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particularly those with a lot of intensity in the live performance, but it still lacks the atmosphere of a real gig. You may record the moment with a portable setup during the performance. You can produce wonderful live recordings with just two microphones and a building's inherent acoustics, but that will have to wait for another day. Taking a feed from the front of house (or FOH) desk directly to tape or DAT is another technique of live recording, although this will only work in large venues where everything is run through the PA system. Even so, a loud backline will result in less guitar and bass being routed via the main PA system, resulting in an unbalanced mix. A multitrack recording has distinct advantages: it allows you more control after the event because you may fine-tune the mix and correct any obvious mistakes without sacrificing the thrill of the live performance. It does, however, necessitate a lot more pre-gig planning as well as a lot more equipment.
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automation on the console, analogue recorders generally required adjacent tracks to the time code track to be kept blank to avoid the time code signal interfering with the audio signals, which limited available tracks to 22 or 23 track at most. Digital multitrack machines had time code inserted elsewhere on the tape, and thus did not require allocating it to an audio track, which meant all tracks were available for recording. What's more, in the case of the PCM-3348, which doubled the number of tracks from the PCM-3324, both machines could use the same ½” digital tape, and also a 24-track reel first recorded on a PCM-3324 was able to be used on a PCM-3348 and have another 24 tracks overdubbed.
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718:(DAW). These features may include various displays including showing the score of the music, as well as editing capability. There is often overlap between many of the categories of musical software. In this case, scorewriters and full-featured multitrackers such as DAWs have similar features for playback but may have less similarity for editing and recording.
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while listening to the other tracks. All the tracks can then be played back in perfect synchrony, as if they had originally been played and recorded together. This can be repeated until all of the available tracks have been used, or in some cases, reused. During mixdown, a separate set of playback heads with higher fidelity are used.
318:-based systems often employing a computer and audio recording software. Multi-track recording devices vary in their specifications, such as the number of simultaneous tracks available for recording at any one time; in the case of tape-based systems this is limited by, among other factors, the physical size of the tape employed.
845:) tracks are also often used as the first sound to be recorded, especially when the drummer is not available for the initial recording, and/or the final mix will be synchronized with motion picture and/or video images. One reason that a band may start with just the drums is because this allows the band to pick the song's
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If all the voices and instruments in a recording are individually recorded on distinct tracks, then the artist is able to retain complete control over the final sculpting of the song, during the mix-down (re-recording to two stereo tracks for mass distribution) phase. For example, if an artist wanted
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to a synthesizer part, a different effect to a guitar part, a 'chorused reverb' effect to the lead vocals, and different effects to all the drums and percussion instruments, they could not do so if they had all been originally recorded together onto the same track. However, if they had been recorded
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A multitrack recorder allows one or more sound sources to different tracks to be simultaneously recorded, which may subsequently be processed and mixed separately. Take, for example, a band with vocals, guitars, a keyboard, bass, and drums that are to be recorded. The singer's microphone, the output
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For classical and jazz recordings, particularly instrumentals where multitracking is chosen as the recording method (as opposed to direct to stereo, for example), a different arrangement is used; all tracks are recorded simultaneously. Sound barriers are often placed between different groups within
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in isolation, one would do so by muting all the tracks apart from the lead vocals track. If one wanted to listen to the entire song, one could do so by un-muting all the tracks. If one did not like the guitar part, or found a mistake in it, and wanted to replace it, one could do so by re-recording
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are always recorded with all 70 to 100 instrumentalists playing their parts simultaneously. If each group of instrument has its own microphone, and each instrument with a solo melody has its own microphone, the different microphones can record on multiple tracks simultaneously. After recording the
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or
Selective Synchronous recording. This allows an artist to be able to record onto track 2 and, simultaneously, listen to track 1, 3 and 7, allowing them to sing or to play an accompaniment to the performance already recorded on these tracks. They might then record an alternate version on track 4
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in the early 1970s, engineers began to use computers to perfectly synchronize separate audio and video playback, or multiple audio tape machines. In this system, one track of each machine carried the timecode signal, while the remaining tracks were available for sound recording. Some large studios
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During multitracking, multiple musical instruments (and vocals) can be recorded, either one at a time or simultaneously, onto individual tracks, so that the sounds thus recorded can be accessed, processed and manipulated individually to produce the desired results. In the 2010s, many rock and pop
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Multitrack live recording is a lot like gigging – a lot of planning ahead of time, a lot of gear to carry and set up, a lot of waiting, and then a lot of hectic activity over the next 40 minutes or so! There is little doubt that a pseudolive studio performance can enhance certain forms of music,
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against the basic rhythm track. Also, though the drums might eventually be mixed down to a couple of tracks, each individual drum and percussion instrument might be initially recorded to its own individual track. The drums and percussion combined can occupy a large number of tracks utilized in a
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can select which track (or tracks) on the device will be used for each instrument, voice, or other input and can even blend one track with two instruments to vary the music and sound options available. At any given point on the tape, any of the tracks on the recording device can be recording or
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In the late 1970s and 1980s, digital multitrack tape machines emerged, including the 3M and
Mitsubishi X-800 32-track machines, and Sony DASH PCM-3324 and later the PCM-3348 machines, which allowed greater flexibility with more available tracks for recording. As well, in order to mix using
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to prepare the signal for use by other equipment. These preamplifiers can also have a major effect on the sound and come in different price ranges, physical configurations, and capability levels. Microphone preamplifiers may be external units or a built-in feature of other audio equipment.
