]
  • Neve 88RS User Manua
    Contents CONTENTS INTRODUCTION System Information 1:1 POWER UP AND POWER DOWN SEQUENCE Power Up Procedure: 2:1 Power Down Procedure 2:3 CONSOLE CONFIGURATION Multitrack Recording 2:6 Mixdown 2:8 Overdubbing 2:10 Tape and Cues Post EQ 2:18 Broadcast 2:20 THE 88RS CONSOLE SURFACE The 88RS Channel Module 3:3 Channel Fader Module 3:11 SOLO & MASTER CUT SYSTEM 4:1 Solo System 4:1 Cut Grouping Facility 4:4 MONITOR & FACILITIES SECTION Oscillator and Signal level 5:1 Auxiliary Master Section 5:2 Cue Mix System 5:4 Rev Returns 5:6 Monitor Panel 5:7 5:14 2 Track Mixer 5:21 5:22 5:23 Monitor and Facilities Fader Section 5:23 Issue 3 i 88RS User Manual Contents METERING Multitrack Meters 6:1 Auxiliary Meters 6:3 Multitrack Meter Controls 6:4 Monitor 6T Output Meters 6:5 6:6 Monitor 8T Output Meters (optional) 6:6 Encore Screen 6:8 6:8 6:8 SURROUND: ROUTING & MONITORING Reassign Matrix Panel 7:1 Reassign Matrix Modes 7:5 Automated Panning 7:8 Optional Joystick Module 7:9 AUTOMATION & MACHINE CONTROL Global Master Automation 8:1 Events Master 8:2 Automation Panel 8:3 GLOSSARY Terms Used In This Manual 9:1 Issue 3 ii 88RS User Manual INTRODUCTION System Information INTRODUCTION System Information The 88RS is an ‘in-line’ monitor type console. Each channel strip contains all the facilities necessary for multitrack recording, overdubbing and mixdown. The console has the powerful feature of split operation - i.e. the console can be operationally divided into two halves (to the left and right of the master control panel) with independent status control and split mix busses.
    [Show full text]
  • My Bloody Valentine's Loveless David R
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63
    [Show full text]
  • Pocket Guide 2020
    POCKET GUIDE Full Product Range 2020 2020, Issue 1 Tascam is a trademark of TEAC Corporation, registered in the U.S. and other countries. Microsoft, Windows and Windows Vista are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Apple, Mac, macOS, iPad, Lightning, App Store and iTunes are trademarks of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. ASIO is a trademark of Steinberg Media Technologies GmbH. All other trademarks are property of their respective owners. 2 CONTENT DR-44WL ............................................. 4 DA-6400 .............................................45 DR-22WL .............................................. 5 DA-3000 .............................................46 DR-40X ................................................ 6 HS-20 .................................................47 DR-07X ................................................ 7 RC-HS20PD ..........................................48 DR-05X ................................................ 8 HS-P82 ...............................................49 DR-100 MKIII ......................................... 9 RC-F82 ...............................................50 DR-680 MKII ........................................10 SD-20M ..............................................51 DR-10X ...............................................11 SS-CDR250N, SS-R250N .........................52 DR-10C ...............................................12
    [Show full text]
  • Frank Zappa, Captain Beefheart and the Secret History of Maximalism
    Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville is a writer and musician living in Liège, Belgium. He is the author of several books including J.G. Ballard and The American Prose Poem, which won the 1998 SAMLA Studies Book Award. He teaches English and American literatures, as well as comparative literatures, at the University of Liège, where he directs the Interdisciplinary Center for Applied Poetics. He has been playing and composing music since the mid-eighties. His most recently formed rock-jazz band, the Wrong Object, plays the music of Frank Zappa and a few tunes of their own (http://www.wrongobject.be.tf). Andrew Norris is a writer and musician resident in Brussels. He has worked with a number of groups as vocalist and guitarist and has a special weakness for the interface between avant garde poetry and the blues. He teaches English and translation studies in Brussels and is currently writing a book on post-epiphanic style in James Joyce. Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville and Andrew Norris Cambridge published by salt publishing PO Box 937, Great Wilbraham PDO, Cambridge cb1 5jx United Kingdom All rights reserved © Michel Delville and Andrew Norris, 2005 The right of Michel Delville and Andrew Norris to be identified as the authors of this work has been asserted by them in accordance with Section 77 of the Copyright, Designs and Patents Act 1988. This book is in copyright. Subject to statutory exception and to provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Salt Publishing.
