Multitrack recording

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The TASCAM 85 16B analog tape recorder can record 16 tracks of audio on 1-inch (2.54cm) tape. Professional analog units of 24 tracks on 2-inch tape were common, with specialty tape heads providing 16 or even 8 tracks on the same tape width, for greater fidelity. Tascam-16Track.jpg
The TASCAM 85 16B analog tape recorder can record 16 tracks of audio on 1-inch (2.54cm) tape. Professional analog units of 24 tracks on 2-inch tape were common, with specialty tape heads providing 16 or even 8 tracks on the same tape width, for greater fidelity.
The Digidesign 192 i/o. A digital audio interface for the Pro Tools computer-based hard disk recording system. Digital audio quality is measured in data resolution per channel. Digidesign 192 io.JPG
The Digidesign 192 i/o. A digital audio interface for the Pro Tools computer-based hard disk recording system. Digital audio quality is measured in data resolution per channel.

Multitrack recording (MTR)—also known as multitracking, double tracking, or tracking—is a method of sound recording developed in 1955 that allows for the separate recording of multiple sound sources or of sound sources recorded at different times to create a cohesive whole. Multitracking became possible in the mid-1950s when the idea of simultaneously recording different audio channels to separate discrete "tracks" on the same reel-to-reel tape was developed. A "track" was simply a different channel recorded to its own discrete area on the tape whereby their relative sequence of recorded events would be preserved, and playback would be simultaneous or synchronized.

Synchronization coordination of events to operate a system in unison

Synchronization is the coordination of events to operate a system in unison. The conductor of an orchestra keeps the orchestra synchronized or in time. Systems that operate with all parts in synchrony are said to be synchronous or in sync—and those that are not are asynchronous.

Contents

Prior to the development of multitracking, the sound recording process required all of the singers, band instrumentalists, and/or orchestra accompanists to perform at the same time in the same space. Multitrack recording was a significant technical improvement as it allowed studio engineers to record all of the instruments and vocals for a piece of music separately. Multitracking allowed the engineer to adjust the levels and tone of each individual track, and if necessary, redo certain tracks or overdub parts of the track to correct errors or get a better "take." As well, different electronic effects such as reverb could be applied to specific tracks, such as the lead vocals, while not being applied to other tracks where this effect would not be desirable (e.g., on the electric bass). Multitrack recording was much more than a technical innovation; it also enabled record producers and artists to create new sounds that would be impossible to create outside of the studio, such as a lead singer adding many harmony vocals with their own voice to their own lead vocal part, an electric guitar player playing many harmony parts along with their own guitar solo, or even recording the drums and replaying the track backwards for an unusual effect.

Orchestra large instrumental ensemble

An orchestra is a large instrumental ensemble typical of classical music, which combines instruments from different families, including bowed string instruments such as the violin, viola, cello, and double bass, brass instruments such as the horn, trumpet, trombone and tuba, woodwinds such as the flute, oboe, clarinet and bassoon, and percussion instruments such as the timpani, bass drum, triangle, snare drum, cymbals, and mallet percussion instruments each grouped in sections. Other instruments such as the piano and celesta may sometimes appear in a fifth keyboard section or may stand alone, as may the concert harp and, for performances of some modern compositions, electronic instruments.

Audio engineer engineer who operates recording, mixing, sound reproduction equipment

An audio engineer helps to produce a recording or a live performance, balancing and adjusting sound sources using equalization and audio effects, mixing, reproduction, and reinforcement of sound. Audio engineers work on the "...technical aspect of recording—the placing of microphones, pre-amp knobs, the setting of levels. The physical recording of any project is done by an engineer ... the nuts and bolts." It's a creative hobby and profession where musical instruments and technology are used to produce sound for film, radio, television, music, and video games. Audio engineers also set up, sound check and do live sound mixing using a mixing console and a sound reinforcement system for music concerts, theatre, sports games and corporate events.

Effects unit electronic or digital device that alters how a musical instrument or other audio source sounds

An effects unit or effectspedal is an electronic or digital device that alters the sound of a musical instrument or other audio source. Common effects include distortion/overdrive, often used with electric guitar in electric blues and rock music; dynamic effects such as volume pedals and compressors, which affect loudness; filters such as wah-wah pedals and graphic equalizers, which modify frequency ranges; modulation effects, such as chorus, flangers and phasers; pitch effects such as pitch shifters; and time effects, such as reverb and delay, which create echoing sounds.

