Multitrack recording ( MTR ) - also known as multitracking , double tracking , or tracking - is a sound recording method developed in 1955 that allows separate recording of different sound sources or sound sources recorded at different times to create a cohesive whole. Multitracking became possible in the mid-1950s when ideas simultaneously recorded different audio channels to separate discrete "tracks" on the same reel-to-reel bands developed. "Track" is just a different channel recorded to its own discrete area on a recording where the relative sequence of recorded events will be preserved, and playback will be simultaneous or synchronized.
Multitrack recording is a significant technical improvement in the sound recording process, as it allows studio engineers to record all instruments and vocals for a piece of music separately. Prior to the development of multitrack recordings, all singers, instrumentalist bands, and/or orchestra accompanists should sing and play together. Multitracking allows engineers to adjust the level and tone of each track, and if necessary, repeat a particular track or overdub of the track section to correct errors or get better "take". In addition, different electronic effects such as reverbs can be applied to certain tracks, such as the main vocals, while not being applied to other tracks where this effect is undesirable (for example, on an electric bass). Multitrack recording is more than just technical innovation; It also allows producers and recording artists to create new sounds that are impossible to create outside the studio, as the lead singer adds a lot of vocal harmony with their own voices to their own main vocal parts, electric guitar players play many parts of harmony along with their guitar solos own, or even record a drum and repeat the track backwards for unusual effects.
In the 1980s and 1990s, computers provided a means of enabling sound and reproduction recording to be digitized, revolutionizing audio recording and distribution. In the 2000s, multitracking hardware and software for computers was of sufficient quality for widespread use for high-end audio recording by professional sound engineers and band recording without studio using a widely available program, which can be used on high-end laptops -end. computer. Although the magnetic tape has not been replaced as a recording medium, the advantages of non-linear editing (NLE) and recording have resulted in a digital system that largely replaces the tape. Even in the 2010s, with digital multitracking being the dominant technology, the original "track" was still used by audio engineers.
Video Multitrack recording
Process
Multi-tracking can be achieved with analog recording, tape-based equipment (from simple, late 1970s tape-based four-track Portastudios, up to eight cassette track machines, up to 2 "24-track reel machines), storage-dependent digital equipment recording of digitally recorded data (such as an eight-track ADAT machine) and hard disk-based systems that often use computer and audio recording software Multi-line recording devices vary in specifications, such as the number of simultaneous tracks available for recording at a time, in cases this ribbon-based system is limited by, among other factors, the physical size of the tape used.
With the introduction of the SMPTE timecode in the early 1970s, engineers began using computers to harmonize separate audio and video playbacks, and/or multiple audio tape machines. In this system, one track of each machine carries timecode signals, while the remaining tracks are available for voice recording. Some large studios are able to connect multiple 24-track machines together. An extreme example of this occurred in 1982, when the rock group Toto recorded Toto IV on three synchronized 24-track machines. This arrangement theoretically provides up to 69 audio tracks, which is much more than is required for most recording projects.
For computer-based systems, the trend in the 2000s was toward an unlimited number of track records/playbacks, although problems like available RAM and CPU memory limited this from machine to machine. In addition, on computer-based systems, the number of available recording tracks simultaneously is limited by the number of discrete analog sound cards or digital inputs.
While recording, audio technicians can choose which tracks (or tracks) on the device will be used for each instrument, sound, or other input and can even integrate one song with two instruments to change available sound and music options. At a certain point on the cassette, one of the tracks on the recording device can record or play back using a Sync Selective sync-cell or recording. This allows an artist to be able to record onto track 2 and, simultaneously, listen to songs 1, 3 and 7, enabling them to sing or play accompaniment to the performance already recorded on this track. They may then record an alternative version on track 4 while listening to other songs. All tracks can be played back in perfect sync, as if they were originally played and recorded together. This can be repeated until all available tracks have been used, or in some cases, reused. During mixing a separate set of playback head with higher fidelity is used.
Before all tracks are filled, a number of existing tracks can "bounce" into one or two tracks, and the original tracks are removed, making more room for more tracks to reuse for new recordings. In 1963, The Beatles used twin songs for Please Please Me . The Beatles producer George Martin used this technique extensively to achieve some track results, while still limited to using only a few four-track machines, until an eight-track machine became available during the recording of The Beatles White Album. The Beach Boys' Pet Sounds also made the use of innovative multitracking with an 8-track machine that day (circa 1965). Motown also began recording with an 8-track machine in 1965 before moving to a 16-track machine in mid-1969.