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Microphones are often designed for highly specific applications and have a major effect on recording quality. A single studio-quality microphone can cost $ 5,000 or more, while consumer-quality recording microphones can be bought for less than $ 50 each. Microphones also need some type of
876:). One reason for this is that singers will often temper their vocal expression in accordance with the accompaniment. Producers and songwriters can also use the guide/scratch vocal when they have not quite ironed out all the lyrics or for flexibility based on who sings the lead vocal (as
862:(or EQ) is often used on individual drums, to bring out each one's characteristic sound. The last tracks recorded are often the vocals (though a temporary vocal track may be recorded early on either as a reference or to guide subsequent musicians; this is sometimes called a
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of the guitars and keys, and each individual drum in the kit can all be recorded separately using a multitrack recorder. This allows each track to be fine-tuned individually, such as increasing the voice or lowering the chimes, before combining them into the final product.
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developed in 1955 that allows for the separate recording of multiple sound sources or of sound sources recorded at different times to create a cohesive whole. Multitracking became possible in the mid-1950s when the idea of simultaneously recording different
310:, tape-based equipment (from simple, late-1970s cassette-based four-track Portastudios, to eight-track cassette machines, to 2" reel-to-reel 24-track machines), digital equipment that relies on tape storage of recorded digital data (such as
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Most of the records, CDs and cassettes commercially available in a music store are recordings that were originally recorded on multiple tracks, and then mixed down to stereo. In some rare cases, as when an older song is technically
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can be applied by electronic devices or by computer software. Such effects are used to shape the sound as desired by the producer. When the producer is satisfied with the recorded sound finished tracks can be mixed into a new
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used this technique extensively to achieve multiple-track results, while still being limited to using only multiple four-track machines, until an eight-track machine became available during the recording of the
Beatles'
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of songs or instrumental tracks. A recording engineer can record only the section being worked on, without erasing any other section of that track. This process of turning the recording mechanism on and off is called
270:, revolutionizing audio recording and distribution. In the 2000s, multitracking hardware and software for computers was of sufficient quality to be widely used for high-end audio recordings by both professional
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to record all of the instruments and vocals for a piece of music separately. Multitracking allowed the engineer to adjust the levels and tone of each individual track, and if necessary, redo certain tracks or
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orchestra, the record producer and conductor can adjust the balance and tone of the different instrument sections and solo instruments, because each section and solo instrument was recorded to its own track.
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There are tremendous differences in computer audio interfaces. Such units vary widely in price, sound quality, and flexibility. The most basic interfaces use audio circuitry that is built into the computer
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recorder in a format which can then be duplicated and distributed. (Movie and DVD soundtracks can be mixed down to four or more tracks, as needed, the most common being five tracks, with an additional
555:— isolated from a single-track source — in high quality. This has permitted the production of stereophonic or surround sound mixes of recordings that were originally mastered and released in mono.
