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The Adlard Coles Book of Navigation is aimed at anyone with an interest in navigating Electronics have gained such John Lennon, pleased with the begging of one take and the ending of another, asked producer George Martin to join the two, creating one perfect take. Due to imperfect nature of human performance, the two takes were at slightly different speeds, when the speeds were matched this created a slight shift in pitch. Steve Reich was another composer of the sixties to experiment with tape loops.
Identical copies of the loop are being played on two machines at once. Because of the inconsistency of the speed of the machines they gradually slip out of sync with one another. They start to sound like an echo.
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Then they sound like a cannon, and gradually they start to sound like all sorts of things. Looping was not the only creative benefit to arise from the use of tape, arguable the biggest benefit came in the form of multi-tracking. Overdubbing allowed one person to create an entire track in the studio alone.
Whilst the rest of the group was away on tour, he would, alone, enter the studio and create the albums, one track at a time. This is turn, led to a more important role for producers and engineers.
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As more creation was happening in the studio, the role of the individuals started to become less clear. Multi-tracking was also largely aided by the development of stereo sound. This led to more fragmentation in music. Not only was there a separation of human beings whilst the recordings were made, but now there was a separation in the actual music itself.
One instrument could be pushed to one side of the mix, and another to the opposite. Not only were they recorded separately, but now, in a sense, they were heard separately.
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Artistically, this not only changed the way music was recorded but it also changed the way in which it was composed. This was a radical shift from the days of long rehearsals to perfect a piece.
The approach of creating the music in the studio is largely how most people make their music today. Throughout the seventies, the studio also had a large impact on the birth of new genres of music. New studio techniques directly influenced the sonic signature of songs, allowing for new genres to be born. Dub music was born in the studio with producers such as King Tubby remixing reggae records by the use of intense audio manipulation.
His use of delays and reverbs became the center point of the music.
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Often what you were hearing was no longer an instrument being played, now it was a mechanical echo of that sound that had been produced, postproduction through experimentation. After the musicians and singers would lay down the basic tracks, he would turn sound-sculptor. A vocal line might pop in for two or three measures, never to appear again. The underpinning bass grid often, without warning, dropped out entirely.
A guitar would chop out a few strums, then evaporate. The vacuum left behind gave the music its magical appeal. This fourth dimension was fortified by a mind-warping sense of echo and reverb. As technology became cheaper, it became easier and more cost effective for the artists to have technology in their own homes, rather than in the studio.
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Interestingly, many electronic music makers were now regard themselves as producers rather than musicians. This led to the use of other peoples music, re-appropriated and used in new songs, in place of original musicianship. Depending on who you ask this can be a good, or bad thing. A sample changes the moment it is relocated.
Katz As technology has developed the home studio has been reduced to a laptop. With technology now so powerful, everything you once had in a studio, is now found in software readily available on the internet for free. As the album had to be mastered twice, it also had to be edited twice, so much of his work went to splicing into the one-inch master and then editing again in the digital domain.
In the end, White was pleased that he was able to avoid compression overload for Blunderbuss. The microphone from your amp to the tape has compression on it. Then you compress in a submix to another track. Then you compressed it again with the bus compressor to the final stereo mix. Then the stereo mix goes to mastering and gets compressed yet again.
Then the album comes out and gets played to radio and gets compressed yet again. On tour for Blunderbuss , White brings two bands: one with all-female musicians and one with all-male musicians. The novelty of it competing with the reality makes you think. The girls are kicking ass. How To. Home Artists Features Interviews.
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