Multitrack recording

Process

 The four TEAC 2340, a popular early (1973) home multitrack recorder, tracks on the band thumb

 Multitracking can be done with analogue equipment based on the tape (from simple cassette based four or eight trackers to 2 “reel-to-reel 24-track machines), digital equipment that relies on storing band digital data (such as ADAT eight track machines) and hard disk systems often employing a computer and an audio recording software. Multitrack recording devices vary in their specifications, such as the number of simultaneous tracks available for recording at any time, in the case of tape-based systems is limited by, among other factors, the physical size of the occupied strip. Some of the biggest professional analog recording studios used a computer to synchronize multiple 24-track machines, effectively multiplying the number of tracks available in the hundreds. The rock group Toto recorded their fourth album in four 24-track machines synchronized computer, for example.

 for computer systems based on the trend is an unlimited number of tracks reading record /, although issues such as memory and CPU available will in fact limit the machine to machine. In addition, computer systems, the number of simultaneously available recording tracks is limited by the sound card discrete analogue or digital inputs.

 Upon registration, which allows engineers to select the track (or tracks) on the device will be used for each instrument, voice or other inputs.

 At a given point on the tape, one of the tracks on the recording device can be recording or playback using SEL-sync synchronous or selective recording. This allows an artist to record on track 2 and at the same time, listen to track 1, 3 and 7, which allows them to sing or play an accompaniment to the performance already recorded on these tracks. They can then record an alternate version of track 4 in the background tracks. All songs can be played in perfect synchrony, as if they were originally performed and recorded together. This can be repeated until all the tracks available were used, or in some cases, reused. During mixing a separate set of heads with more fidelity are used.

 At any point in the registration process, a number of existing tracks can be “bounced” in one or two tracks and original songs erased, making more space for more tracks to be re-used for recording new. Beatles producer George Martin used this technique extensively to achieve results in multiple ways, while being limited to using several machines to four lanes until an eight-track machine became available during the recording of the Beatles’ White Album. The Beach Boys “Pet Sounds also made innovative use of multitrack machines with 8-track of the day (1965-66).

 Korg D888 Digital eight-track recorder

 Registration also allows multitrack recording artist to record multiple “takes” of a given section of their performance, allowing them to refine their performance to virtual perfection. A sound engineer can record only the section under development, without erasing any other section of this track. This transformation process of recording mechanism on and off is called “punching in” and “punch”. (See “Cut”.)

 When recording is completed, many tracks are “mixed down” through a mixer to a stereo two-track recorder in a format that can then be reproduced and distributed. (Film and audio tapes DVD can be mixed with four or more lanes, where necessary, the most common being five tracks, with additional subwoofer track, hence the “5.1″ surround most often available on DVD.)

 Most disks, CDs and cassettes commercially available in a music store are recordings that were originally recorded on multiple tracks, then mixed in stereo.

 In some rare cases, as when an older song is technically “updated” the stereo (or mono) mixes can in turn be recorded (as if it were a sub-mixer “) on two (or) the tracks of a multitrack recorder, allowing additional sound (tracks) to be deposited on the remaining tracks.
Flexibility

During
 multitrack, several musical instruments (and voice) can be saved, one at a time or simultaneously on individual tracks, so that the sounds thus recorded can be viewed, processed and manipulated individually to produce the desired results. For example, after recording some parts of a song, an artist can only hear the guitar part, by “bypassing” all tracks except the one on which the guitar was recorded. If we then wanted to hear the voice in isolation, it could be done by cutting all the tracks outside the track vote. If one wanted to listen to any song you could do so through the UN-muting all the tracks. If they did not like the guitar, or found an error in him, and wanted to replace, it could be done by re-recording the guitar part (for example, re-record the track on which the guitar has been recorded), rather than re-recording the entire song.

 If all voices and instruments in a recording are recorded separately on different tracks, the artist is able to retain complete control over the sculpture’s final song during the mix-down (Re-recording two stereo tracks the mass distribution) phase.

 For example, if an artist wanted to apply an effect to a synthesizer part, a different effect to a guitar part, a “chorus reverb effect to the vocals, and different effects on all drums and percussion instruments, they could not do if they had all been originally recorded simultaneously on the same track. However, if they had been recorded on separate tracks, so the artist could blend and alter all the sounds of the instrument freely.

 Multitracking a song also leaves open the possibility of remixes by the same artists or future, such as DJ. If the song was not available as a multitrack recording, the artist’s work remixing could be very difficult if not impossible, because once the tracks were re-recorded together during the mixing They are inseparable. Theoretically, one could use frequency selective filters for this, but in reality this was not done with some degree of success because of the multi-harmonic (having many frequencies) nature of many instruments music and voice.
History

 Main article: History of multitrack recording

 The process was designed and developed by Ross Snyder Ampex in 1955 resulting from the first 8-track machine which used 1-inch tape. This portable 8-track was sold to Les Paul for $ 10,000. He became known as “Octopus”. Les Paul, Mary Ford and Patti Page used the technology in the late 1950s to strengthen the voice and instruments. From these early pioneers, it has evolved in the decades following a recording technique in public.

 With computer

 In the albums of the 2000s, many artists have recorded using only a personal computer as a machine monitoring. To use a personal computer as a multitrack device, the computer must have an interface analog to digital and multitrack recording software must be installed (the software is available on all ranges of prices or even free, in the case of free software and open source). In addition, a microphone is required to record the voice of a singer and / or any other sound source.

