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1191:, purpose-built rooms which were often built beneath the main studio. These were typically long, low rectangular spaces constructed from hard, sound-reflective materials like concrete, fitted with a loudspeaker at one end and one or more microphones at the other. During a recording session, a signal from one or more of the microphones in the studio could be routed to the loudspeaker in the echo chamber; the sound from the speaker reverberated through the chamber and the enhanced signal was picked up by the microphone at the other end. This echo-enhanced signal, which was often used to
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360:
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396:, or sound enclosures are either enclosed or partially enclosed areas built out of boxes or partitions or are completely separate small sound-insulated rooms with doors, designed for certain instrumentalists (or their loud speaker stacks). Vocal booths are similarly designed rooms for singers. In both types of rooms, there are typically windows so the performers can see other band members and other studio staff, as singers, bandleaders and musicians often give or receive
804:
into each other is essential to preserving the ability to fine-tune lines up to the last minute. Sometimes, if the rapport between the lead actors is strong enough and the animation studio can afford it, the producers may use a recording studio configured with multiple isolation booths in which the actors can see each another and the director. This enables the actors to react to one another in real time as if they were on a regular stage or film set.
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multi-track recording and the emphasis shifted to isolation and sound-proofing, with treatments like echo and reverberation added separately during the mixing process, rather than being blended in during the recording. Generally, after an audio mix is set up on a 24-track tape machine, the tracks are played back together, mixed and sent to a different machine, which records the combined signals (called
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craft. Well into the 1960s, in the classical field it was not uncommon for engineers to make high-quality orchestral recordings using only one or two microphones suspended above the orchestra. In the 1960s, engineers began experimenting with placing microphones much closer to instruments than had previously been the norm. The distinctive rasping tone of the horn sections on the
933:. In line with the prevailing musical trends, studios in this period were primarily designed for the live recording of symphony orchestras and other large instrumental ensembles. Engineers soon found that large, reverberant spaces like concert halls created a vibrant acoustic signature as the natural reverb enhanced the sound of the recording. In this period large, acoustically
38:
1318:, such as studios where interviews are taped for later broadcast. This type of studio would normally have all of the same equipment that any other audio recording studio would have, particularly if it is at a large station, or at a combined facility that houses a station group, but is also designed for groups of people to work collaboratively in a live-to-air situation.
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for recordings to be made in any available location, such as a local ballroom, using portable acoustic recording equipment. In this period, master recordings were made by cutting a rotating cylinder (later disc) made from wax. Performers were typically grouped around a large acoustic horn (an enlarged version of the familiar
803:
In animation, vocal performances are normally recorded in individual sessions, and the actors have to imagine (with the help of the director or a reader) they are involved in dialogue. Animated films often evolve rapidly during both development and production, so keeping vocal tracks from bleeding
779:
All rooms are soundproofed by varying methods, including but not limited to, double-layer 5/8" sheetrock with the seams offset from layer to layer on both sides of the wall that is filled with foam, batten insulation, a double wall, which is an insulated wall built next to another insulated wall with
209:
to accommodate loud instruments such as drums or electric guitar amplifiers and speakers, to keep these sounds from being audible to the microphones that are capturing the sounds from other instruments or voices, or to provide "drier" rooms for recording vocals or quieter acoustic instruments such as
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reaching 8 tracks in the 1950s, 16 in 1968, and 32 in the 1970s. The commonest such tape is the 2-inch analog, capable of containing up to 24 individual tracks. Throughout the 1960s many pop classics were still recorded live in a single take. In the 1970s the large recording companies began to adopt
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had tweaked it to perfection, Miller issued a standing order that the drapes and other fittings were not to be touched, and the cleaners had specific orders never to mop the bare wooden floor for fear it might alter the acoustic properties of the hall. There were several other features of studios in
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The unique sonic characteristics of the major studios imparted a special character to many of the most famous popular recordings of the 1950s and 1960s, and the recording companies jealously guarded these facilities. According to sound historian David Simons, after
Columbia took over the 30th Street
1158:
was one of the most widely used from the 1950s. This model is still widely regarded by audio professionals as one of the best microphones of its type ever made. Learning the correct placement of microphones is a major part of the training of young engineers, and many became extremely skilled in this
