Component 3 Era 2 Flashcards

Question

What does PFL (Pre-Fader Listen) do?

Answer 1

Routes a channel’s signal to headphones or a dedicated monitor output before the fader.

Answer 2

A transducer that converts string vibrations into an electrical signal.

Answer 3

A type of artificial reverb created by sending an audio signal through a large metal plate.

Answer 4

Adjusts the left-right balance of a channel in a stereo mix.

Answer 5

The persistence of sound after the original sound source has stopped.

Answer 6

The process of reprocessing a previously mixed recording to improve its sound quality.

Answer 7

A major company in the recording industry during the 1960s.

Answer 8

The level of the desired audio signal compared to the level of background noise.

Answer 9

A delay effect characterized by a single, quick echo that follows the original sound.

Answer 10

An electric guitar with a solid body, minimizing feedback.

Answer 11

The unintended capture of sound from one source by a microphone intended for another.

Answer 12

A reverb effect produced by sending an audio signal through springs.

Answer 13

Stereophonic sound uses two or more audio channels to create spatial dimension.

Answer 14

A summed mix of several channels routed to a bus.

Answer 15

An unbalanced audio connector commonly used for instrument cables.

Answer 16

Carries either a balanced mono signal or a stereo unbalanced signal.

Answer 17

An effect pedal that creates a vocal 'wah' sound through frequency sweeping.

Answer 18

A tremolo arm attached to an electric guitar to bend the pitch of notes.

Answer 19

A three-pin balanced connector widely used for professional audio connections.

Answer 20

Key Developments in Capture: * Analogue Tape Recording: By this time, studios used improved analogue tape (with better formulations for higher signal-to-noise ratios and wider frequency response) to record performances. Tape replaced direct-to-disc methods and offered a much more forgiving medium that could be edited, spliced, and overdubbed. This allowed engineers to correct mistakes and to build a recording in layers rather than capturing an entire performance in one go. * Multitrack Recording: Multitracking had become more common during these years. Instead of recording a performance onto one or two channels, separate instruments and vocal parts were captured on individual tracks. This separation gave producers unprecedented control during the mix-down stage—each element could be balanced, processed, and panned independently, resulting in a more polished final product. * Live Room Capture and Microphone Technique: Even with multitracking, many sessions still began with capturing a live performance in a well-designed studio or room. Engineers used carefully placed microphones (often a combination of dynamic, condenser, and ribbon mics) to capture both the direct sound of each instrument and the natural room ambience. These choices influenced not only the clarity of individual instruments but also the overall “feel” of the performance. * Early Onset of Effects Processing: While the main capture process was still analogue and “live” at the time of recording, the flexibility of tape allowed engineers to later add processing. Techniques such as Automatic Double Tracking (ADT) were introduced to enhance vocals without requiring the performer to record multiple takes. Other effects—like delay (including slap back echo), flanging, and reverb (plate and spring types)—began to be used either during the mix-down or in subsequent processing to create the distinct sonic character of the era. Overall Impact: The improvements in analogue tape and multitrack recording revolutionised how performances were captured. Producers were no longer limited to a “one-shot” balance determined by microphone placement. Instead, they could record separate parts, experiment with overdubs, and apply a range of processing techniques to achieve a clearer, richer, and more dynamic sound. This era laid the groundwork for the sophisticated studio practices that would dominate popular music production in the following decades.