 That is all that is required to use a computer as a multitrack digital. Alternatively, a standard sound card to your personal computer can be used to capture the sounds, albeit with less fidelity. This is done simply by adding a microphone to the mic if a vocal track to be recorded, or a stereo cable from the electronic device (like a synthesizer or a guitar amplifier) to the line of sound card. Computers with appropriate software and hardware can record multiple audio tracks at once. The audio interface sends audio signals to the computer and can be interfaced with the computer via a PCI card, USB or FireWire. There are a range of analog to digital interface options available. the most popular brands are Apogee, Digidesign, MOTU, Lynx and Prism.

 Instruments and voices of the singers are saved as individual files on the hard disk of the computer, and function as tracks by traditional multitrack. Effects such as reverb, chorus, and delays can be implemented by software. When the musicians are happy with the sound, the multiple tracks are mixed down to two channels clean, always in the multitrack software. Finally, the final stereo recording can be burned to a CD, which can then be copied and distributed.

 The Digidesign 192 I / O. An audio interface for Pro Tools recording system hard disk

 Multitracking software for personal computers include: Adobe Audition, Digidesign Pro Tools, Pyramix Merging Technologies, Cakewalk SONAR, Magix Samplitude, Steinberg Cubase, FL Studio, Image Line, and Logic Pro from Apple. Acoustica Mixcraft of, Inc., Cockos Reaper and FASoft n-Track affordable alternatives to high-end software multi-track. Audacity and Ardour are popular open source programs for multi-track recording. Jokosher (open source too) is quite new, but it seems to be gaining popularity among Linux users.

 2007 Galaxy Song has published a multi-channel audio format that is delivered in a single file, which instructed the reader allows the user to disable or adjust the volume of each instrument. Tracks can be exported as individual WAV files that can then be loaded into the software Multitracking others for other changes.

 record sequence

 In most modern popular songs, drums and percussion instruments are the first to be recorded [edit]. There are several reasons for this. The drums are usually the leaders pace, it is much easier for musicians recording later tracks, to maintain the common rhythm of drums, also because of the sharp attack of drum sounds. A drummer can find it very difficult to play with a backing track recorded without percussion, likely due to variations in tempo of the musicians. In addition, to keep a good pace pre-established, a drummer would need the sound of other instruments to be very hard to compete with their drum kit, and besides the possibility of the drum microphones picking up sound from the other instruments issued by the headphone mixer, prolonged exposure to such volume might very well damage their hearing. In addition, it allows the battery must be registered for a few seconds, then loop. Click (metronome) tracks are also often used as the first to be recorded, especially when the mixer is not available for initial registration and / or the final mix will be synchronized with the image of movement and / or video images. Another practical reason refers to the key song. While having the basic rhythm track laid down, the musicians can experiment with the key of song (ie C or D). This tour useful at the time by writing or when the songs are to be performed by a singer not yet defined (ie music producer looking for a jingle singer).

 In addition, if the battery could possibly be mixed with a couple of tracks, each drum and percussion instrument can be recorded initially at individually. The drums and percussion combined can occupy the largest number of tracks used in a recording. This is done so that each percussion instrument can be treated individually for maximum effect. A common percussion effect is the slow pan back and forth the sound of a percussion instrument in the stereo field from left to right channel in a song. [Original research?] Equalization (or EQ) is often used on individual drums, to bring to its characteristic of each.

 the last tracks to record the voices are usually (but temporary voice track can be recorded at the beginning of each reference or guide subsequent musicians, sometimes called a “Guide Vocal”, “Ghost Voice” or “Scratch Voice “). One reason for this is that the singers are often temper their vocal expression in accordance with the accompaniment.

 concert of music
For
 classical and jazz recordings (particularly instrumentals) which is chosen as the multitrack recording method (as opposed to direct to stereo, for example), a different arrangement is used, all tracks are recorded simultaneously. Noise barriers are often placed between different groups within the orchestra, for example, pianists, violinists, percussionists, etc. When barriers are used, these groups listen to each other via headphones.

 See also
Click
 track

 DAW

 Comparison of multitrack recording software

 Fostex
List
 musical works published in a format strains

 Module file

 multitrack recording software
Interface
 Musical Instrument Digital

 MIDI mock

 Portastudio

 Surround

 Quadraphonic

 Remix

 Reverb

 sound effects # Techniques

 TASCAM

 Tracker
References

 ^ “All You Need is Ears” by George Martin from Google Book Search. Accessed March 1, 2008

 ^ Ross Snyder interviewed by Howard Sanner about the history of Les Paul’s eight-track Ampex 300 and Sel-Sync, March 11, 2000

 References

 ”All You Need is Ears” by George Martin, P. 148-157

 The history of magnetic recording
History
 recording technology
Technology
 Der Bingle

 Total Rewind – The Virtual Museum of Vintage VCRs

 Total Rewind – The Virtual Museum of Vintage VCRs

 ”Both Sides Now” web page on Ampex records
Recording Studios

 AES Historical Committee: Ampex History Project
Categories
: Sound recordingHidden categories: Articles lacking sources from August 2008 | All articles lacking sources | All articles lacking sources | stubs from July 2009 | All articles that may contain original articles | search may contain original research of September 2009

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