589:
Not all music studios are equipped with musical instruments. Some smaller studios do not have instruments, and bands and artists are expected to bring their own instruments, amplifiers, and speakers. However, major recording studios often have a selection of instruments in their live room, typically
1202:
recording studio. The biggest studios were owned and operated by large media companies like RCA, Columbia and EMI, who typically had their own electronics research and development divisions that designed and built custom-made recording equipment and mixing consoles for their studios. Likewise, the
823:
In the era of acoustical recordings (prior to the introduction of microphones, electrical recording and amplification), the earliest recording studios were very basic facilities, being essentially soundproof rooms that isolated the performers from outside noise. During this era it was not uncommon
763:
An isolation booth is either a partially enclosed area in the live room or a completely separate small room built adjacent to the live room that is both soundproofed to keep out external sounds and keep in the internal sounds. Like all the other recording rooms in sound industry, isolation booths
1286:
Before digital recording, the total number of available tracks onto which one could record was measured in multiples of 24, based on the number of 24-track tape machines being used. Most recording studios now use digital recording equipment, which limits the number of available tracks only on the
415:. From here, they can record the singing and playing onto tape (until the 1980s and early 1990s) or hard disc (1990s and following decades) and listen to the recordings and tracks with monitor speakers or headphones and manipulate the tracks by adjusting the mixing console settings and by using
726:
and amplified electric guitar in a home studio is challenging because they are usually the loudest instruments. Acoustic drums require sound isolation in this scenario, unlike electronic or sampled drums. Getting an authentic electric guitar amp sound including power-tube distortion requires a
466:
materials on the surfaces inside the room. To control the amount of reverberation, rooms in a recording studio may have a reconfigurable combination of reflective and non-reflective surfaces. Soundproofing provides sonic isolation between rooms and prevents sound from entering or leaving the
434:
Even though sound isolation is a key goal, the musicians, singers, audio engineers and record producers still need to be able to see each other, to see cue gestures and conducting by a bandleader. As such, the live room, isolation booths, vocal booths and control room typically have windows.
1138:
The use of different kinds of microphones and their placement around the studio is a crucial part of the recording process, and particular brands of microphones are used by engineers for their specific audio characteristics. The smooth-toned ribbon microphones developed by the
783:
Thomas A. Watson invented, but did not patent, the soundproof booth for use in demonstrating the telephone with
Alexander Graham Bell in 1877. There are variations of the same concept, including a portable standalone isolation booth and a guitar speaker isolation cabinet. A
764:
designed for having a lesser amount of diffused reflections from walls to make a good-sounding room. A drummer, vocalist, or guitar speaker cabinet, along with microphones, is acoustically isolated in the isolation booth. A typical professional recording studio today has a
1211:
During the 1950s and 1960s, the sound of pop recordings was further defined by the introduction of proprietary sound processing devices such as equalizers and compressors, which were manufactured by specialist electronics companies. One of the best known of these was the
996:
in London were renowned for their identifiable sound—which was (and still is) easily identifiable by audio professionals—and for the skill of their staff engineers. As the need to transfer audio material between different studios grew, there was an increasing demand for
1130:
between different microphones and groups of instruments, and these technicians became extremely skilled at capturing the unique acoustic properties of their studios and the musicians in performance. It was not until the 1960s, with the introduction of the high-fidelity
780:
an air gap in-between, by adding foam to the interior walls and corners, and by using two panes of thick glass with an air gap between them. The surface densities of common building materials determines the transmission loss of various frequencies through materials.
1020:
at 111 East 58th Street between Park and
Lexington Avenues (a building built by and formerly belonging to a German cultural and musical society, The Liederkranz Club and Society), and one of their earliest recording studios, Studio A at 799 Seventh Avenue.
1207:
in Los
Angeles, the site of many famous American pop recordings of the 1960s. Co-owner David S. Gold built the studio's main mixing desk and many additional pieces of equipment and he also designed the studio's unique trapezoidal echo chambers.
1125:
and all the performers needed to be able to see each other and the ensemble leader while playing. The recording engineers who trained in this period learned to take advantage of the complex acoustic effects that could be created through
493:
Additional small mixing consoles for adding more channels (e.g., if a drum kit needs to be miked and all of the channels of the large console are in use, an additional 16 channel mixer would enable the engineers to mix the mics for the
754:
and its comparatively low cost, originally introduced at $ 3995, were largely responsible for the rise of project studios in the 1990s. Today's project studios are built around software-based DAWs running on standard PC hardware.