In the 1980s and 1990s, computers provided means by which both sound recording and reproduction could be digitized, revolutionizing audio recording and distribution. In the 2000s, multitracking hardware and software for computers was of sufficient quality to be widely used for high-end audio recordings by both professional sound engineers and by bands recording without studios using widely available programs, which can be used on a high-end laptop computer. Though magnetic tape has not been replaced as a recording medium, the advantages of non-linear editing (NLE) and recording have resulted in digital systems largely superseding tape. Even in the 2010s, with digital multitracking being the dominant technology, the original word "track" is still used by audio engineers.

Sound recording and reproduction recording of sound and playing it back

Sound recording and reproduction is an electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording.

Magnetic tape medium for magnetic recording

Magnetic tape is a medium for magnetic recording, made of a thin, magnetizable coating on a long, narrow strip of plastic film. It was developed in Germany in 1928, based on magnetic wire recording. Devices that record and play back audio and video using magnetic tape are tape recorders and video tape recorders respectively. A device that stores computer data on magnetic tape is known as a tape drive.

Process

Multi-tracking can be achieved with analogue recording, tape-based equipment (from simple, late-1970s cassette-based four track Portastudios, to eight track cassette machines, to 2" reel-to-reel 24-track machines), digital equipment that relies on tape storage of recorded digital data (such as ADAT eight-track machines) and hard disk-based systems often employing a computer and audio recording software. Multi-track recording devices vary in their specifications, such as the number of simultaneous tracks available for recording at any one time; in the case of tape-based systems this is limited by, among other factors, the physical size of the tape employed.

Alesis Digital Audio Tape (ADAT) is a magnetic tape format used for the recording of eight digital audio tracks onto a Super VHS tape that is used by consumer VCRs.

With the introduction of SMPTE timecode in the early 1970s, engineers began to use computers to perfectly synchronize separate audio and video playback, or multiple audio tape machines. In this system, one track of each machine carried the timecode signal, while the remaining tracks were available for sound recording. Some large studios were able to link multiple 24-track machines together. An extreme example of this occurred in 1982, when the rock group Toto recorded parts of Toto IV on three synchronized 24-track machines. [1] This setup theoretically provided for up to 69 audio tracks, which is far more than necessary for most recording projects.

SMPTE timecode is a set of cooperating standards to label individual frames of video or film with a timecode. The system is defined by the Society of Motion Picture and Television Engineers in the SMPTE 12M specification. SMPTE revised the standard in 2008, turning it into a two-part document: SMPTE 12M-1 and SMPTE 12M-2, including new explanations and clarifications.

Toto (band) American rock band

Toto is an American rock band formed in 1977 in Los Angeles. The band's current lineup consists of Joseph Williams, David Paich, Steve Porcaro (keyboards), Steve Lukather, plus touring members Lenny Castro (percussion), Warren Ham (saxophone), Shem von Schroeck (bass) and Shannon Forrest (drums). Toto is known for a musical style that combines elements of pop, rock, soul, funk, progressive rock, hard rock, R&B, blues, and jazz.

<i>Toto IV</i> 1982 studio album by Toto

Toto IV is the fourth studio album by American rock band Toto released in the spring of 1982 by Columbia Records.

For computer-based systems, the trend in the 2000s is towards unlimited numbers of record/playback tracks, although issues such as RAM memory and CPU available do limit this from machine to machine. Moreover, on computer-based systems, the number of simultaneously available recording tracks is limited by the number of sound card discrete analog or digital inputs.

Sound card internal computer expansion card that facilitates the input and output of audio signals

A sound card is an internal expansion card that provides input and output of audio signals to and from a computer under control of computer programs. The term sound card is also applied to external audio interfaces used for professional audio applications.

When recording, audio engineers can select which track (or tracks) on the device will be used for each instrument, voice, or other input and can even blend one track with two instruments to vary the music and sound options available. At any given point on the tape, any of the tracks on the recording device can be recording or playing back using sel-sync or Selective Synchronous recording. This allows an artist to be able to record onto track 2 and, simultaneously, listen to track 1, 3 and 7, allowing them to sing or to play an accompaniment to the performance already recorded on these tracks. They might then record an alternate version on track 4 while listening to the other tracks. All the tracks can then be played back in perfect synchrony, as if they had originally been played and recorded together. This can be repeated until all of the available tracks have been used, or in some cases, reused. During mix down a separate set of playback heads with higher fidelity are used.