    [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]
  • Ace Frehley Album Kissfaq Interview with Rob Freeman July 2013
    Ace Frehley Album KissFAQ Interview with Rob Freeman July 2013 KissFAQ: Rob, what do you recall about getting the invitation to participate as the recording engineer on Ace Frehley’s 1978 solo album? Rob Freeman: I got the call to work on Ace’s solo album sometime in June 1978. I’m not sure if it came directly from Eddie Kramer, with whom I had previously worked, or from someone in the KISS organization. Either way, I was thrilled to get that call because I had a sense that recording that album was going to be a big step forward both for me and for Plaza Sound, the studio I had been working so hard to advance. By the summer of ‘78, I had already recorded some noteworthy albums at Plaza Sound with a variety of artists— among them, The Ramones’ first album, “Ramones”; Blondie’s first two albums, “Blondie” and “Plastic Letters”; and Richard Hell and the Voidoid’s “Blank Generation”—but these were mostly “downtown” New York artists, and, at least back then, my work with them hardly garnered the kind of worldwide recognition that a KISS album would. KF: Was this your first KISS-related project? RF: Yes, Ace’s album was the first. I guess the other KISS band members and the rest of their organization liked what I did for Ace because after that they called me to work on the “Music from the Elder” and “Lick It Up” albums as well as to put a number of radio and television commercial spots together for them.
    [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]
  • Marion Leen Analysis of Bohemian Rhapsody 1
    Marion Leen Analysis of Bohemian Rhapsody Feature Introduction Main Song Main Song Guitar Interlude Operatic Section Guitar Interlude Coda b.1 – 16 Verse 1 Verse 2 b.47-54 b.55-95 + Rock Song b.127-end b.17-32 b.33-47 (b.96-126) (Differences) 1. Key B¯ major B¯ major, ab midway E¯ (but key sig is B¯) A major > E¯ b.68 E¯ major chord of E¯ major ends on through the verse hints at the chord of F D¯ major b.103 major E¯ major 2. Tonality Major Major Major 4 5 4 4 2 4 12 6 12 4 3. Time sig > > > > > b.103 > 4 4 4 4 4 4 8 8 8 4 4. Metre 4/5/4 4/2/4 4/2/4 4 5. Speed Moderately slow Moderately fast Moderately fast Moderately fast 6. Texture Homophonic ( 4-part a Homophonic Homophonic Homophonic and homophonic Homophonic capella singing b1-4 polyphonic 7. Unaccompanied b.1-4 Solo voice b.17 Electric guitar No vocals 3 voices in close Solo voice Solo voice with Instruments/ Piano b.5 Drum kit b.24 added b.42 Electric guitar (lead + 2 harmony (multi- Electric guitar backing vocals voices Cymbals b.12 Drums feature more tracks using tracked) (multi-tracked) Electric guitar featured Bass guitar b.15 from the start of multi-tracking) Piano Bass guitar drops out at the verse Piano Bass guitar, electric Drum Kit b.128 and returns Bell tree effect Bass guitar guitar & drum kit Piano re-enters at at b.133 b.37 Drum kit feature in chorus b.122 Bass guitar drops Backing vocals sections out at b.129 b.43 Drum kit drops out at b.128 Gong b.137 8.
