Michael Bakrnchev

The Advancements in Recording Technology

By Michael Bakrnchev

S2744819

Subject : Info Tech Arts

Course Code : 1712QCM

i Michael Barknchev

Abstract

This assignment discusses the positive and negative aspects of the

advancements in recording technology since the 1980s, specifically within the

popular music genre.

Particular types of recording technology are looked at, with a small

discussion on the advantages and disadvantages of these advancements along with

any controversial issues that have come about.

ii Michael Barknchev

Table of Contents

Abstract ................................................................................................................... i

Table of Figures .................................................................................................... iii

Introduction ........................................................................................................... 1

Recording Technology ........................................................................................... 2

Auto Tune Technology .................................................................................................. 2

Overdubbing ................................................................................................................. 4

Remixing ....................................................................................................................... 4

Other Advancements .................................................................................................... 5

Computerised Technology ............................................................................................ 5

Electronic Synthesisers ................................................................................................. 6

Conclusion .............................................................................................................. 7

Reference List ........................................................................................................ 8

iii Michael Barknchev

Table of Figures

Figure 1 – Antares Auto Tune Example .................................................................. 3

Figure 2 - Example of an electric synthesiser ......................................................... 6

1 Michael Barknchev

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

advancement of studio recording techniques

The advancements in recording technology since the 1980s have assisted

musicians to strive for new levels of creativity and a higher level of performance,

particularly in the genre of popular music.

The advancements in the recording technology of this period of time will be

discusses, along with the positive, negative and controversial aspects of these

technological advancements.
2 Michael Barknchev

Recording Technology

Auto Tune 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

Recording Magazine (2010) as “a holy grail of recording”. The program allows

musicians to correct problems with intonation in vocals or solo instruments without

the use of distortion or artifacts (Antares Audio Technology [AAT], 2010). The
3 Michael Barknchev

„expressive nuance of the original performance‟ (AAT, 2010) is still maintained;

however the intonation in the final product is often much different to the original

recording.

Figure 1 – Antares Auto Tune Example

Retrieved from AAT. (2010). Antares Auto Tune Software. Retrieved April 29,
2010, from http://www.antarestech.com/

Leading arts business journalist Dan Daley1 (2003) writes:

Has the pursuit of perfection gone overboard? Listening to the radio, it

might seem as though the recorded vocal is experiencing something like what
the guitar underwent in the 1970s, when a proliferation of stomp boxes
spiced guitars with fuzz, flanging, wah-wah, phase-shifting, envelope
filtering and other processing flavours. (Daley, 2003)

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,

manufacturing, distribution and related issues globally.

4 Michael Barknchev

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

of this record' (Daley, 2003).

Evidently, it seems that there is a huge sense of self-satisfaction and pride when an

artist records without the support of an auto-tuning device. Moorer‟s producer RS

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

line as it plays underneath, is another significant advancement in recording

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

parts in their work (Dimitrijevski, n.d). Most significantly, overdubbing allows

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

sounds – such as orchestral strings – in live performances (Dimitrijevski, n.d).

Remixing

Along with overdubbing, remixing was also a significant advancement in recording

technology. This advancement in technology has allowed musicians to create a new

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version of their recording, by rebalancing or recombining the separate instrumental

or vocal tracks, and to reinterpret or rework an existing piece by altering aspects such

as rhythm or instrumentation (Fulford-Jones, 2007). The remixing process isn‟t

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-

recording and balancing of the instruments (Dimitrijevski, n.d). The advancements

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

computer software with the advancements in recording technology, programs such as

csound have been developed and are now easily used in the extremities in recording
6 Michael Barknchev

gear – from highly advanced recording studios, to the comfort of your own home

computer (Manning, 2010). Another significant development in computer software

is digital sampling, also known as MIDI. Established in 1983, MIDI allowed

synthesizers, drum machines and musical computer software to be linked (Burnand,

2010).

Electronic Synthesisers

Of these new developments, perhaps the most well known and sought after

instrument is the Electric Synthesiser. It is defined as “An electronic instrument,

usually incorporating a keyboard, capable of producing more complex sounds that

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

that are similar to those produced by other instruments.

Figure 2 - Example of an electric synthesiser

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

advancements of digital sampling, synthesizers and auto-tuning technology, the level

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.

While a number of recording technology advancements are controversial and have

advantages and disadvantages, none-the-less, they provide new creative outlets for

artists, and allow musicians to create music to their exact wishes.

8 Michael Barknchev

Reference List

Allans Music Online. (2010). Products. Retrieved from www.allansmusic.com.au

Burnand, D. (2010). MIDI (Musical Instrument Digital Interface). Retrieved from

Grove Music Online database.

Daley, D. (2003). Vocal fixes - modern vocal processing in practice. Retrieved

from http://www.soundonsound.com/sos/oct03/articles/vocalfixes.htm

Davies, H. (2010). Electronic Synthesisers. Retireved from Grove Music Online

database.

Dimitrijevski, A. (n.d). The influence of the analog recording technology on the

final product of the instrumental ethno pop music in the 1980s in Macedonia.
Retrieved from the Institute for Research and Archiving of music in Skopje-
Macedonia:
http://www.mmc.edu.mk/IRAM/Conferences/ContemporarytrendsIV/ADimitrijev
ski.pdf

Fulford-Jones, W. (2007). Remix. Retrieved from Oxford Music Online database.

Manning, P. (2010). Compuers and music. Retrieved from Oxford Music Online
database.

State Master Encyclopedia. (2010). Overdub. Retrieved from

http://www.statemaster.com/encyclopedia/Overdub