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Instruments and voices are usually recorded as individual files on a computer hard drive. These function as tracks which can be added, removed or processed in many ways. Effects such as
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in 1955 resulting in the first Sel-Sync machine, an 8-track machine which used one-inch tape. This 8-track recorder was sold to the
American guitarist, songwriter, luthier, and inventor
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was simply a different channel recorded to its own discrete area on the tape whereby their relative sequence of recorded events would be preserved, and playback would be simultaneous or
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85 16B analog tape multitrack recorder can record 16 tracks of audio on 1-inch (2.54cm) magnetic tape. Professional analog units of 24 tracks on 2-inch tape were common, with specialty
841:. Musicians recording later tracks use the precise attack of the drum sounds as a rhythmic guide. In some styles, the drums may be recorded for a few bars and then looped. Click (
645:. The most sophisticated audio interfaces are external units of professional studio quality which can cost thousands of dollars. Professional interfaces usually use one or more
286:(NLE) and recording have resulted in digital systems largely superseding tape. Even in the 2010s, with digital multitracking being the dominant technology, the original word
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available do limit this from machine to machine. Moreover, on computer-based systems, the number of simultaneously available recording tracks is limited by the number of
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bands record each part of the song one after the other. First, the bass and drums are often recorded, followed by the chordal rhythm section instruments. Then the
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for an interface and offers a number of views of the music. Most multitrackers also provide audio playback capability. Some multitrack software also provides
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pair of tracks within the multitrack recording software. Finally, the final stereo recording can be written to a CD, which can be copied and distributed.
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are needed to record the sounds of vocalists or acoustic instruments. Depending on the capabilities of the system, some instruments, such as a
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accompanists to perform at the same time in the same space. Multitrack recording was a significant technical improvement as it allowed
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into one or two tracks, and the original tracks erased, making more room for more tracks to be reused for fresh recording. In 1963,
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For computer-based systems, the trend in the 2000s is towards unlimited numbers of record/playback tracks, although issues such as
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Prior to the development of multitracking, the sound recording process required all of the singers, band instrumentalists, and/or
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the guitar part, by 'muting' all the tracks except the one on which the guitar was recorded. If one then wanted to listen to the
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the guitar part (i.e., re-recording only the track on which the guitar was recorded), rather than re-recording the entire song.
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of any given section of their performance, allowing them to refine their performance to virtual perfection by making additional
489:) onto two (or one) tracks of a multitrack recorder, allowing additional sound (tracks) to be layered on the remaining tracks.
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Multitrack recording software varies widely in price and capability. Popular multitrack recording software programs include:
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the orchestra, e.g. pianists, violinists, percussionists, etc. When barriers are used, these groups listen to each other via
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with their own voice to their own lead vocal part, an electric guitar player playing many harmony parts along with their own
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and artists to create new sounds that would be impossible to create outside of the studio, such as a lead singer adding many
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onto separate tracks, then the artist could blend and alter all of the instrument and vocal sounds with complete freedom.
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equipped with multitrack recording software as a tracking machine. The computer must have a sound card or other type of
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were able to link multiple 24-track machines together. An extreme example of this occurred in 1982, when the rock group
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computer-based hard disk multitrack recording system. Digital audio quality is measured in data resolution per channel.
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inputs. Direct inputs eliminate the need for microphones and can provide another range of sound control options.
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recording. This is done so that each percussion instrument can be processed individually for maximum effect.
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Ross Snyder interviewed by Howard Sanner about the history of Les Paul's eight track Ampex 300 and Sel-Sync
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also began recording with eight-track machines in 1965, before moving to 16-track machines in mid-1969.
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and by bands recording without studios using widely available programs, which can be used on a high-end
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on three synchronized 24-track machines. This setup theoretically provided for up to 69 audio tracks.
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programs are also available for multitrack recording. These range from very basic programs such as
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also made innovative use of multitracking with eight-track machines of the day (circa 1965).
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are often among the first instruments to be recorded. These are the core instruments of the
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Software for multitrack recording can record multiple tracks at once. It generally uses
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649:(commonly known as FireWire) connections. Other types of interfaces may use internal
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playback functions not just for audio; during playback the MIDI data is sent to a
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providing 16 or even 8 tracks on the same tape width, for greater fidelity.