598:) to hire for a single recording session. Having musical instruments and equipment in the studio creates additional costs for a studio, as pianos have to be tuned and instruments and associated equipment needs to be maintained.
1453:
Partitions can be set up in a variety of ways, whether to achieve complete or partial separation. Isolation booths set up with partitions are usually temporary and can be taken apart, then used other ways for different
739:, whether a modeling amp, preamp/processor, or software-based guitar amp simulator. Sometimes, musicians replace loud, inconvenient instruments such as drums, with keyboards, which today often provide somewhat realistic
707:. Such studios often cater to the specific needs of an individual artist or are used as a non-commercial hobby. The first modern project studios came into being during the mid-1980s, with the advent of affordable
99:
957:), rather than separating them, and placing the performers and the microphones strategically to capture the complex acoustic and harmonic interplay that emerged during the performance. In the 2000s, modern
1291:'s or computer hardware interface's capacity and the ability of the hardware to cope with processing demands. Analog tape machines are still used in some cases for their unique sonic characteristics.
384:
of the studio is where instrumentalists play their instruments, with their playing picked up by microphones and, for electric and electronic instruments, by connecting the instruments' outputs or
467:
property. A Recording studio in an urban environment must be soundproofed on its outer shell to prevent noises from the surrounding streets and roads from being picked up by microphones inside.
1368:
decoder (typically in the studio), and in the case of full-power stations, an encoder that can interrupt programming on all channels which a station transmits to broadcast urgent warnings.
1321:
Broadcast studios also use many of the same principles such as sound isolation, with adaptations suited to the live on-air nature of their use. Such equipment would commonly include a
458:
and also the consideration of the physical dimensions of the room itself to make the room respond to sound in the desired way. Acoustical treatment includes and the use of
1195:
the sound of vocals, could then be blended in with the primary signal from the microphone in the studio and mixed into the track as the master recording was being made.
624:
General-purpose computers rapidly assumed a large role in the recording process. With software, a powerful, good quality computer with a fast processor can replace the
678:
1203:
smaller independent studios were often owned by skilled electronics engineers who designed and built their own desks and other equipment. A good example of this is
1228:, it became possible to record instruments and singers separately and at different times on different tracks on tape. In the mid-20th century, recordings were
1830:
163:, or to record their accompanying musical soundtracks. The typical recording studio consists of a room called the "studio" or "live room" equipped with
2237:
151:
Recording studios may be used to record singers, instrumental musicians (e.g., electric guitar, piano, saxophone, or ensembles such as orchestras),
1725:– The Liederkranz of the City of New York website. The Liederkranz Club put up a building in 1881 at 111–119 East 58th Street, east of Park Avenue.
1947:
1121:, and sometimes even speakers. A major reason that isolation was not used was that recordings in this period were typically made as live ensemble
132:
large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally, both the
214:. Major recording studios typically have a range of large, heavy, and hard-to-transport instruments and music equipment in the studio, such as a
1040:
1171:" were achieved by having the saxophone players position their instruments so that microphones were virtually inside the mouth of the horn.
1543:
788:
achieves the same effect to a much more moderate extent; for example, a drum kit that is too loud in the live room or on stage can have
941:
booths and studio rooms that became common after the 1960s. Because of the limits of the recording technology, which did not allow for
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that it became common practice for performers to use these to monitor their performance during recording and listen to playbacks.
640:(reverb, echo, compression, etc.) that a recording studio required in the 1980s and 1990s. A computer thus outfitted is called a
121:
2286:
1261:
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had some of the most highly respected sound recording studios, including the 30th Street Studio at 207 East 30th Street, the
986:
871:
273:
2212:
1865:
1718:
1418:, so that DJs can do shows from a home studio via the Internet. Additional outside audio connections are required for the
105:
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horn). The acoustic energy from the voices or instruments was channeled through the horn to a diaphragm to a mechanical
633:
110:
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of instrumental or vocal musical performances, spoken words, and other sounds. They range in size from a small in-home
2232:
1187:
As well as the inherent sound of the large recording rooms, many of the best studios incorporated specially-designed
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were electrically powered, but master recordings still had to be cut into a disc, by now a lacquer, also known as an
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to enable engineers to place microphones at the desired locations in front of singers, instrumentalists or ensembles
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are very similar to recording studios, particularly in the case of production studios which are not normally used
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techniques, studios of the mid-20th century were designed around the concept of grouping musicians (e.g., the
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Engineers and producers watch a trumpet player from a window in the control room during a recording session.
