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 However, the compact disc and digital tape recorder had superceded cassettes by the mid-1990s.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