Answer 21

Musical Styles * Rock ‘n’ Roll and Rhythm & Blues: – The mid‑1960s witnessed the maturation of rock ‘n’ roll and R&B. Artists began exploring heavier, more amplified sounds, characterized by driving rhythms and prominent backbeats. – Influential acts from both sides of the Atlantic (including the British Invasion groups) blended American R&B with a new rock sensibility that would later evolve into hard rock and later metal. * Pop, Soul, and Folk Influences: – Alongside rock, there was a flourishing of pop music marked by layered vocal harmonies, catchy melodies, and more refined studio production. – The folk revival also gained momentum, often emphasising acoustic instruments, storytelling lyrics, and a return to simpler arrangements—though these recordings were frequently integrated with modern studio techniques for clarity and balance. * Emergence of Psychedelic and Progressive Sounds: – As the decade progressed, experimental approaches began to influence mainstream music. Psychedelic rock introduced extended instrumental passages, innovative effects, and unconventional song structures, reflecting the era’s cultural shifts and studio experimentation. Instrumentation * Electric Guitars and Effects: – Solid Body Electric Guitars: Designed to minimise feedback and enhance sustain, these became central to the rock sound. – Pickup Innovations: The introduction of hum-buckers provided a warmer, thicker tone compared with single-coils, and new effects like overdrive, fuzz, and the wah‑wah pedal gave electric guitars their distinctive edge. The whammy bar further allowed expressive pitch bending during solos. * Electric Bass and Drums: – The electric bass replaced the traditional upright bass for many genres, offering a punchier, more consistent low-end foundation. – Drum kits, often recorded with close miking and later processed through tape-based techniques, provided a dynamic and driving rhythmic backbone. * Keyboards and Organs: – Hammond Organs and Electric Pianos: These instruments added layered textures and rich timbres, used widely in soul, rock, and pop music. Their sound—often processed with reverb and other effects—became a hallmark of the era’s studio sound. * Multitrack and Auxiliary Techniques: – The advent of multitrack recording enabled instruments and vocals to be recorded on separate tracks. This allowed producers to experiment with overdubbing and to apply independent processing (such as EQ, delay, flanger, and plate or spring reverb) to each element. – Bus Sends and Sub-Mixes: Groups of instruments (for example, all drum elements) could be routed together via bus sends, processed uniformly, and then blended into the main mix. – Panning: With even basic stereo techniques emerging, producers began positioning instruments across the left–right field to create a sense of space, even when many releases were still ultimately mixed to mono.

Answer 22

Mixing and Processing in Era 2 (1964–1969) During the mid‑1960s, recording studios embraced analogue tape and multitrack techniques that revolutionized both the capture and later processing of musical performances. This period saw significant advances in how individual tracks were manipulated to create the final stereo (or mono) mix. Key aspects include: Equalization (EQ) * Purpose and Application: – EQ allowed engineers to tailor the tonal balance of each instrument or vocal track. – Early analogue mixers featured either fixed-band or rudimentary graphic equalizers to boost or cut frequencies in the low, mid, and high ranges. * Impact on the Mix: – By using EQ, engineers could reduce muddiness (for example, by cutting excessive low end on vocals) or add presence (by boosting mid or high frequencies on guitars and vocals). – This process was critical in blending disparate sound sources recorded on separate tracks, ensuring clarity and balance in the final mix. Dynamic Processing * Compression and Limiting: – The introduction of tube‑based compressors and limiters helped control the dynamic range of individual tracks and the overall mix. – Compression was applied to smooth out the differences between soft and loud passages, while preserving the “warmth” inherent in analogue tape. – Overdrive—often resulting from pushing tube amplifiers beyond their linear range—was used both as a creative effect and as a natural form of dynamic shaping, particularly on electric guitars. * Automatic Double Tracking (ADT): – ADT was a breakthrough processing technique that automatically duplicated a vocal (or instrument) track by splitting the signal, applying a short delay, and mixing it back with the original. – This provided a thicker, more layered sound without the need for the performer to record multiple takes. Effects (FX) * Delay and Echo: – Delay effects, commonly achieved through analogue tape loops, introduced echo effects such as slap-back echo—where a short, single repetition created a sense of space and depth. – These effects were used both subtly (to add ambience) and more dramatically (as part of the signature sound on many rock and pop recordings). * Reverb: – Artificial reverb units, including plate and spring reverb, were widely used to simulate the natural ambience of a performance space. – Plate reverb units offered a lush, smooth decay, while spring reverb—often built into guitar amplifiers—provided a more “bouncy” effect. * Modulation Effects – Flanger and Phaser: – Flanging was achieved by mixing the original signal with a slightly delayed copy whose delay time was modulated by a low-frequency oscillator (LFO), resulting in a sweeping “jet plane” sound. – Phaser effects similarly modulated the phase of the signal, creating a distinctive, swirling quality that was popular in psychedelic rock. * Other Effects: – Overdrive effects, frequently used on electric guitars, contributed to a gritty, saturated tone that became a hallmark of rock music. – Although many studios of the era still recorded in mono for commercial release, the emerging use of stereo in high-fidelity recordings also allowed for creative spatial placement through panning.