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in West
Hollywood was highly influential in the 1970s in the development of standardized acoustic design.
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to achieve optimum acoustic properties (acoustic isolation or diffusion or absorption of reflected sound
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1415:
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Because of their superb acoustics, many of the larger studios were converted churches. Examples include
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instruments, amplifiers and speaker cabinets that are large, heavy, and difficult to transport (e.g., a
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1997:
1967:
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to create a set of spaces with the acoustical properties required for recording sound with accuracy.
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into the other microphones, allowing better independent control of each instrument channel at the
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1977:
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Neve VR60, a multitrack mixing console. Above the console are a range of studio monitor speakers.
194:. The engineers and producers listen to the live music and the recorded "tracks" on high-quality
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1322:
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832:, which inscribed the signal as a modulated groove directly onto the surface of the master.
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devices, synthesizers and microphones. The phenomenon has flourished with falling prices of
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133:
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2027:
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1982:
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430:, is kept to prevent the noise from interfering with the recording or listening processes.
427:
1781:
Chasing Sound: Technology, Culture, and the Art of Studio
Recording from Edison to the LP
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is used and all mixing is done using only a keyboard and mouse, this is referred to as
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2012:
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George
Petersen, "In Memoriam: Keith Barr 1949–2010", Mix Magazine Online, Aug 2010,
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Electric recording studios in the mid-20th century often lacked isolation booths,
543:(typically closed-shell, to prevent sound from "leaking" out into the microphones)
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1599:
1216:
equalizer which was used by almost all the major commercial studios of the time.
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see-through gobo panels placed around it to deflect the sound and keep it from
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2017:
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670:(ITB). OTB describes mixing with other hardware and not just the PC software.
546:"On Air" or "Recording" lighted signs to remind other studio users to be quiet
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397:
199:
164:
152:
1952:
1927:
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1353:
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171:", where audio engineers, sometimes with record producers, as well, operate
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is used for most studio work, there is a breadth of software available for
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outputs to the mixing board as well as a place where vocalists may perform;
136:
and monitoring (listening and mixing) spaces are specially designed by an
2007:
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1304:
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Facilities like the
Columbia Records 30th Street Studio in New York and
1992:
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and mic stands, where instrumentalists and vocalists perform; and the "
148:
that could otherwise interfere with the sound heard by the listener).
1476:
1379:
426:, where noisier equipment, such as racks of fan-cooled computers and
211:
1176:
66:. Statements consisting only of original research should be removed.
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1803:
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Recording studios are carefully designed around the principles of
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this period that contributed to their unique sonic signatures.
411:
and record producers mix the mic and instrument signals with a
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Music production using a digital audio workstation (DAW) with
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241:
31:
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Recording studios generally consist of three or more rooms:
2144:
582:
A selection of instruments at a music studio, including a
1658:
Studio
Stories – How the Great New York Records Were Made
483:
Equipment found in a recording studio commonly includes:
925:
Electrical recording was common by the early 1930s, and
1740:
Kind of Blue: The Making of the Miles Davis
Masterpiece
367:
singer recording tracks at the Tec de Monterrey studios
335:
55:
1198:
Special equipment was another notable feature of the
1047:
records with Furnace Mountain Band in Virginia (2012)
1036:
wearing headphones during a recording session in 1977
1774:
Temples of Sound: Inside the Great Recording Studios
1716:"History of The Liederkranz of the City of New York"
1001:
in studio design across the recording industry, and
2200:
2107:
2046:
1936:
1846:
182:, or computers with specialized software suites to
1783:. Baltimore: Johns Hopkins University Press, 2013.
1570:
1518:"Studio Acoustics: Treat Recording and Live Rooms"
715:equipment and accessories, as well as inexpensive
536:designed for listening to recorded mixes or tracks
1759:, Allen & Unwin, Sydney, 2011. Studio Chapter
1631:. New York and London: Focal Press. p. 176.
