Early Multitrack Recording (1964-1969) Flashcards
By the early 60s, multitrack machines were common in professional studios, with instrumental parts recorded ?
Separately.
Early ? machines could record three or four tracks simultaneously: engineers would record lead vocals on one track and spread the remaining parts across other tracks, known as “?-?” and “?-?”.
Multitrack.
Dropping in.
Dropping out.
With early ? recording, there was a lot of sub-mixing taking place during the initial capture.
Mono.
Drums would’ve several mics but only one track on the ? machine.
Tape.
Larger ensembles would’ve to be recorded as ? ambient recordings; close miked larger ensembles couldn’t be captured ?
Stereo.
Live.
In order to record more layers of instruments on tape machines, engineers used to ? ? mixes while recording, meaning music would be recorded onto several tracks of a tape machine and, once full, the engineer would create a mix and record them to an empty track on another ? ?
Bounce down.
Tape machine.
On a four-track recorder, this would leave the other three tracks, which were often used for vocal ?
Overdubs.
? and artists had to be happy with all aspects of the sound before they could move on.
Producers.
If one ? ? is playing faster or slower than the other, it’ll change ? and ? of the recording when played back on the other machine.
Tape machine.
Pitch.
Speed.
Every time an engineer ? the recording down to a new track, there was potential to add ? to the recording.
Bounced.
Noise.
