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The Process of Recording Music
Many people have favorite songs or bands that they listen to frequently; however, most listeners have little knowledge of the process it takes to make the songs enjoyable as a final product. Over the past 100 years the view of a recording studio has shifted from being seen as a tool to simply duplicate a live performance and sell it, to being considered a creative outlet for music (Thibeault, 1). According to Daniel Earl of Soul Expressions Studio, the recording studio is also considered an extension of musical talent. The studio can be used the same way as an instrument because, like an instrument, having the patience to piece together musical parts in a cohesive way takes perseverance and talent. The process of recording has many methods. Mixing and editing music to produce a final product is a very technical process, and is done by using professional music software. Because of these technological advancements, the music industry has taken many turns over time.
Music recording has evolved extensively over time. In the beginning of the 19th century, music was recorded by a process called acoustic recording, in which sound vibrations caused a sapphire cutter to gouge out a groove in a disc of wax. This was ineffective because it only captured a small amount of energy and frequency of sounds (Day, 9). The acoustic process of recording limited the creative space musicians had because it affected how the musicians performed, due to the limitations of the frequencies that could be recorded, and the distorted sound it produced. Large numbers of performing musicians could not be recorded at all, “very quiet sounds could not be captured” (Day, 9). In 1925, the issues of acoustic recording regarding the audio quality and frequency range were resolved by the invention of electrical recording, in which acoustic energy sound waves were converted into electrical impulses which could then be boosted or amplified (Day, 12). “Bass frequencies not [heard before] from records gave weight and body to the sound and treble, this introduced a definition and detail previously missing, with sibilants much more clearly and realistically reproduced” (Day, 16). In the first half of the 20th century, recording was a grueling process in which musicians had to perform a song over and over again until they got a good take without messing up. If one person made a mistake which recording, the whole process had to be repeated (McGrath, 1). The innovative guitarist, Les Paul, discovered an alternative recording process by using a multi-track recorder.
In 1954 Les Paul told the company, Ampex, to make a 3-track recorder that would allow him to record over himself and have multiple tracks in the same song. This was the first multi-track recorder, which allowed musicians to record different instruments on separate tracks that could be manipulated individually. The multi-track method has progressively become more sophisticated since the 1990’s when the recording industry became digital and music was less frequently recorded on analog tapes (McGrath, 1). This new recording technology allowed for splicing, where the musician and engineer have multiple takes to choose from, and only the best take is chosen for the final product (Thibeault, 1). The discovery of multi-track recording “revolutionized the recording industry” (McGrath, 1). By the 1960’s, artists such as The Beach Boys, and The Beatles were recording on 4-track and 8-track recorders. As of now, the 24-track is most commonly used, and can be combined with other recording tracks to blend together 48 or 72 tracks if needed. Because of these advancements in technology, musicians and engineers now have more convenient ways to record music, and the tools to creatively manipulate the final product.
Artists can now choose between different methods of recording to suit their needs. Even if a song is well produced, if it is not performed well during the recording, the final product may not reach its full potential (Bradley, 1). The musician and engineer have the option of multi-track recording and single-track recording and it is recommended to master both techniques. “Tracking is the process of recording tracks to a song; in this process, different instruments required for the song are recorded; for example, the guitars, bass and keyboards” (Maningo, 1). For instance, a band that is used to playing together as a group may choose the single-track method to capture their live energy in the recording. A solo artist who is recording with a band for the first time may sound best using the multi-track method (Gilder, 1). “Some musicians will rehearse a piece until they know it so well that they can play the whole thing without the other players in the group” (Moore, 1). “Other groups must have all the players in the same room at the same time (The rolling Stones do this) because they have a real energy when playing together and they don’t want to lose it in the process of recording” (Moore, 1). The final decision made regarding arranging, producing, recording, editing, mixing, or mastering should cater to what would make the song sound best (Gilder, 1). In the studio, Daniel Earl with use single track when he’s working with a band that sounds most coherent and lively playing together and feeding off of each other’s energy. When he’s working with single vocalists or rappers, whi perform solo but want instruments in their recording, he will most likely choose the single-track method, because it’s what the artist is used to. “If a band is at its best when they all play together, then there’s your answer” (Gilder, 1). When choosing between multi-tracking and single-tracking, both have their separate advantages, and using the right method for a particular song or artist makes a difference in the final recording.