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later on. The producer and the musicians can experiment with the song's
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Separate recording of multiple sound sources to create a cohesive whole
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connections. Popular manufacturers of high-quality interfaces include
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has not been replaced as a recording medium, the advantages of
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Multitracking a song also leaves open the possibilities of
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for $ 10,000. It became known as the
Octopus. Les Paul,
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parts of the track to correct errors or get a better
1122:"All You Need is Ears" by George Martin, p. 148-157
60:. Unsourced material may be challenged and removed.
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485:) mixes can in turn be recorded (as if it were a
473:surround sound most commonly available on DVDs.)
453:When recording is completed, the many tracks are
239:could be applied to specific tracks, such as the
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302:Mixing desk with twenty inputs and eight outputs
1147:AES Historical Committee: Ampex History Project
937:List of musical works released in a stem format
1117:n-Track Studio - Multitrack recording software
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1794:Professional Lighting and Sound Association
665:(formerly Digidesign), Echo Digital Audio,
569:The process was conceived and developed by
1384:Comparison of analog and digital recording
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1142:"Both Sides Now" webpage on Ampex Records
1014:, Mixonline.com, Retrieved June 30, 2015.
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589:used the technology in the late 1950s to
120:Learn how and when to remove this message
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1855:New Interfaces for Musical Expression
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58:adding citations to reliable sources
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917:Comparison of digital audio editors
355:discrete analog or digital inputs.
306:Multitracking can be achieved with
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765:. Lower-cost alternatives include
290:is still used by audio engineers.
154:Stax Museum of American Soul Music
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1404:Reel-to-reel audio tape recording
1127:The History of Magnetic Recording
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433:D888 eight-track digital recorder
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264:sound recording and reproduction
163:Digital audio interface for the
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1389:Experimental musical instrument
1012:Classic Tracks: Toto's "Africa"
565:History of multitrack recording
506:are added. As a last step, the
45:needs additional citations for
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1085:, 11 March 2000, Recordist.com
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510:are added. On the other hand,
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710:or virtual instrument (e.g.,
1880:Record production portal
1769:Institute of Broadcast Sound
1132:Recording Technology History
615:Analog-to-digital converters
448:punching in and punching out
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1789:Musical Electronics Library
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922:Digital audio workstation
825:In modern popular songs,
716:digital audio workstation
321:With the introduction of
1850:Professional audio store
1752:People and organizations
1738:Sound recording engineer
1103:. Accessed July 14, 2010
982:Sound effects#Techniques
878:The Alan Parsons Project
1268:Microphone preamplifier
1100:Modern Drummer Magazine
1095:Prince - School Of Funk
1052:Martin, George (1994).
687:microphone preamplifier
395:self-titled ninth album
1209:Electronic and digital
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1900:Multitrack recording
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1418:Playback transducers
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1055:All You Need is Ears
1025:"1981 Sony PCM-3324"
172:Multitrack recording
54:improve this article
653:cards, or external
481:, these stereo (or
363:playing back using
1718:Re-recording mixer
1521:Keyboard amplifier
1237:Binaural recording
1060:St. Martin's Press
967:Quadraphonic sound
821:Order of recording
659:Apogee Electronics
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1311:Phonograph record
1027:. September 2006.
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1501:Bass amplifier
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839:rhythm section
822:
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775:n-Track Studio
747:Cakewalk Sonar
735:Adobe Audition
695:
692:
598:
597:With computers
595:
563:Main article:
560:
557:
508:harmony vocals
494:
491:
459:mixing console
399:The Beach Boys
323:SMPTE timecode
295:
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253:harmony vocals
189:audio channels
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42:
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26:
9:
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1861:Vehicle audio
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1830:High fidelity
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888:Concert music
885:
883:
882:Eric Woolfson
879:
875:
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873:scratch vocal
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835:electric bass
832:
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783:free software
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724:
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673:, RME Audio,
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535:to apply one
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390:George Martin
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280:magnetic tape
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245:electric bass
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180:multitracking
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113:
110:November 2020
102:
99:
95:
92:
88:
85:
81:
78:
74:
71: –
70:
66:
65:Find sources:
59:
55:
49:
48:
43:This article
41:
37:
32:
31:
19:
1871:
1604:Sound module
1564:Drum machine
1506:Effects unit
1399:Player piano
1326:Compact disc
1277:
1248:Effects unit
1098:
1090:
1078:
1054:
1047:
1033:
1019:
1007:
899:
891:
884:often did).