Before all tracks are filled, any number of existing tracks can be "bounced" into one or two tracks, and the original tracks erased, making more room for more tracks to be reused for fresh recording. In 1963, The Beatles were using twin track for Please Please Me . The Beatles' producer George Martin used this technique extensively to achieve multiple track results, while still being limited to using only multiple four-track machines, until an eight-track machine became available during the recording of the Beatles' White Album. The Beach Boys' Pet Sounds also made innovative use of multitracking with 8-track machines of the day (circa 1965). [2] Motown also began recording with 8-track machines in 1965 before moving to 16-track machines in mid-1969.

The TEAC 2340, a popular early (1973) home multitrack recorder, four tracks on 1/4 inch tape. TEAC 2340.jpg
The TEAC 2340, a popular early (1973) home multitrack recorder, four tracks on ¼ inch tape.
Korg D888 eight-track digital recorder Korg D888.jpg
Korg D888 eight-track digital recorder

Multitrack recording also allows any recording artist to record multiple "takes" of any given section of their performance, allowing them to refine their performance to virtual perfection by making additional "takes" of songs or instrumental tracks. A recording engineer can record only the section being worked on, without erasing any other section of that track. This process of turning the recording mechanism on and off is called "punching in" and "punching out". (See "Punch in / out".)

When recording is completed, the many tracks are "mixed down" through a mixing console to a two-track stereo recorder in a format which can then be duplicated and distributed. (Movie and DVD soundtracks can be mixed down to four or more tracks, as needed, the most common being five tracks, with an additional Low Frequency Effects track, hence the "5.1" surround sound most commonly available on DVDs.)

Most of the records, CDs and cassettes commercially available in a music store are recordings that were originally recorded on multiple tracks, and then mixed down to stereo. In some rare cases, as when an older song is technically "updated", these stereo (or mono) mixes can in turn be recorded (as if it were a "submix") onto two (or one) tracks of a multitrack recorder, allowing additional sound (tracks) to be layered on the remaining tracks.

Flexibility

During multitracking, multiple musical instruments (and vocals) can be recorded, either one at a time or simultaneously, onto individual tracks, so that the sounds thus recorded can be accessed, processed and manipulated individually to produce the desired results. In the 2010s, many rock and pop bands record each part of the song one after the other. First, the bass and drums are often recorded, followed by the chordal rhythm section instruments. Then the lead vocals and guitar solos are added. As a last step, the harmony vocals are added. On the other hand, orchestras are always recorded with all 70 to 100 instrumentalists playing their parts simultaneously. If each group of instrument has its own microphone, and each instrument with a solo melody has its own microphone, the different microphones can record on multiple tracks simultaneously. After recording the orchestra, the record producer and conductor can adjust the balance and tone of the different instrument sections and solo instruments, because each section and solo instrument was recorded to its own track.

With the rock or pop band example, after recording some parts of a song, an artist might listen to only the guitar part, by 'muting' all the tracks except the one on which the guitar was recorded. If one then wanted to listen to the lead vocals in isolation, one would do so by muting all the tracks apart from the lead vocals track. If one wanted to listen to the entire song, one could do so by un-muting all the tracks. If one did not like the guitar part, or found a mistake in it, and wanted to replace it, one could do so by re-recording only the guitar part (i.e., re-recording only the track on which the guitar was recorded), rather than re-recording the entire song.

If all the voices and instruments in a recording are individually recorded on distinct tracks, then the artist is able to retain complete control over the final sculpting of the song, during the mix-down (re-recording to two stereo tracks for mass distribution) phase. For example, if an artist wanted to apply one effects unit to a synthesizer part, a different effect to a guitar part, a 'chorused reverb' effect to the lead vocals, and different effects to all the drums and percussion instruments, they could not do so if they had all been originally recorded together onto the same track. However, if they had been recorded onto separate tracks, then the artist could blend and alter all of the instrument and vocal sounds with complete freedom.

Multitracking a song also leaves open the possibilities of remixes by the same or future artists, such as DJs. If the song was not available in a multitrack format recording, the job of the remixing artist could be very difficult, or impossible, because once the tracks have been re-recorded together during the mixdown phase, they are inseparable. Theoretically, one could use frequency selective filters for this, but in reality this has not been done with any great degree of success because of the multi-harmonic (having many frequencies) nature of many musical instruments and voices.

History

The process was conceived and developed by Ross Snyder at Ampex in 1955 resulting in the first Sel-Sync machine, an 8-track machine which used one-inch tape. This 8-track recorder was sold to the American guitarist, songwriter, luthier, and inventor Les Paul for $10,000. [3] It became known as the "Octopus". Les Paul, Mary Ford and Patti Page used the technology in the late 1950s to enhance vocals and instruments. From these beginnings, it evolved in subsequent decades into a mainstream recording technique.

