ERA 3 - CHARACTERISTICS

Era 3 - Large-scale ‘Analogue’ Multitrack recordings (1969 - 1995)

• Covers 3 decades of recording techniques (70s, 80s and 90s)

• Overlaps with digital in the 80s but only concerned with analogue recording.

• Considered Golden age of recording (with development techniques

• Musicians do not need to record at the same time

• Same musician can record all parts (Stevie Wonder)

Capture

• Noise

• Overdubbing (established studio technique)

Capture - Noise

• Less noise - Noise reduction technology and tape machines improved (Dolby Noise reduction)

• Distortion (Tape Saturation) caused by high gains (recording ‘hot’) - Recording with high gains to improve Signal-to-noise ratio was still common

• Surface noise (scratching and crackle) from the disc

Capture - Overdubbing (established studio technique)

• 8 and 16 track recorders became available in the late 60s and soon 24 track recorders were the standard.

• More space for overdubs and multiple mics

• Multiple mic techniques meant better separation of parts. (Drums could be mic’ed up separately meaning more definition with kick drum especially). - Much more clarity
  More space for overdubs meant it was less important if the musician made a mistake - easy to redo takes

• Elaborate arrangements and big production with more instruments were now possible

• Less need for bouncing down so quality is retained

• Synchronisation also improved and so bands could create songs with 48-tracks

Instrumentation

• Solid body Electric Guitar

• Minimoog - Portable analogue synth

• Electric Pianos - Rhodes, Wurlitzer and Clavinet

• Experimentation with world music and orchestral instruments

Instrumentation - Solid Body Electric Guitars

• Remains at the forefront of multiple genres with ever increasing virtuosity and techniques

• Signature models are available as brands are linked to high-profile guitarists

• Large guitar rigs for arena concerts for Stadium Rock (e.g. Marshall stacks) -

Mix

• EQ

• Dynamic Processing

• FX

Mix - EQ

• Full frequency range due to high-quality tape recorders (15ips and 2inch tape) and mics

• Processing available on mixing consoles to shape individual tracks

• High quality outboard gear and parametric EQ available for full control of frequency range

Mix - Dynamic Processing

• Use of high-quality processors like the LA-2A and UREI1176 to control levels and reduce the dynamic range (increase perceived loudness)

• Overall punchier sound.

• Compressors were often used in the recording stage to control levels and became part of the character of the sound but also compressed in the ‘mix’ stage

Mix - FX

REVERB

• Outboard reverb units including the industry standard Lexicon 224 ‘digital’ reverb unit in the late 70s.

• Plate, spring and echo chambers were still extensively used in big budget studios.

DELAY

• Outboard delay units such as the Roland Space Echo became a cheaper alternative to creating the effect rather than using multiple tape recorders

• Used Time-Based Delay

Modulation FX

• Tremolo

• Chorus

• Flanger

• Phaser

ERA 3 MAIN THEMES

• MORE TRACKS = MORE CONTROL

• Remastering

• Limitation of technology

• Dealing with noise

• Close Mic techniques

• Synth settings and parameters

• FX processing

• Stereo Field

• Balance