As music technology has evolved, the engineer is more responsible for the sound of the final product because of how they choose to go about mixing, mastering and tracking the song. Tracking is considered the most complicated process involved with recording music, especially when recording drums and vocals (Maningo, 1). For example, recording drums requires a variety of microphones. Commonly, there is a hole in the front side of a bass drum called a porthole. Its purpose is to allow more sound to escape the drum, and make it easier to record by placing a microphone inside of the bass drum. Surrounding the drum set are overhead microphones to pick up the toms, symbols and snare drum (Luke, 1). It also makes a difference where the instruments are placed in the room. This is a process called panning. If all of the instruments are close together when recording, it is harder to produce a clear sound from each instrument. The other instrument’s microphones will pick up each other’s noise. For instance, if the drums are too close to the guitar’s amplifier, the drum microphones will pick up unwanted guitar frequencies. Therefore, it is best to spread the instruments throughout the room (Ingles9, 1). The main goal of the tracking process is to record the clearest sound possible from all of the instruments (Maningo, 1).
Once the tracks are recorded, the mixing process begins, where the engineer blends the different tracks into as little tracks as possible so the song sounds unified (Moore, 1). The goal of mixing is to achieve a balanced sound in which the instruments in the song are not competing with each other in volume and the vocals sound clear (Maningo, 1). To achieve vocal clarity in the mix, it is recommended to have someone talk or sing into the microphone; not for the sake of performance, but to make sure the levels are even before recording (Bradley, 1). Mastering is where the final sound of the product is created. It is not considered the most tedious stage of the editing process, but it is considered the most important (Maningo, 1). The mastering stage of the process is where the low, midrange and high parts of the sound is smoothed and balanced, ensuring that no instruments are too loud or too quiet. “Mastering allows the songs to be placed in a specific order and balances the volumes of each song to make sure the listener of the final product does not have to turn the volume up or down while listening” (Moore, 1). In the opinion of Daniel Earl, a finished product results from a good mix, the right amount of compression, and space between each instrument in the audio spectrum. To make each part stand out in the song, the mix should be EQed (equalized) properly. There are a few basic parts to mastering. One is volume, “which determines the balance between tracks” (Inglesi, 1). Equalizing can make a certain instrument more or less prominent in the mix, for instance, “if you want to add some shimmer to the vocals, boost the high frequencies” (Inglesi, 1). In summary, equalizing is “removing some noise, doing some filtering to remove rubble (too much bass, too many highs), and adding presence” (Maningo, 1). Effects are used to change the original sound of an instrument or add extra noises to the final product. Some effects are time-based, which create ambience or depth to a song. Other effects are modulation based, to manipulate the sound of a vocal or instrument (Inglesi, 1). Compression of the mix ensures that maximum volume is achieved without altering or distorting the sound of the song and is considered the most tedious component of the mastering process (Maningo, 1). What goes on behind the scenes of producing a good song is a very in-depth process that requires professional music editing and recording software. Due to modern technology and the process discovered to make the sound clearer, listeners are no longer subjected to sub-par quality music as they were in the early 1900’s.
The recording process requires professional software and audio tools, accurate studio monitors, an acoustically treated environment, a mixing console, and special technological effects such as: equalizers, compressors, reverbs and delays (Inglesi, 1). Production software offers a new way to arrange sound files, as opposed to the previously used multi-track recorder. Recording software organizes prerecorded sound files or loops, which are pieces of sound that can be used once or looped to play over and over again. Some programs com preset with a variety of synthesized or distorted sounds to choose from and arrange into a song (Murphy, 1). Daniel Earl prefers to use Logics Pro as his software of choice, which he explains as “a straight forward recording platform that holds a host of midi (musical instrument digital interface) instruments, preset guitar modulation, and the ability to easily sequence parts into an organized song.” Once the sounds are organized into a whole piece, the software allows the engineer to adjust the volume of a song, or just one component of a song to make certain parts of the track more climactic or prominent. “Volume control is very important in music production...a song with every piece set to the same volume is a mess” (Murphy, 1). “First, it goes without saying that the best assets a mix engineer has are his ears and experience” (Inglesi, 1). As well as ears and experience, professional software can make a difference. Recording software is easily obtainable in this day and age, providing the ability to makes imperfections, edit and manipulate a product until it sounds completely different than what was actually recorded; however, it is possible that the manipulative abilities this software provides is causing a controversial shift in the music industry.