With computers

Since the early 1990s, many performers have recorded music using only a Mac or PC equipped with multitrack recording software as a tracking machine. The computer must have a sound card or other type of digital audio interface with one or more Analog-to-digital converters. Microphones are needed to record the sounds of vocalists or acoustic instruments. Depending on the capabilities of the system, some instruments, such as a synthesizer or electric guitar, can also be sent to an interface directly using Line level or MIDI inputs. Direct inputs eliminate the need for microphones and can provide another range of sound control options.

There are tremendous differences in computer audio interfaces. Such units vary widely in price, sound quality, and flexibility. The most basic interfaces use audio circuitry that is built into the computer motherboard. The most sophisticated audio interfaces are external units of professional studio quality which can cost thousands of dollars. Professional interfaces usually use one or more IEEE 1394 (commonly known as FireWire) connections. Other types of interfaces may use internal PCI cards, or external USB connections. Popular manufacturers of high quality interfaces include Apogee Electronics, Avid Audio (formerly Digidesign), Echo Digital Audio, Focusrite, MOTU, RME Audio, M-Audio and PreSonus.

Microphones are often designed for highly specific applications and have a major effect on recording quality. A single studio quality microphone can cost $5,000 or more, while consumer quality recording microphones can be bought for less than $50 each. Microphones also need some type of microphone preamplifier to prepare the signal for use by other equipment. These preamplifiers can also have a major effect on the sound and come in different price ranges, physical configurations, and capability levels. Microphone preamplifiers may be external units or a built in feature of other audio equipment.

Software

Multitrack recording software can record multiple tracks at once. It generally uses graphic notation for an interface and offers a number of views of the music. Most multitrackers also provide audio playback capability. Some multitrack software also provides MIDI playback functions not just for audio; during playback the MIDI data is sent to a softsynth or virtual instrument (e.g., VSTi) which converts the data to audio sound. Multitrack software may also provide other features that qualify it being called a digital audio workstation (DAW). These features may include various displays including showing the score of the music, as well as editing capability. There is often overlap between many of the categories of musical software. In this case scorewriters and full featured multitrackers such as DAWs have similar features for playback, but may have less similarity for editing and recording.

Multitrack recording software varies widely in price and capability. Popular multitrack recording software programs include: Propellerhead Reason, Ableton Live, FL Studio, Adobe Audition, Pro Tools, Digital Performer, Cakewalk Sonar, Samplitude, Nuendo, Cubase and Logic. Lower cost alternatives include Mixcraft, REAPER and n-Track Studio. Open-source and Free software programs are also available for multitrack recording. These range from very basic programs such as Jokosher to Ardour and Audacity, which are capable of performing many functions of the most sophisticated programs.

Instruments and voices are usually recorded as individual files on a computer hard drive. These function as tracks which can be added, removed or processed in many ways. Effects such as reverb, chorus, and delays can be applied by electronic devices or by computer software. Such effects are used to shape the sound as desired by the producer. When the producer is happy with the recorded sound finished tracks can be mixed into a new stereo pair of tracks within the multitrack recording software. Finally, the final stereo recording can be written to a CD, which can be copied and distributed.

Order of recording

In modern popular songs, drums, percussion instruments [4] and electric bass are often among the first instruments to be recorded. These are the core instruments of the rhythm section. Musicians recording later tracks use the precise attack of the drum sounds as a rhythmic guide. In some styles, the drums may be recorded for a few bars and then looped. Click (metronome) tracks are also often used as the first sound to be recorded, especially when the drummer is not available for the initial recording, and/or the final mix will be synchronized with motion picture and/or video images. One reason that a band may start with just the drums is because this allows the band to pick the song's key later on. The producer and the musicians can experiment with the song's key and arrangement against the basic rhythm track. Also, though the drums might eventually be mixed down to a couple of tracks, each individual drum and percussion instrument might be initially recorded to its own individual track. The drums and percussion combined can occupy a large number of tracks utilized in a recording. This is done so that each percussion instrument can be processed individually for maximum effect. Equalization (or EQ) is often used on individual drums, to bring out each one's characteristic sound. The last tracks recorded are often the vocals (though a temporary vocal track may be recorded early on either as a reference or to guide subsequent musicians; this is sometimes called a "Guide Vocal", "Ghost Vocal" or "Scratch vocal"). One reason for this is that singers will often temper their vocal expression in accordance with the accompaniment. Producers and songwriters can also use the guide/scratch vocal when they have not quite ironed out all the lyrics or for flexibility based on who sings the lead vocal (as The Alan Parsons Project's Eric Woolfson often did).