    [Show full text]
  • The REAPER Cockos Effects Summary Guide
    Supplement to REAPER User Guide The REAPER Cockos Effects Summary Guide version 2.00 March 2016 This document is intended to provide a summary of the various COCKOS plug-ins supplied with REAPER, their broad purpose, the meaning of their various parameter controls and how to operate them. It serves to supplement the User Guide, not replace it. It is not intended to serve as a comprehensive course on the subject of audio effects and their many potential applications! For that reason, for commonly used types of effects – such as equalizers and compressors – a basic understanding of the purpose of such effects is assumed. More detailed explanations are given for those effects which are more REAPER specific, such as ReaVocode and ReaVoice. Many thanks to Nathan (planetnine) for his assistance, especially with matters technical. While every reasonable attempt has been taken to ensure accuracy in the preparation of this guide, the author accepts no responsibility for any errors or the consequences thereof. © Geoffrey Francis, December 2013, 2016 1 2 Table of Contents 1 The REAPER FX Plugin Interface.............................................................................................5 2 ReaComp................................................................................................................................. 7 3 ReaControlMIDI.................................................................................................................... 10 4 ReaDelay...............................................................................................................................
    [Show full text]
  • “Sounds of Silence”--Simon and Garfunkel (1966) Added to the National Registry: 2012 Essay by Daniel Levitin (Guest Post)*
    “Sounds of Silence”--Simon and Garfunkel (1966) Added to the National Registry: 2012 Essay by Daniel Levitin (guest post)* Album cover Label Simon and Garfunkel “Sounds of Silence” is the second studio album by Simon and Garfunkel, and it weaves together threads of their earlier studio album “Wednesday Morning, 3 A.M.” with Paul Simon's first solo album “The Paul Simon Songbook.” The album was released on January 17, 1966, with recording taking place in 1964 and 1965, years during which the United States was beginning to see growing distrust of government and conventional authority. Young people and members of the counterculture saw in a new breed of singer-songwriter role models, truth-tellers and prophets, and they hung on every word. In the years following this release, Paul Simon became one of the most inventive and highly regarded songwriters of the last 60 years, with a truly international following. But the inclusion of this record in the Library of Congress' National Registry was not because its author became the Paul Simon we know from “Bridge Over Troubled Water,” “Graceland,” or “Stranger to Stranger,” but because it stands on its own. If Simon and Garfunkel had never made another record, this album would still hold a privileged place in our national hearts and minds. To say that it captured a moment is too pat and too cliché--it captured a generation, it gave voice to the bubbling cauldron of anger, suspicion, loneliness (:in restless dreams I walk alone”) and disconnection (“I am a rock, I am an island”) felt by what would become known as the Woodstock generation.
    [Show full text]
  • Mixpre-6 User Guide • Nov 2018 This Document Is Distributed by Sound Devices, LLC in Online Electronic (PDF) Format Only
    ® MixPre-6 Audio Recorder | Mixer | USB Audio Interface User Guide Legal Notices Revision History Product specifications and features are subject to This table provides the revision history for this guide. change without prior notification. Copyright © 2018 Sound Devices, LLC. Rev# Date Firmware Description Version All rights reserved. 1-A April 2017 v1.00 Initial release This product is subject to the terms and conditions of 1-B April 2017 v1.00 Fixed some doc a end-user license agreement provided in this guide, errors & added File and may be used in accordance with the license Transfer information agreement. 1-C April 2017 v1.00 Specs updated This document is protected under copyright law. An authorized licensee of this product may reproduce 1-D May 2017 v1.00 Fixed a few doc this publication for the licensee’s own personal use. errors This document may not be reproduced or distrib- 1-E May 2017 v1.00 Made more edits in uted, in whole or in part, for commercial purposes, Inputs & USB chap- such as selling copies or providing educational ser- ters, Appendix & vices or support. Specs This document is supplied as a technical guide. Spe- 1-F June 2017 v1.11 Fixed USB specs info cial care has been taken in preparing the information 1-G July 2017 v1.11 Corrected errors in for publication; however, since product specifications Record Menu section are subject to change, this document might contain (pg 29) omissions and technical or typographical inaccura- 1-H Oct 2017 v1.20 Edits to several cies. Sound Devices, LLC does not accept responsi- chapters, inc.
    [Show full text]