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The Dawn of Commercial Digital Recording

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The Dawn of Commercial Digital Recording Presentation by Tom Fine Audio Engineering Society, NYC Section June 15, 2010 © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording Agenda: 1. Summary of ARSC Journal article (http://www.aes.org/aeshc/pdf/fine_dawn-of-digital.pdf) 2. Listening session/discography – some digital firsts 3. Discussion/Q&A © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording Perspective 1. Commercial Digital Recording is now 40 years old. 2. Electrical Recording was 40 years old in the mid-60’s. 3. Tape Recording for Commercial Releases in the U.S. was 40 years old in the late-80’s. 4. The CD has been around since 1982 (28 years). © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording Pre-History 1. PCM first described as mechanical facsimile system (Western Electric, 1921). US Pat. 1,608,527 (1926). 2. Ground-breaking research for electronic PCM voice transmission by Alec H. Reeves (IT&T, Paris, 1937). French Pat. 852,183 (1938) and US Pat. 2,272,070 (1942). Described but not commercialized. 3. Good summary in “Analog-Digital Conversion” edited by Walt Kester, Analog Devices. (www.analog.com/library/analogdialogue/archives/39-06/data_conversion_handbook.html) © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording SIGSALY (1943-46) (http://history.sandiego.edu/gen/recording/sigsaly.html) First digital quantization of speech and first PCM transmission of speech – 12 terminals © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording Early Digital Transmission for Broadcasting 1. British Broadcasting Corp., 1972 – deploys 13- channel PCM system to A-D at the broadcast center and D-A at the broadcast transmitter. Designed to improve TV audio quality, used for more than 10 years. (Described at June 1982 AES Premiere Conference, Digital Audio) 2. Public Broadcasting System (U.S.), 1973 – DATE (Digital Audio for Television) system sends video and PCM audio over common transmission system, up to 4 audio channels. (Described in March 1974 SMPTE Journal) © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The Denon Innovations – Music Meets Digital 1. NHK (Japan broadcaster) develops digital audio recorders in late 1960’s. 2. Denon joins forces with NHK, leases NHK 2-channel recorder, 1969-71. Makes first commercial recordings. 3. Denon develops 8-channel DN-023R recorder in 1972, 13- bit/47.25kHz. 4. DN-034R developed in 1977, 14 bits with emphasis (equiv. 15.5 bits)/47.25khz. Used for first U.S. commercial digital recordings. 5. Denon innovations detailed at May 1989 AES 7th International Conference (endnote 2 in ARSC Journal article) © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The Denon Innovations – NHK 2-channel Recorder © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The Denon Innovations – DN-023R Recorder (http://www.teddigital.com/DN023RADC.htm) © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The Denon Innovations – Dr. Takeaki Anazawa © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The Denon Innovations – Digital Firsts 1. “Something” by Steve Marcus and Jiroh Inagaki (First digitally-recorded commercial album, 1970) 2. Mozart: String Quartets KV 458/KV 421 (First digitally-recorded classical album, 1972) 3. Bach: Musical Offering BWV 1079 (First all-digital commercial recording in Western Europe, 1974) 4. “On Green Dolphin Street” by Archie Shepp (First all-digital commercial recording in the U.S., 1977) © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The Soundstream Innovations – PCM USA 1. Dr. Thomas Stockham develops computer-based recording system at University of Utah. First uses computer tape drives, later a Honeywell instrumentation tape recorder. 2. Stockham also develops computer-based waveform editor and DSP audio-level and EQ adjustment programs. The precursor of the DAW. 3. Soundstream company founded in 1975. 4. By 1976, Soundstream recorder capable of 16-bit resolution at 37.5kHz. Experimental recordings made in Santa Fe, played at AES Convention. 5. First 4-channel recorder samples at 42.5kHz, 16-bit. Virgil Fox recordings made in August 1977 (not released until 1981). 6. Soundstream detailed in several AES publications (search AES.org) © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The Soundstream Innovations – PCM USA Jerry Bruck, recording engineer for New World Records, describing an incident during the 1976 Santa Fe Opera recording session: “I knew that we were dealing with something different when Tom (Stockham) called me on my intercom to say that he had noted a hum on our feed (to the prototype Soundstream system). Surprised, I turned up our monitor (speaker), but heard nothing amiss. I asked him what level he thought it was. He checked and called back: 'It's about eighty dB down.' Awk!” © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The Soundstream Innovations – Telarc 1. Soundstream improves 4-channel recorder to 50kHz/16-bit at behest of Telarc. 2. April 1978 – First classical digital commercial recording in US. Holst: Suites for Military Band Nos. 1 and 2 / Handel: Music for the Royal Fireworks / Bach: Fantasie in G major. Frederick Fennell conducting the Cleveland Symphonic Winds. “The Bass Drum Heard ‘Round The World.” 3. Soundstream and Telarc commence a multi-year, many-album relationship. Soundstream also used by RCA, Delos and others for classical recording. © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The Soundstream Innovations © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The Soundstream Innovations: Thomas Stockham at first Telarc recording session © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The 3M Innovations – A Digital Grammy and Rock & Roll 1. 3M combines its expertise in tape recorders with BBC developments in PCM audio. 2. Prototype 32-track and 2-track linear recorders shown at 11/1977 AES convention. Multi-track used specially-formulated 1-inch tape at 45IPS. 16-bit resolution at 50kHz. (Described in convention presentation by John A. McCracken) 3. Used by record companies and TV/movie sound companies. The 32-track recorder featured punch- in/punch-out and search-to-location technologies familiar to studios and engineers. © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The 3M Innovations – A Digital Grammy and Rock & Roll 1. Prototype 2-channel recorder installed at Sound80 Studios, Minneapolis, spring 1978. Machine nicknamed “Herbie” for studio co-owner Herb Pilhofer. 2. June 1978 session with St. Paul Chamber Orchestra intended to be direct-to-disc but LP cutter is balky. 3M machine used as backup. Digital results judged superior. Copland: “Appalachian Spring” and Ives: “Three Places in New England.” LP wins 1979 Grammy ® award for Best Chamber Music Performance. 3. Ry Cooder’s “Bop Till You Drop”, recorded at Warner Brothers Studio in 1979 on the 3M system, is the first all-digital rock album. © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The 3M Innovations (16-bit / 50hHz – linear 32-track and 2-track) © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording The 3M Innovations (16-bit / 50hHz – linear 32-track and 2-track) © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording Digital “Native” Firsts in Europe 1. Decca develops its own PCM recording system using an IVC industrial video recorder for storage, 18-bit/48kHz. Makes first “native” European commercial digital recording New Year’s Day in Vienna, 1979. (System described in presentation at 65th AES Convention by Decca’s F.A. “Tony” Griffiths, 2/80) 2. EMI also built its own recorder, using a 1” industrial data tape recorder for storage, 14-bit/50kHz. First digital recording was 7/2-3/79 at Abbey Road (Andre Previn / LSO / Debussy). 3. Deutsche Grammophon joined the fray last, in 12/79 (Lorin Maazel / BPO / Gidon Kremer / Tchaikovsky). Reportedly used the 3M system. © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording Digital Firsts in Europe – The Decca recorder (http://www.mancini99.freeserve.co.uk/Decca_1.html) 18 bits / 48kHz © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording Digital Firsts in Europe – EMI Labs SE7000 14 bits / 50kHz © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording Digital Firsts Discography Listening Session Caveat – Keep in mind that original recordings’ sound quality can be changed by CD remastering, transfer from LP playback system, this room’s playback system, your seat location, etc., etc., etc. Listening sessions are by nature subjective. Don’t expect absolute sonic truths to be revealed. © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording Digital Firsts Discography First digitally-recorded commercial release “Something” by Steve Marcus and Jiroh Inagaki Nippon Columbia NCB-7003 (no sound sample available) Recorded in Tokyo, 9/70, Denon/NHK prototype © 2010 Thomas Fine. All Rights Reserved. The Dawn of Commercial Digital Recording Digital Firsts Discography First digitally-recorded classical release Mozart: String
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  • Recording: Digital Audio, Session 6