Concert music

For classical and jazz recordings, particularly instrumentals where multitracking is chosen as the recording method (as opposed to direct to stereo, for example), a different arrangement is used; all tracks are recorded simultaneously. Sound barriers are often placed between different groups within the orchestra, e.g. pianists, violinists, percussionists, etc. When barriers are used, these groups listen to each other via headphones.

See also

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Digital audio technology that records, stores, and reproduces sound

Digital audio is sound that has been recorded in, or converted into, digital form. In digital audio, the sound wave of the audio signal is encoded as numerical samples in continuous sequence. For example, in CD audio, samples are taken 44100 times per second each with 16 bit sample depth. Digital audio is also the name for the entire technology of sound recording and reproduction using audio signals that have been encoded in digital form. Following significant advances in digital audio technology during the 1970s, it gradually replaced analog audio technology in many areas of audio engineering and telecommunications in the 1990s and 2000s.

Analog recording is a technique used for the recording of analog signals which, among many possibilities, allows analog audio and analog video for later playback.

Recording studio facility for sound recording

A recording studio is a specialized facility for sound recording, mixing, and audio production of instrumental or vocal musical performances, spoken words, and other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally both the recording and monitoring spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties.

Monaural sound intended to be heard as if it were emanating from one position

Monaural or monophonic sound reproduction is sound intended to be heard as if it were emanating from one position. This contrasts with stereophonic sound or stereo, which uses two separate audio channels to reproduce sound from two microphones on the right and left side, which is reproduced with two separate loudspeakers to give a sense of the direction of sound sources. In mono, only one loudspeaker is necessary, but, when played through multiple loudspeakers or headphones, identical signals are fed to each speaker, resulting in the perception of one-channel sound "imaging" in one sonic space between the speakers. Monaural recordings, like stereo ones, typically use multiple microphones fed into multiple channels on a recording console, but each channel is "panned" to the center. In the final stage, the various center-panned signal paths are usually mixed down to two identical tracks, which, because they are identical, are perceived upon playback as representing a single unified signal at a single place in the soundstage. In some cases, multitrack sources are mixed to a one-track tape, thus becoming one signal. In the mastering stage, particularly in the days of mono records, the one- or two-track mono master tape was then transferred to a one-track lathe intended to be used in the pressing of a monophonic record. Today, however, monaural recordings are usually mastered to be played on stereo and multi-track formats, yet retain their center-panned mono soundstage characteristics.

Digital audio workstation electronic system designed primarily for editing digital audio

A digital audio workstation (DAW) is an electronic device or application software used for recording, editing and producing audio files. DAWs come in a wide variety of configurations from a single software program on a laptop, to an integrated stand-alone unit, all the way to a highly complex configuration of numerous components controlled by a central computer. Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece.

Automatic double-tracking or artificial double-tracking (ADT) is an analogue recording technique designed to enhance the sound of voices or instruments during the mixing process. It uses tape delay to create a delayed copy of an audio signal which is then combined with the original. The effect is intended to simulate the sound of the natural doubling of voices or instruments achieved by double tracking. The technique was originally developed in 1966 by engineers at Abbey Road Studios in London at the request of The Beatles.

Overdubbing is a technique used in audio recording, whereby a musical passage is recorded two or more times. This practice can be found with singers, as well as with instruments, or ensembles/orchestras.

Yamaha MT-100

The Yamaha MT-100 Multitrack Cassette Recorder is an analog tool developed for recording artists in the late 1980s. It was marketed just before the advent of Digital Audio Tape. In essence it allowed variable speed recording of 4 tracks of audio that could be mixed and merged and re-recorded onto standard cassette tape. It had its broadest applications with keyboard and guitar players.

History of sound recording Wikimedia history article

The history of sound recording - which has progressed in waves, driven by the invention and commercial introduction of new technologies — can be roughly divided into four main periods:

Delay (audio effect) audio effect reminiscent of an echo

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Re-amping is a process often used in multitrack recording in which a recorded signal is routed back out of the editing environment and run through external processing using effects units and then into a guitar amplifier and a guitar speaker cabinet or a reverb chamber. Originally, the technique was used mostly for electric guitars: it facilitates a separation of guitar playing from guitar amplifier processing—a previously recorded audio program is played back and re-recorded at a later time for the purpose of adding effects, ambiance such as reverb or echo, and the tone shaping imbued by certain amps and cabinets. The technique has since evolved over the 2000s to include many other applications. Re-amping can also be applied to other instruments and program, such as recorded drums, synthesizers, and virtual instruments.

