Work on 'Slough of Despond' continues . . .
(from https://www.facebook.com/ohomusic?hc_location=timeline)
". . . Bruce Kovacs at The Bratt Studio layin' down some classic(al) riffage on Ray's "Unique" and "Slough of Despond," scheduled to be on the forthcoming OHO album, "Male Pattern Radness." Been a fan of the French Horn in rock since hearing John Entwhistle blow his horn on The Who's '67 classic, "Pictures of Lily." . . . "
Slough of Despond
[9/24/2014 Bratt Studio Recording (by Gentleman, scholar, musician and recording technician extraordinaire, Bill Pratt)
by OHO - Jay Graboski, David Reeve and Ray Jozwiak and guest artist Bruce Kovacs on French Horn]
What do you think?
Tell me at
http://www.rayjozwiak.com/guestbook.html
OHO's
"Ocean City Ditty," the
CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if
you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD) OHO is Jay Graboski, David Reeve & Ray Jozwiak
My latest solo release, '2014' of original, instrumental piano music, can be downloaded digitally at:
(or you can copy-and-paste this URL directly to
your browser: http://www.cdbaby.com/cd/rayjozwiak4)
Also, be sure to visit:
http://www.rayjozwiak.com
Tweet
Showing posts with label slough of despond. Show all posts
Showing posts with label slough of despond. Show all posts
Monday, September 29, 2014
Tuesday, April 15, 2014
Recording . . .
. . . is still fascinating to me. . .
(from http://entertainment.howstuffworks.com/recording-studio1.htm)
". . . Western Electric made electronic recording using microphones and amplifiers possible in 1925. Before that, performers in a music studio had to sit very close to the bell of a horn to record. This could mean crowding a large band or orchestra into a small space without a way to balance the volume produced by the various performers. Sound waves traveled through a membrane and onto a wax-coated disk.
Using the new technology, large groups could sit in their usual formations and sound volume could be modified, but larger halls were needed to produce the acoustics for a natural sound. Until the late 1940s, though, recordings could not be edited. That's because records continued to be produced by sending sound direct to disk and then creating a metal master to use in making copies [source: London: A Musical Gazetter].
That changed when the recording industry began using magnetic-coated sound recording tape. A German company, I.G. Farben, had improved the tape-coating process during the 1930s, but the tape didn't become available to the United States and other Allied nations until after World War II.
The arrival of multi-track recorders in the 1950s allowed studios to take cutting and mixing music a step further by taping and then combining separate tracks recorded at different times. The move to two-channel stereophonic sound in the late 1960s extended sound mixing even further by allowing studio engineers to experiment with effects like echo and reverb.
The 1970s saw long-playing disks (LPs) replaced by cassette tapes, which made music portable and offered technological advances like Dolby B noise reduction. However, the compact disc and digital tape recorder had superceded cassettes by the mid-1990s. The digital tape recorder allows studio tapes to be re-recorded onto digital tape, which is then used to burn master laser disks. From these, aluminum-coated plastic copies, or CDs, are made [source: History of Tape Recording].
The move to digital technology has extended beyond just tape production. Using digital devices and sometimes little more than a computer, musicians can easily and inexpensively combine composing, performing, recording and mixing functions. . . "
Slough of Despond
By OHO
(recorded at Blueball Studio, Stewartstown, PA)
What do you think?
Tell me at
http://www.rayjozwiak.com/guestbook.html
OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD)
My latest solo release, '2014', can be downloaded digitally at:
(or you can copy-and-paste this URL directly to
your browser: http://www.cdbaby.com/cd/rayjozwiak4)
Also, be sure to visit:
http://www.rayjozwiak.com
Tweet
(from http://entertainment.howstuffworks.com/recording-studio1.htm)
". . . Western Electric made electronic recording using microphones and amplifiers possible in 1925. Before that, performers in a music studio had to sit very close to the bell of a horn to record. This could mean crowding a large band or orchestra into a small space without a way to balance the volume produced by the various performers. Sound waves traveled through a membrane and onto a wax-coated disk.
Using the new technology, large groups could sit in their usual formations and sound volume could be modified, but larger halls were needed to produce the acoustics for a natural sound. Until the late 1940s, though, recordings could not be edited. That's because records continued to be produced by sending sound direct to disk and then creating a metal master to use in making copies [source: London: A Musical Gazetter].
That changed when the recording industry began using magnetic-coated sound recording tape. A German company, I.G. Farben, had improved the tape-coating process during the 1930s, but the tape didn't become available to the United States and other Allied nations until after World War II.
The arrival of multi-track recorders in the 1950s allowed studios to take cutting and mixing music a step further by taping and then combining separate tracks recorded at different times. The move to two-channel stereophonic sound in the late 1960s extended sound mixing even further by allowing studio engineers to experiment with effects like echo and reverb.
The 1970s saw long-playing disks (LPs) replaced by cassette tapes, which made music portable and offered technological advances like Dolby B noise reduction. However, the compact disc and digital tape recorder had superceded cassettes by the mid-1990s. The digital tape recorder allows studio tapes to be re-recorded onto digital tape, which is then used to burn master laser disks. From these, aluminum-coated plastic copies, or CDs, are made [source: History of Tape Recording].
The move to digital technology has extended beyond just tape production. Using digital devices and sometimes little more than a computer, musicians can easily and inexpensively combine composing, performing, recording and mixing functions. . . "
Slough of Despond
By OHO
(recorded at Blueball Studio, Stewartstown, PA)
What do you think?
Tell me at
http://www.rayjozwiak.com/guestbook.html
OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD)
My latest solo release, '2014', can be downloaded digitally at:
(or you can copy-and-paste this URL directly to
your browser: http://www.cdbaby.com/cd/rayjozwiak4)
Also, be sure to visit:
http://www.rayjozwiak.com
Tweet
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