937:halls were favored, rather than the acoustically
1824:
685:GS3000 analog mixing console in a home studio
8:
961:still sometimes use this approach for large
1791:Making Records: The Scenes Behind the Music
1511:
1509:
1507:
1085:. Unsourced material may be challenged and
874:. Unsourced material may be challenged and
276:. Unsourced material may be challenged and
1831:
1817:
1809:
518:typical for different types of instruments
405:control room, or production/recording room
205:Often, there will be smaller rooms called
2238:Music technology (electronic and digital)
1804:The History of Sound Recording Technology
1430:for sending and receiving shows, and for
1143:company in the 1930s were crucial to the
1105:Learn how and when to remove this message
894:Learn how and when to remove this message
296:Learn how and when to remove this message
82:Learn how and when to remove this message
1650:
1648:
605:
1776:. San Francisco: Chronicle Books, 2003.
1601:The Birth and Babyhood of the Telephone
1503:
1446:
735:, or booth. A convenient compromise is
1279:-inch two-track stereo tape, called a
1625:Hayes, Derek; Webster, Chris (2013).
1352:for dropping anything from coughs to
594:) or infeasible (as in the case of a
7:
1628:Acting and Performance for Animation
1083:adding citations to reliable sources
965:projects that use large orchestras.
872:adding citations to reliable sources
391:
274:adding citations to reliable sources
100:Tec de Monterrey, Mexico City Campus
1402:, and now are able to perform full
983:Columbia Records 30th Street Studio
159:in film, television, or animation,
1544:"In Memoriam-Keith Barr 1949-2010"
454:includes acoustical treatment and
25:
2079:Recording studio as an instrument
1688:. Focal Press. pp. 315–316.
1661:. San Francisco: Backbeat Books.
1482:Recording studio as an instrument
1362:Federal Communications Commission
1256:, or, more rarely, on 35 mm
2255:
1516:Watkinson, David (12 May 2015).
1055:
953:) and singers (e.g., a group of
844:
312:
246:
109:An audio production facility at
36:
1175:Studios in the late 1940s and
327:format but may read better as
155:artists for advertisements or
120:is a specialized facility for
1:
1303:The studio at Ridge Radio in
915:
2262:Record production portal
1772:Cogan, Jim; Clark, William.
1577:. Elsevier Inc. p. 75.
1414:. Network connections allow
914:Studio for Electronic Music
111:An-Najah National University
27:Facility for sound recording
2233:Music technology (electric)
1793:. New York: Hyperion, 2007.
1743:, Da Capo Press, 2001. Cf.
1573:Modern Recording Techniques
1569:Huber, David Miles (2005).
1406:when no staff are present.
1025:Technologies and techniques
62:the claims made and adding
2303:
1410:can be interconnected via
1003:Westlake Recording Studios
814:History of sound recording
811:
688:
617:
602:Digital audio workstations
2251:
1604:. Library of Alexandria.
1344:for detecting unexpected
1224:With the introduction of
1165:Good Morning Good Morning
697:personal recording studio
642:digital audio workstation
632:equipment, synthesizers,
620:Digital audio workstation
507:digital audio workstation
1779:Horning, Susan Schmidt.
1364:(FCC) also must have an
1356:. In the U.S., stations
1016:at 49 East 52nd Street,
772:, and one or more small
717:direct to disk recording
498:Microphone preamplifiers
210:an acoustic guitar or a
1685:Recording Studio Design
1682:Newell, Philip (2003).
1420:studio/transmitter link
1408:Digital mixing consoles
452:Architectural acoustics
336:converting this section
18:Isolation booth (audio)
2287:Television terminology
1789:; Granata, Charles L.
1655:Simons, David (2004).
1472:List of music software
1366:Emergency Alert System
1308:
1048:
1037:
985:in New York City, and
922:
699:is sometimes called a
686:
615:
586:
475:
443:
368:
113:
102:
2150:Ghostwriters in music
1598:Watson, T.A. (2017).
1374:are used for playing
1302:
1226:multi-track recording
1220:Multi-track recording
1043:
1032:
909:
681:
609:
581:
487:A professional-grade
473:
441:
362:
108:
97:
1721:27 July 2011 at the
1522:Acoustical Solutions
1487:Talkback (recording)
1404:broadcast automation
1262:multitrack recording
1156:condenser microphone
1079:improve this section
989:studio in New York.
943:multitrack recording
868:improve this section
709:multitrack recording
630:multitrack recording
514:A wide selection of
270:improve this section
238:Design and equipment
157:dialogue replacement
98:Control room at the
1412:audio over Ethernet
1147:style perfected by
1014:CBS Studio Building
503:Multitrack recorder
2064:Hip hop production
1309:
1049:
1038:
1008:In New York City,
994:Abbey Road Studios
969:Halls and churches
923:
746:The capability of
737:amplifier modeling
687:
616:
587:
539:Studio monitoring
476:
444:
369:
338:, if appropriate.