    Recording: Digital Audio, Session 6

    Chapter 6. Meeting 6, Recording: Digital Audio 6.1. Announcements • Next quiz will be next week 6.2. Quiz Review • ? 6.3. Listening: League of Automatic Composers • Listening: League of Automatic Music Composers, “Oakland One,” League of Automatic Music Composers 1978-1983 • The League of Automatic Music Composers: founded in the 1970s by Jim Horton and including John Bischoff, Tim Perkins, and Rich Gold (Holmes 2008, p. 276) • Made use of the KIM-1, created by MOS Technologies in 1975 (Holmes 2008, p. 275) 137 Source: Wikipedia, by user en:Wtshymanski. Public domain image. 138 Source: Wikipedia, by user Swtpc6800. Public domain image. 139 6.4. Basics of Digital Encoding • Digital is discrete, analog is continuous • Take discrete time samples of a smooth analog signal • Each sample measures amplitude at a point in time • Time interval (spacing) is constant; often given as a rate in samples per second • Amplitude steps are positive or negative values within a fixed range of values • Encoding (analog to digital conversion) is always lossy • Decoding (digital to analog conversion) my repair some of the loss • PCM: Pulse Code Modulation 6.5. Two Parameters of Digital Encoding: Sampling Rate • Sampling rate • Bit depth 6.6. Two Parameters of Digital Encoding: Sampling Rate • Sampling rate • How quickly amplitudes are measured, or the time resolution 140 Source: Ballora, Mark. Essentials of Music Technology. © Prentice Hall, 2002. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. 141 • Determines what frequencies can be recorded: higher sampling rates can record higher frequencies • Doubling the sampling rate doubles the amount of data stored • Measured in Hertz (samples per second) • Examples: 44100 Hertz (CD Audio), 48000 Hertz, 88.2k, 96k 6.7.