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The Advancements in Recording Technology: Michael Bakrnchev
The Advancements in Recording Technology: Michael Bakrnchev
By Michael Bakrnchev
S2744819
Abstract
Table of Contents
Abstract ................................................................................................................... i
Introduction ........................................................................................................... 1
Overdubbing ................................................................................................................. 4
Remixing ....................................................................................................................... 4
Conclusion .............................................................................................................. 7
Table of Figures
Introduction
The decade of the eighties through to the present day has produced perhaps
some of the most influential popular music of our time, achieved by the great
musicians to strive for new levels of creativity and a higher level of performance,
discusses, along with the positive, negative and controversial aspects of these
technological advancements.
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Recording Technology
The switch from analogue recording methods to digital recording with state
of the art computer audio creation software, enabled musicians to take more time and
effort in the art of recording. Gone were the days of having to record the entire
ensemble simultaneously without making any errors, so that copy could be played on
the radio.
Now, a much more sophisticated and extremely tedious and time consuming process
is used; the musicians themselves record their individual lines first, and if need be
(more often than not) re-record them in order to get the „perfect‟ take.
One of the most effective tools used, and perhaps the most controversial, is the use of
„auto-tune‟ recording technology. This modern resource allows not only vocalists,
but instrumentalists to sing or play perfectly in tune. The software is used extensively
for pop-singers and artists not only in recording studios, but also in live
performances.
An example of this software is the Antares auto-tune program, which is one of the
most popular computer recording programs for music and has been praised by
the use of distortion or artifacts (Antares Audio Technology [AAT], 2010). The
3 Michael Barknchev
however the intonation in the final product is often much different to the original
recording.
This technology has resulted in much controversy, with many artists completely
against it. American Country singer Allison Moorer is one of these artists who
1
Dan Daley is a journalist and author who covers the business of media arts, production,
record and mix their music prior to this technology advance, and clearly state this to
the public – „Absolutely no vocal tuning or pitch-correction was used in the making
Evidently, it seems that there is a huge sense of self-satisfaction and pride when an
Field is even using this process as a promotional tool for Ms. Moorer as something
that sets her apart from what would seem to be a fad in the rest of the pop-music
world.
Overdubbing
Overdubbing, a technique that enables you to add further layers on top of your first
technology since the 1980s (State Master Encycolpedia, 2010). Using this technique
along with the post production process, creates a completely new situation for the
final production of a piece of music, and allows musicians to create completely new
pieces of music to have added effects such as orchestral strings. While these aspects
of overdubbing enable musicians to reach new heights with their music, it also means
that in most cases, the performers are unable to reproduce many of the overdubbed
Remixing
or vocal tracks, and to reinterpret or rework an existing piece by altering aspects such
normally done by the artists themselves; rather the record company or other artists
who are particularly interested in the work remix the work to cater for another
audience. The positive aspect to remixing, allows for greater audience appreciation
as it remixes the original work to fit in with other genres of music such as techno.
On the other hand, remixing can also affect the popularity of the original version of
the song, as it can often seem „damaged‟ in some way (Fulford-Jones, 2007).
Other Advancements
Other advances in recording technology have been: start and stop technique; re-
in all of these recording technologies have both advantages and disadvantages. The
main advantages of these recording processes is, that they have allowed musicians to
create new types of music with a number of desired effects, but as a result, it has
meant that live performances are often very different to the studio recording of the
work.
Computerised Technology
In the 1950s, Max Matthews at the Bell Telephone Laboratories, designed computer
software specifically for the creation of music (Manning, 2010). Combining this
csound have been developed and are now easily used in the extremities in recording
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gear – from highly advanced recording studios, to the comfort of your own home
2010).
Electronic Synthesisers
Of these new developments, perhaps the most well known and sought after
other electronic instruments that directly imitate the traditional acoustic equivalents”
(Davies, 2010). The synthesizer, has been used in many different styles of music,
mainly dominating rock and jazz styles, as it produces different keyboard sounds
perfect for improvising, as well as a number of orchestral string effects which can be
heard in pop and rock ballads (Davies, 2010). While these synthesizers do create
new sounds and effects, they are mainly used to generate new sounds, not sounds
Retrieved from Allans Music Online. (2010). Products. Retrieved April 28, 2010,
from www.allansmusic.com.au
7 Michael Barknchev
Conclusion
Recording technology since the 1980‟s has improved substantially. With the
of popular music has undoubtedly improved and the sound quality and
„musicianship‟ of the final recorded product is at its highest in popular music history.
advantages and disadvantages, none-the-less, they provide new creative outlets for
Reference List
Manning, P. (2010). Compuers and music. Retrieved from Oxford Music Online
database.