Sonoma Wire Works

Sonoma Wire Works is a company, based in Los Altos, California and incorporated in 2003, that develops audio software and hardware.

Recording practices of the Beatles

The studio practices of the Beatles evolved during the 1960s and, in some cases, influenced the way popular music was recorded. Some of the effects they employed were sampling, artificial double tracking (ADT) and the elaborate use of multitrack recording machines. They also used classical instruments on their recordings and guitar feedback. The group's attitude toward the recording process was summed up by Paul McCartney: "We would say, 'Try it. Just try it for us. If it sounds crappy, OK, we'll lose it. But it might just sound good.' We were always pushing ahead: Louder, further, longer, more, different."

Zoom H4 Handy Recorder

The H4 Handy Recorder is a handheld digital audio recorder from Zoom, featuring built-in condenser microphones in an X-Y stereo pattern, priced from around US$280 depending upon memory capacity as of 2011.

History of multitrack recording

Multitrack recording of sound is the process in which sound and other electro-acoustic signals are captured on a recording medium such as magnetic tape, which is divided into two or more audio tracks that run parallel with each other. Because they are carried on the same medium, the tracks stay in perfect synchronisation, while allowing multiple sound sources to be recorded asynchronously. The first system for creating stereophonic sound was demonstrated by Clément Ader in Paris in 1881. The pallophotophone, invented by Charles A. Hoxie and first demonstrated in 1922, recorded optically on 35 mm film, and some versions used a format of as many as twelve tracks in parallel on each strip. The tracks were recorded one at a time in separate passes and were not intended for later mixdown or stereophony; as with later half-track and quarter-track monophonic tape recording, the multiple tracks simply multiplied the maximum recording time possible, greatly reducing cost and bulk. British EMI engineer Alan Blumlein patented systems for recording stereophonic sound and surround sound on disc and film in 1933. The history of modern multitrack audio recording using magnetic tape began in 1943 with the invention of stereo tape recording, which divided the recording head into two tracks.

Total Recorder is digital audio editor software from High Criteria, Inc. which is able to record any sound coming through a computer soundcard. In addition to recording through a soundcard, Total Recorder is able to record digital sound directly through its virtual sound driver. This driver provides an advantage of recording audio reproduced by an external program directly in digital format, i.e. without digital-analog-digital conversions leading to loss of quality, and even in those cases when a computer soundcard has no loop-back line. Total Recorder is a shareware program. Evaluation version of Total Recorder is a fully functional version of the program, with the exception that an audible noise will be inserted about every 60 seconds.

Audio mixing (recorded music) audio mixing to yield recorded sound

In sound recording and reproduction, audio mixing is the process of combining multitrack recordings into a final mono, stereo or surround sound product. In the process of combining the separate tracks, their relative levels are adjusted and balanced and various processes such as equalization and compression are commonly applied to individual tracks, groups of tracks, and the overall mix. In stereo and surround sound mixing, the placement of the tracks within the stereo field are adjusted and balanced. Audio mixing techniques and approaches vary widely and have a significant influence on the final product.

A bedroom producer is a musician who produces electronic music independently using a home studio. Typically bedroom producers use accessible, low-cost technology, such as MIDI instruments and VSTs, to come up with musical ideas for release to the world. While a traditional record producer oversees and guides the recording process, often working alongside multiple people such as artists, engineers, mixers and writers, a bedroom producer does everything independently: creating the ideas, recording them and processing them for release. Bedroom producers are often self-taught, learning sound design, mixing and music theory by reading music production blogs and watching tutorials on the internet. As bedroom producers depend on the accessibility of music technology, bedroom production has been made easier with advances in home computing power and digital audio workstations (DAW).

References

  1. Classic Tracks: Toto's "Africa", Mixonline.com, Retrieved June 30, 2015.
  2. Martin, George (1994). All You Need is Ears. St Martin's Press. p. 304.
  3. Ross Snyder interviewed by Howard Sanner about the history of Les Paul's eight track Ampex 300 and Sel-Sync, 11 March 2000, Recordist.com
  4. Prince - School Of Funk, Modern Drummer Magazine . Accessed July 14, 2010