Multitrack recording also allows each recording artist to record some "take" of any particular part of their performance, allowing them to improve their performance for virtual perfection by making additional "take" tracks or instrumental tracks. Recorder recorders can only record the part that is being done, without deleting another part of the song. The process of changing the recording mechanism on and off is called "punching" and "punching out". (See "Incoming/outbreaks".)
When the recording is complete, many tracks are "mixed down" through the mixing console to a two-track stereo recorder in a format that can then be duplicated and distributed. (Movie and DVD soundtracks can be mixed into four or more tracks, as required, the most common being five tracks, with the addition of the Low Frequency Effects song, the "5.1" surround sound is most often available on DVD.)
Most of the recording, CDs and tapes that are commercially available at the music store are recordings that were originally recorded on multiple tracks, then assembled into stereos. In some rare cases, such as when older songs are technically "updated", this stereo (or mono) mix can in turn be recorded (as if it were a "submix") to two (or one) multitrack recording tracks, additional sound (track) to superimpose on the remaining tracks.
Maps Multitrack recording
Flexibility
During multitracking, multiple musical instruments (and vocals) can be recorded, either individually or simultaneously, onto individual tracks, so that recorded sounds can be accessed, processed, and manipulated individually to produce the desired result. In 2010, many rock and pop bands recorded each piece of the song one by one. First, bass and drums are often recorded, followed by chordal rhythm instruments. Then the main vocals and guitar solos were added. As a last resort, vocal harmony is added. On the other hand, the orchestra is always recorded with 70 to 100 instrumentalists playing their part simultaneously. If each instrument group has its own microphone, and each instrument with a solo melody has its own microphone, different microphones can record on multiple tracks simultaneously. After recording the orchestra, the recording producer and conductor can adjust the balance and tone of different instrument parts and solo instruments, as each piece and solo instrument is recorded onto its own path.
With a rock or pop band example, after recording some parts of a song, an artist might listen to just the guitar part, by 'turning off' all tracks except the one where the guitar was recorded. If someone then wants to listen to the main vocals in isolation, he will do so by turning off all the tracks apart from the main vocal path. If someone wants to listen to the whole song, someone can do it by rooting out all the tracks. If someone does not like the guitar part, or finds an error in it, and wants to replace it, someone can do it by re-recording only the guitar part (ie, re-record only the song in which the guitar was recorded), rather than re-recording the entire song.
If all sounds and instruments in the recording are individually recorded on different tracks, then the artist can maintain full control over the final sculpture of the song, during mix-down (re-record to two stereo tracks for mass distribution) stage.
For example, if an artist wants to apply one unit of effect to the synthesizer part, different effects for the guitar part, the 'reverb' effect to the main vocals, and different effects for all drums and percussion instruments, they can not do if they all originally recorded together onto the same track. However, if they have been recorded onto a separate track, then the artist can combine and change all instruments and vowel sounds with complete freedom.
Making a song multitracking also opens up remix possibilities by the same or upcoming artist, such as DJ. If the song is not available in a multitrack format recording, remixing artist work can be very difficult, or impossible, because once the track has been re-recorded together during the mixdown phase, it can not be separated. Theoretically, one could use selective frequency filters for this, but in reality this has not been done with a great success rate because of the multi-harmonic (has many frequencies) properties of many musical instruments and sounds.
History
This process was conceived and developed by Ross Snyder at Ampex in 1955 which produced the first Sync-Cell machine, an 8-track machine that used a 1-inch band. The 8-track recorder is sold to American guitarist, songwriter, luthier, and inventor Les Paul for $ 10,000. This is known as "Octopus". Les Paul, Mary Ford and Patti Page used technology in the late 1950s to improve vocals and instruments. From this beginning, it developed in the following decades into a mainstream recording technique.
With computer
Since the early 1990s, many players have recorded music using only the PC as a tracking machine. The computer must have a sound card or other type of digital audio interface with one or more analog-to-digital converters. Multitrack recording software must be installed on the computer. The microphone is required to record the sound of a vocalist or an acoustic instrument. Depending on the ability of the system, some instruments, such as synthesizers or electric guitars, can also be sent to the interface directly using the Line or MIDI input levels. Direct input eliminates the need for a microphone and can provide various other voice control options.