New music technology provides great advantages to artists, but there is also the view that it could be causing a decline in musical talent and money made by producers. As opposed to the early 1900’s, when artists had to perform the perfect take that could not be edited, professional software today allows “enough manipulation to turn straw into gold” (Thibeault, 1). As the ability to easily manipulate sound increases, the required talent to produce an admirable finished piece declines. If an artist has a poor singing voice, it can easily be masked and altered to sound good using the correct software. It’s no longer required for a musician to have talent to sound good (Thibeault, 1). Software that provides preset sounds, and digital sequencing technologies enables solo musicians to create a masterpiece that sounds like a skilled, fill band at the touch of a button and “removes musical sophistication as a requirement for producing technically sophisticated sound” (Roux, 1). Technology provides artists with a plethora of electronic effects and prerecorded sounds that are identical to that of an actual instrument; anyone can write and produce a song with the press of a button without actually having to master an instrument. The new ability to create music electronically has expanded the types of music that is created. Obscure, alien sound effects were unheard of and impossible to create with real instruments until MIDI (Musical Instrument Digital Interface) came to be, but the ability to electronically manipulate has become too much of a saving grace for untalented musicians who want to record good music and make money. In the past, learning to play an instrument was an admirable accomplishment (Technology Versus Musical Quality). Popular musician, Dave Grohl, the former drummer of Nirvana and current front man of The Foo Fighters is aware of how technology has tainted the amount of talent it takes to create music. Dave voices his concern in his Grammy’s awards speech in which he said “rather than go to the best studio in the world down the street in Hollywood and rather than use all of the fanciest computers that money can buy, we made this [album] in my garage with some microphones and a tape machine” (Dave Grohl: His Grammy’s Speech About Electronic Music is Bullshit). Grohl believes that admirable music requires effort and prowess that is only obtained through time and dedication to mastering an instrument. “Singing into a microphone and learning to play an instrument and learning to do your craft, that’s the most important thing for people to do” (Dave Grohl: His Grammy’s Speech About Electronic Music is Bullshit). Therefore, accessibility to recording software that enables musicians to create music electronically with prerecorded sounds that mimic actual instruments is causing a downfall in musical talent, and putting a hole in music producer’s wallets.
Artists no longer need to pay a producer to record in a high-tech studio now that the ability to create music using software has become easy and obtainable. According to Daniel Earl of Soul Expressions Studio, “a career in music recording can be lucrative, but with the advances in technology, recording high quality material has become more and more accessible” whereas, in the past, a professional studio was required to produce high-quality sound. If music producers had more control over the availability of these technologies, they could use it to their advantage and produce music quickly. Unfortunately, the required technologies are sold in most electronic stores; therefore, producer’s clientele declines. Since Thomas Edison invented the phonograph, or “talking machine”, in 1877, recordings have evolved into LP’s (Long Playing records), to CD’s and finally to MP3’s, which are obtainable online. Therefore, the music industry is also losing money because music, previously bought in a store, is now attainable for free on the internet. If there were more control over piracy and less free music on the web, producers could use the internet to their advantage and distribute music quickly. Listeners would rather download music for free than go through the hassle of paying for it at a store (Team 1: Music Record Industry, 1). “The technology and advancements in music that evolved provided people with the luxury of instant gratification” (Team 1: Music Record Industry, 1). Now, free music is conveniently a click away.