173:professional audio
114:
103:
47:possibly contains
2282:Recording studios
2269:
2268:
1871:Critical distance
1550:on 29 August 2010
1492:Television studio
1335:remote broadcasts
1205:Gold Star Studios
1151:, and the famous
1115:
1114:
1107:
904:
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668:mixing in the box
653:Microsoft Windows
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49:original research
16:(Redirected from
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1840:Music production
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1323:telephone hybrid
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1010:Columbia Records
927:mastering lathes
920:
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879:
848:
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774:isolation booths
729:power attenuator
428:power amplifiers
393:Isolation booths
352:
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343:
334:You can help by
316:
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207:isolation booths
196:monitor speakers
118:recording studio
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1861:Audio mastering
1842:
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1769:
1767:Further reading
1764:
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1755:Ahern, S (ed),
1754:
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1723:Wayback Machine
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1350:broadcast delay
1327:telephone calls
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819:1890s to 1930s
816:
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759:Isolation booth
693:
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674:Project studios
649:Apple Macintosh
626:mixing consoles
622:
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534:Studio monitors
481:
409:audio engineers
407:, is where the
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987:Pythian Temple
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955:backup singers
947:rhythm section
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836:1930s to 1970s
834:
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798:mixing console
760:
757:
750:introduced by
701:project studio
691:Home recording
689:Main article:
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664:mixing console
618:Main article:
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348:September 2019
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142:audio engineer
130:project studio
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2013:Octave effect
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1958:Chorus effect
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1668:9781617745164
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1611:9781465616609
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1312:Radio studios
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1295:Radio studios
1294:
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1290:
1287:basis of the
1284:
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1259:
1258:magnetic film
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1254:magnetic tape
1231:
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1189:echo chambers
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1119:sound baffles
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1064:This section
1062:
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1046:
1045:Danny Knicely
1042:
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975:George Martin
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884:December 2016
877:
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853:This section
851:
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835:
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831:
830:cutting lathe
827:
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790:acrylic glass
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612:multi-monitor
608:
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592:Hammond organ
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456:soundproofing
453:
449:
440:
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429:
425:
421:
418:
417:effects units
414:
410:
406:
402:
399:
395:
394:
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387:
383:
379:
378:
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371:
366:
361:
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342:is available.
341:
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331:
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326:
321:This section
319:
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255:This section
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229:
225:
221:
220:Hammond organ
217:
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189:
185:
181:
180:effects units
177:
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51:
50:
45:This article
43:
34:
33:
30:
19:
2253:
2218:Loudness war
2185:Ghost singer
2160:Orchestrator
2155:Horn section
2038:Reverse echo
1998:Equalization
1968:Delay effect
1918:Punch in/out
1913:Ping-ponging
1881:Effects unit
1876:Effects loop
1866:Audio mixing
1856:Audio filter
1790:
1787:Ramone, Phil
1780:
1773:
1757:Making Radio
1751:
1739:
1735:Kahn, Ashley
1730:
1711:
1699:. Retrieved
1684:
1677:
1657:
1627:
1620:
1600:
1593:
1572:
1564:
1552:. Retrieved
1548:the original
1537:
1525:. Retrieved
1521:
1449:
1424:over-the-air
1370:
1325:for putting
1320:
1311:
1310:
1285:
1280:
1266:
1223:
1210:
1199:
1197:
1192:
1186:
1181:Mitch Miller
1173:
1169:Lady Madonna
1163:recordings "
1153:Neumann U 47
1144:
1137:
1127:
1122:
1116:
1101:
1092:
1077:Please help
1065:
1034:Donna Summer
1007:
991:
972:
963:film scoring
959:sound stages
951:horn section
938:
934:
931:Acetate disc
924:
890:
881:
866:Please help
854:
822:
802:
782:
778:
773:
769:
766:control room
765:
762:
745:
721:
704:
700:
694:
667:
661:
646:
638:effects unit
623:
588:
568:Music stands
551:effect units
482:
445:
433:
424:machine room
423:
404:
392:
381:
375:
345:
340:Editing help
322:
292:
283:
268:Please help
256:
206:
204:
169:control room
150:
117:
115:
78:
69:
46:
29:
2208:Click track
2192:Vocal coach
2135:Backup band
2115:professions
2089:Turntablism
1963:Compression
1948:Pitch shift
1908:Overdubbing
1848:Engineering
1527:14 December
1467:Film studio
1149:Bing Crosby
981:in London,
979:AIR Studios
919: 1956
705:home studio
596:grand piano
584:grand piano
574:Instruments
555:compressors
516:microphones
398:visual cues
365:son jarocho
216:grand piano
165:microphones
138:acoustician
2276:Categories
2140:Bandleader
2099:Xenochrony
2054:aesthetics
2018:Noise gate
1978:Distortion
1940:processing
1903:Microphone
1701:14 January
1498:References
1436:podcasting
1432:webcasting
1426:stations,
1388:soundbites
1331:POTS codec
1232:, made on
1133:headphones
826:gramophone
812:See also:
786:gobo panel
768:, a large
722:Recording
719:products.
