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 However, the compact disc and digital tape recorder had superceded cassettes by the mid-1990s.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)




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OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
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It's True . . .

(from http://edwardwillett.com/2009/03/science-shows-musicians-really-are-more-sensitive/)
'Researchers at Northwestern University have found that the more years of musical experience musicians possess, and the earlier the age at which they began studying music, the better their nervous systems are at interpreting the emotional content of sound.

The study was led by doctoral student Dana Strait, who conducts her research in the Auditory Neuroscience Laboratory at the university (and who is herself a pianist and oboe player).

Strait points out that scientists already know that emotion in speech is carried less by the specific meanings of the words being used than by the sound of those words.

. . . Strait and her colleagues enlisted 30 right-handed men and women, with and without music training, between the ages of 19 and 35. The ones with music training were grouped using two criteria–their total years of music experience and whether their training began before or after the age of seven.

Participants watched a subtitled nature film to keep them entertained (“entertained” is apparently a loose term) while listening through headphones to a “scientifically validated emotion sound”–specifically, 250 milliseconds–a quarter of a second–of a distressed baby’s cry.

Sensitivity to the sound, particularly the more complicated part of the sound that contributes most to its emotional content, was measured through scalp electrodes, which allowed the researchers to track brainstem processing of the sound’s pitch, timing and timbre. . . '

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Thinking. . .

It makes me think of all the beautiful music I've heard
And brings to mind a kind of paradise
It just may be some kind of wonderland magically
Still don't know how this fortune came to me
All the things I see

When I hear the sound of your voice
When I hear the sound of your voice

If feels to me like warmth from sitting in front of a fire
Light of my life you always show the way
Gleam in your eye a spark igniting the fire inside
Burning so bright the way I feel for you
It's like a dream come true

When I hear the sound of your voice
When I hear the sound of your voice

All of my being depends upon you
That's for sure
You're my refuge in a stormy sea
The sun above that shines on me
I thought that love such as this could be found
Only in movies
Just like searching for a pot of gold
Follow the rainbow and do what you're told

Just when you think it's all been said and it's been done before
Should I explain how you're affecting me
It's not control it's more an influence over my soul
Covering all like colors brilliantly
Canvas brush palette three

When I hear the sound of your voice
When I hear the sound of your voice


YOUR VOICE
©1998 Raymond M. Jozwiak





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Thinking of B3s. . .

. . . not B47s

(from wikipedia.com)
The Hammond organ was invented by Laurens Hammond and John M Hanert and first manufactured in 1935. Various models were produced, which originally used tonewheels to generate sound via additive synthesis, where component waveform ratios are mixed by sliding drawbars. Around 2 million Hammond organs have been manufactured, and it has been described as one of the most successful organs ever. The organ is commonly used with, and associated with, the Leslie speaker.

The organ was originally marketed and sold by the Hammond Organ Company to churches as a lower-cost alternative to the wind-driven pipe organ, and as an alternative to the piano. It quickly became popular with professional jazz musicians, who found it to be a cheaper alternative to the big band. Jimmy Smith's use of the Hammond B-3, with its additional harmonic percussion feature, inspired a generation of organ players, and its use became more widespread in the 1960s and 1970s in rhythm and blues, rock and reggae, as well as being an important instrument in progressive rock.

The Hammond Organ Company struggled financially during the 1970s as they abandoned tonewheel organs and switched to manufacturing instruments using integrated circuits. These instruments never caught on with notable musicians and groups as the tonewheels had done before, and the company went out of business in 1985. The Hammond name was purchased by Suzuki Musical Instrument Corporation who proceeded to manufacturer digital simulations of the most popular tonewheel organs. This culminated in the production of the "New B-3" in 2002, which provided an accurate recreation of the original B-3 organ using modern digital technology.

Hammond-Suzuki continues to manufacturer a variety of organs for both the professional player and the church. Other companies, such as Korg, Roland and Clavia have also achieved success in providing emulations of the original tonewheel organs. The sound of a tonewheel Hammond can also be emulated in modern software such as Native Instruments B4.

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Doe, a deer. . .

 . . . a female deer. . . Ray. . .

(from wikipedia.com)
". . . Ray Anderson is an independent jazz trombone and trumpet player. Anderson is a boisterous trombonist who is masterful at multiphonics. Trained by the Chicago Symphony trombonists, he is regarded as pushing the limits of the instrument. He is a contemporary and colleague of trombonist/composer George Lewis. Anderson also plays Sousaphone and sings.

After spending study time in California, he moved to New York in 1973 and freelanced. In 1977, Anderson joined Anthony Braxton's Quartet (replacing George Lewis) and started working with Barry Altschul's group. From this point forward he started ranking high in polls and becoming influential himself. In addition to leading his own groups since the late '70s (including the funk-oriented Slickaphonics), Anderson has worked with George Gruntz's Concert Jazz Band. In the '90s, he began taking an occasional good-humored vocal, during which he shows the ability to sing two notes at the same time (a minor third apart).

The prolific Anderson also has demonstrated his special supportive skills on a remarkably wide assortment of albums by David Murray, Charlie Haden's Liberation Music Orchestra, Dr. John, Luther Allison, Bennie Wallace, Gerry Hemingway, Henry Threadgill, John Scofield, Roscoe Mitchell, Randy Sandke's Inside Out Band, Sam Rivers' Rivbea Orchestra, Bobby Previte and others. Anderson is also a member of Jim Pugh's Super Trombone with Dave Bargeron and Dave Taylor. He also received a grant from the National Endowment for the Arts for a series of solo trombone concerts.

While pushing his sound into the future, Anderson has frequently returned to his early love of New Orleans music for inspiration. His Alligatory Band as well as his Pocket Brass Band, featuring tuba great Bob Stewart, are rooted in its tradition.

Since 2003 he has taught and conducted at Stony Brook University. . . "

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AMBIENCE & WINE

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My math. . .

. . . skills were never really very good. . .

. . . but lately I've been encounter some math that, although I may not fully understand, I actually happen to enjoy and would like to spread the word.

(from MySpace) . . . "El Sledge (+) is the combination of Stephen Sroka on drums, and Matthew Graboski on guitar/vocals/keys. Their music is the aural sound explosion of rage and beauty, turning in on itself as it races through time and space. The duo has comprised a conceptual duality through their music, taking the form of an oncoming stampede ripe with harrowing echoes brimming with the unbridled certainty of pure rock force. . . "

And thanks to the magnanimous young Mr. Graboski. who is appearing this Wednesday, April 4 at (and here's where more math comes in) Joe Squared, Station North in Baltimore,   33% (I can't get away from it) of OHO will make a brief appearance that evening presenting a smattering of the fine compositions of the senior Mr. Graboski (Jay) for your dancing and dining pleasure.  Music begins at 6PM.  

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ANOTHER SHOT
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. . . and coming April 3, 2012
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AMBIENCE & WINE
Hear A LITTLE AMBIENCE & WINE
©2011 Raymond M. Jozwiak
Right Here

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