871:
867:
863:
860:Equalization
824:
799:
727:Ableton Live
720:
697:
683:
639:
600:
568:
552:
542:
537:effects unit
533:
528:
519:
517:
504:guitar solos
496:
486:
478:
475:
470:
454:
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438:
436:
402:
380:
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331:
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305:
287:
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228:
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209:
205:synchronized
200:
195:on the same
192:
179:
175:
171:
170:
116:
107:
97:
90:
83:
76:
64:
52:Please help
47:verification
44:
1845:Music store
1840:Home cinema
1799:Robert Moog
1784:Max Mathews
1708:Piano tuner
1676:Professions
1652:Scorewriter
1609:Synthesizer
1425:Loudspeaker
957:Portastudio
952:Overdubbing
947:Module file
942:MIDI mockup
912:Click track
868:ghost vocal
864:guide vocal
855:arrangement
779:Open-source
643:motherboard
623:synthesizer
619:Microphones
571:Ross Snyder
524:lead vocals
500:lead vocals
493:Flexibility
377:the Beatles
347:memory and
257:guitar solo
241:lead vocals
1894:Categories
1835:Home audio
1825:Audiophile
1642:GarageBand
1488:Live music
1430:Headphones
1394:Phonograph
1263:Microphone
1258:Headphones
1204:Electrical
1199:Mechanical
999:References
895:headphones
751:Samplitude
663:Avid Audio
631:Line level
587:Patti Page
512:orchestras
457:through a
455:mixed down
404:Pet Sounds
353:sound card
142:tape heads
80:newspapers
1599:Sequencer
1526:PA system
1455:Subwoofer
1440:PA system
1374:Amplifier
1336:Hard disk
1253:Equalizer
843:metronome
739:Pro Tools
731:FL Studio
708:softsynth
667:Focusrite
647:IEEE 1394
583:Mary Ford
316:hard disk
278:. Though
268:digitized
266:could be
216:orchestra
165:Pro Tools
1647:ProTools
1624:Software
1614:Theremin
1554:Chiptune
1511:Foldback
1341:MiniDisc
905:See also
795:Audacity
787:Jokosher
767:Mixcraft
694:Software
679:PreSonus
579:Les Paul
387:producer
365:sel-sync
235:such as
1743:Tape op
1594:Sampler
675:M-Audio
559:History
553:upmixed
545:remixes
479:updated
373:bounced
333:Toto IV
294:Process
225:overdub
94:scholar
1857:(NIME)
1531:Reverb
1066:
987:TASCAM
977:Reverb
932:Fostex
815:stereo
810:delays
808:, and
806:chorus
802:reverb
791:Ardour
771:REAPER
759:Cubase
755:Nuendo
723:Reason
487:submix
463:stereo
409:Motown
237:reverb
193:tracks
138:TASCAM
96:
89:
82:
75:
67:
1809:STEIM
1804:SMPTE
1779:IRCAM
1244:(DAW)
992:Revox
972:Remix
827:drums
763:Logic
575:Ampex
443:takes
439:takes
288:track
201:track
101:JSTOR
87:books
1579:MIDI
1351:Opus
1064:ISBN
853:and
833:and
793:and
781:and
773:and
761:and
712:VSTi
704:MIDI
677:and
671:MOTU
635:MIDI
585:and
529:only
520:only
502:and
483:mono
431:Korg
420:TEAC
418:The
328:Toto
312:ADAT
229:take
136:The
73:news
1346:MP3
1331:DAT
880:'s
870:or
851:key
847:key
789:to
655:USB
651:PCI
633:or
625:or
605:or
603:Mac
573:at
549:DJs
471:5.1
349:CPU
345:RAM
176:MTR
56:by
1896::
1688:DJ
1097:,
1058:.
897:.
866:,
829:,
804:,
777:.
769:,
757:,
753:,
749:,
745:,
741:,
737:,
733:,
729:,
725:,
681:.
669:,
661:,
617:.
607:PC
450:.
401:'
397:.
207:.
1175:e
1168:t
1161:v
1072:.
1041:.
174:(
123:)
117:(
112:)
108:(
98:·
91:·
84:·
77:·
50:.
20:)
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