There is a tremendous difference in the computer's audio interface. Such units vary greatly in price, sound quality, and flexibility. The most basic interface uses an audio circuit built into the computer's motherboard. The most advanced audio interface is an external unit of professional studio quality that can cost thousands of dollars. Professional interfaces typically use one or more IEEE 1394 connections (commonly known as FireWire). Other types of interfaces can use internal PCI cards, or external USB connections. Popular producers of high quality interfaces include Apogee Electronics, Avid Audio (formerly Digidesign), Echo Digital Audio, Focusrite, MOTU, RME Audio, M-Audio, and PreSonus.
Microphones are often designed for very specific applications and have a major effect on the quality of recording. One studio quality microphone can cost $ 5,000 or more, while a consumer quality recording microphone can be purchased for less than $ 50 per card. The microphone also requires some kind of microphone preamplifier to prepare the signal for use by other equipment. These preamplifiers can also have a major effect on sound and come in different price ranges, physical configurations, and skill levels. Microphone preamplifier can be an external unit or a built-in feature of other audio equipment.
Software
Multitrack recording software can record multiple tracks at once. It generally uses graphical notation for the interface and offers a number of music displays. Most multitrackers also provide audio playback capabilities. Some multitrack software also provides MIDI playback functionality not only for audio; during playback MIDI data is sent to a softsynth or virtual instrument (eg, VSTi) that converts data into audio sound. Multitrack software can also provide other eligible features called digital audio workstations (DAW). These features can include a variety of views including music score displays, as well as editing capabilities. Often there is overlap between many categories of music software. In this case, full featured scorewriters and multitrackers like DAW have similar features for playback, but may have less in common for editing and recording.
Multitrack recording software varies greatly in price and capability. Popular multitrack recording software programs include: Propellerhead Reasons, Ableton Live, FL Studio, Adobe Audition, Pro Tools, Digital Performer, Cakewalk Sonar, Samplitude, Nuendo, Cubase and Logic. Lower cost alternatives include Mixcraft, REAPER and n-Track Studio. Open-source and Free software programs are also available for multitrack recording. These range from very basic courses such as Audacity and Jokosher to Ardor, who are able to perform many of the functions of the most advanced programs.
Instruments and sounds are usually recorded as individual files on the computer's hard drive. It serves as a track that can be added, deleted or processed in many ways. Effects such as reverb, chorus, and delay can be applied by electronic devices or by computer software. Such effects are used to form sounds as desired by the producer. When the producers are happy with the recording of the recorded song can be mixed into a pair of new stereo tracks in the multitrack recording software. Finally, the final stereo recording can be written to a CD, which can be copied and distributed.
Recording sequence
In modern popular songs, drums, percussion instruments and electric bass are often the first recorded instruments. This is the core instrument of the rhythm section. Musicians record the track then use the proper attack of the drum sound as a rhythmic guide. In some styles, drums can be recorded for several bars and then looped. Track Click (metronome) is also often used as the first recorded sound, especially when the drummer is not available for initial recording, and/or the final mix will be synchronized with motion pictures and/or video images. One of the reasons that a band can start just with a drum is because it allows the band to pick the key track later. Producers and musicians can experiment with key and song arrangements against basic rhythm tracks. Also, although the drum can eventually be mixed onto multiple tracks, each drum and percussion instrument may be initially recorded onto each track. The combination of drums and percussion can occupy the many tracks used in the recording. This is done so that each percussion instrument can be individually processed for maximum effect. Equations (or EQs) are often used on individual drums, to elicit the sounds of individual characteristics. The last recorded tracks are often vocals (although temporary vocal tracks can be recorded earlier either as a reference or to guide the next musician; this is sometimes called "Vocal Guides", "Ghost Vocals" or "Scratch vocals"). One reason for this is that the singers will often upset their vocal expressions according to the accompaniment. Producers and songwriters can also use guidance/scratch vocals when they do not just iron out all the lyrics or for flexibility based on who sings the main vocals (like Eric Woolfson from The Alan Parsons Project do it often).
Music concert
For classical and jazz recordings, especially instruments where multitracking is chosen as a recording method (as opposed to direct stereo, for example), different settings are used; all tracks are recorded simultaneously. Sound barriers are often placed between various groups within the orchestra, eg pianist, violinist, percussionist, etc. When obstacles are used, these groups listen to each other through headphones.
See also
References
External links
- n-Track Studio - Multitrack recording software
- [1] "All You Need Is Ears" by George Martin, P. 148-157
- History of Magnetic Recording
- Recording Technology History
- Der Bingle Technology
- "Both Current Side" web page at Ampex Records
- AES History Committee: Ampex History Project
Source of the article : Wikipedia
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