The process of recording music has been a constantly evolving project throughout history; shaping the music industry and musical talent and techniques along the way. The recording studio was once viewed as a music duplicating tool, but now due to technological advancements, is seen as a musical aid and creative outlet as well. Now, artists and engineers have the necessary choices of recording methods, and the tools to make the finished product of a song sound optimal. Every song has a tedious and technical back stage process of tracking, mixing, and mastering; often achieved by using professional software. However, do not be fooled into admiration for popular new music. Due to the growth in technology, little talent is required to make skillful sounds. Mediocre musicianship can be recorded and manipulated into something beautiful with the touch of a button. Bands that were considered to be pop music only decades ago, such as Led Zeppelin, The Beatles, and The Rolling Stones, released recordings containing talent and skill. The hard work and perseverance these bands exhibited to master their instruments and achieve their status and popularity makes them admirable musicians. Technology today, used to mimic natural talent, crosses practice and skill off of artist’s to-do lists. For example, Auto-Tune is popularly used to manipulate pitch, making it sound like the artist is hitting the right key instrumentally and vocally. Miley Cyrus, Akon, and Drake are some examples of popular musicians who use Auto-Tune in their music instead of practicing and mastering their craft. Ever since music was first distributed and listened to, unless one had knowledge of the tedious and artful process of recording, the final product of a song has always been more than meets the ear.
Works Cited
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Day, Timothy. A Century of Recorded Music: Listening to Musical History. New Haven: Yale UP, 2000. Print.
Earl, Daniel. "A Quick Word With Daniel." Personal interview. 23 Mar. 2012.
Gilder, Joe. “Full Band Recording vs One Track at a Time [Ask Joe].” Home Studio Corner.Home Studio Corner, 2012. Web. 24 Feb. 2012. http://www.homestudiocorner.com/full-band-recording-vs-pme-track-at-a-time/.
Inglesi, Chris B. "TuneCore.com." Mixing Music. Tunecore, 2006.
Web. 23 Feb. 2012. <http://www.tunecore.com/guides/basics_of_mixing>.
Luke, Marshall. "Tracking Drums Part 2: Time To Hit Record." Canadian Musician Nov.-Dec. 2010: 1. Academic Search Complete. Web. 24 Apr. 2012. <http://http://ehis.ebscohost.com/ehost/detail?sid=3bc03312-22cd-4ecd-83b3-5890c809de7b%40sessionmgr110&vid=4&hid=120&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=a9h&AN=56676776>
Maningo, Emerson. "Audio Recording." Technical Steps in the Recording Production Process. Recording Tips, 9 Aug. 2010. Web. 29 Feb. 2012. <http://www.audiorecording.me/technical-steps-in-the-recording-production-process.html>.
McGrath, Jane. “How Multitrack Recording Works.” HowStuffWorks. How Stuff Works. Web 24 Feb. 2012. http://entertainment.howstuffworks.com/multitrack-recording.htm.
Moore, Bruce D. "The Basic Recording Process." The Basic Recording Process. Audio.Gracenote.CA, 2005.
Web. 23 Feb. 2012. <http://audio.gracenote.ca/knowledge/basic_recording_process.htm>.
Murphy, Ryan. "The Basics of Music Production Programs." Cgisite Article Directory. Thecgisite.com, 6 July 2011. Web. 29 Feb. 2012. <http://www.thecgisite.com/detail/the-basics-of-music-production-programs-13906.html>.
Roux, Johan L. “History Recording.” Intekom.com Indekom, 1994.
Web. 24 Feb. 2012 http://home.intekom.com/restore/History_Recording.html
Team 1: Music Record Industry. Sociology Department. Soc.Duke.Edu, 6 Apr. 2000. Web. 28 Feb. 2012. <http://www.soc.duke.edu/~s142tm01/main.html>.
"Technology Versus Music Quality."Squidoo.com. Squidoo, 2012. Web. 19 Apr. 2012. <http://www.squidoo.com/technology-and-music>.
Thibeault, Matthew D. "Wisdom for Music Education From the Recording Studio." General Music Today 25.2 (2012): 49-52. Print.