644:, or DAW.
563:equalizers
553:, such as
541:headphones
460:absorption
363:A Mexican
200:headphones
153:voice-over
56:improve it
2050:Practices
1953:Auto-Tune
1928:Tape loop
1898:Diffusion
1554:26 August
1454:sessions.
1372:Computers
1354:profanity
1307:, England
1242:-inch or
1095:July 2017
1066:does not
855:does not
770:live room
695:A small,
549:Outboard
511:Computers
479:Equipment
464:diffusion
382:live room
286:July 2017
257:does not
134:recording
122:recording
72:July 2017
60:verifying
2125:Arranger
2084:Sampling
2008:Flanging
1886:Talk box
1719:Archived
1461:See also
1358:licensed
1348:, and a
1339:dead air
1305:Caterham
1267:printing
1179:manager
1145:crooning
794:bleeding
741:sampling
634:samplers
2028:Pumping
1993:Ducking
1938:Signal
1396:traffic
1384:bumpers
1380:jingles
1360:by the
1346:silence
1274:⁄
1269:) to a
1260:, with
1247:⁄
1237:⁄
1200:classic
1193:sweeten
1177:A&R
1167:" and "
1161:Beatles
1128:leakage
1087:removed
1072:sources
912:Siemens
876:removed
861:sources
808:History
559:reverbs
522:DI unit
386:DI unit
278:removed
263:sources
54:Please
2228:Medley
2223:Mashup
2033:Reverb
2023:Phaser
1692:
1665:
1635:
1608:
1581:
1477:Re-amp
1316:on-air
1281:master
1252:-inch
1230:analog
1214:Pultec
731:or an
662:If no
647:While
614:set-up
372:Layout
323:is in
230:, and
212:fiddle
188:analog
146:echoes
126:mixing
2243:Remix
2201:Other
2111:Roles
2069:Lo-fi
1972:STEED
1442:Notes
1342:alarm
1123:takes
949:or a
724:drums
657:Linux
561:, or
524:boxes
329:prose
232:drums
161:Foley
1745:p.75
1703:2017
1690:ISBN
1663:ISBN
1633:ISBN
1606:ISBN
1579:ISBN
1556:2010
1529:2022
1422:for
1398:and
1337:, a
1070:any
1068:cite
939:dead
935:live
910:The
859:any
857:cite
752:ADAT
713:MIDI
655:and
636:and
494:kit)
462:and
422:The
403:The
380:The
325:list
261:any
259:cite
228:harp
124:and
1987:ADT
1434:or
1376:ads
1141:RCA
1081:by
977:'s
870:by
703:or
505:or
272:by
198:or
190:or
184:mix
140:or
58:by
2278::
2145:DJ
1737:,
1647:^
1520:.
1506:^
1438:.
1394:,
1386:,
1382:,
1378:,
1283:.
916:c.
800:.
776:.
743:.
659:.
628:,
557:,
234:.
226:,
222:,
218:,
202:.
178:,
116:A
1989:)
1985:(
1974:)
1970:(
1832:e
1825:t
1818:v
1705:.
1671:.
1641:.
1614:.
1587:.
1558:.
1531:.
1276:2
1272:1
1249:2
1245:1
1239:4
1235:1
1108:)
1102:(
1097:)
1093:(
1089:.
1075:.
921:.
897:)
891:(
886:)
882:(
878:.
864:.
419:;
400:;
350:)
346:(
332:.
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