wider impact

Wider impacts

dynamic pracessing eg compression or limiting

• the more the tracks the more compression was important 1970s

• 1995 daw allowed copression to each track without harware compressors

• digital limiters could look ahead and see big peaks coming and act accordignyl to round them of so the avrg level could be increased without clipping digital signal this meant we could make music louder than before

• daw made it easy to change the amount of compression applied to any part and it was easy to add or remove compression

• from the 80s to the 2000s people were competing to see who could get the loudest tracks

• and people were remastering old tracks to make them as loud as possible

  • this was good for small speakers and phones as it was freindly to those users

DELAY WIDER IMPACT

• originally tape delay was created by sending signal to seprate tape machine

• the time it took to record on the tape and send to the playback head and send the signal back to the mix was the delay time

• this became slapback

digital delays 1980s

• digital tech was coming to the fore

• digital delays meant more precision of amount of feedback and timing of delays

they could be synced to any given bpm

• by the 200s delays became software plugins within daw

• this allowed variation of delay use and infinate amonts to as many tracks rather than having a specific number of external hardware unints

• the digital delays could also follow tempo changes through the track

• you can automate each parameter meaning you can change the variety of delays throughout the track and its easy to add specific delay to specific words on a track or notes

• ADT being really easy to create has made this normal for producters to thicken the vocal texture

digital sampling

• 1980s drum machines with built in sequencers so you could programme a short 1 or 2 bar pattern

• one shot sampling to trigger percussive sounds

• emu emulator

• editing samples was fiddly on small screens of these type of machines

• limited storage in early samplers meant only short sounds could be sampled

• limited number of sounds in memory at one time

• 1990s keyboards snyths and digital painos using sampling to create their sounds

• 2000s virtual instruments via daw

• abiility to pan and eq individual samples and editi them aswell

• copyright clearance is needed for samples

DAW production

• unlimited number of tracks available

• allows infinite takes and can easy compile them

• high sample rates

• editing is way faster so it takes less time and costs can be decreased

• visual editing of waveforms as you can see where it needs to be edited

• effects are available as plug ins

• you can add multiple effects onto as many track as you want

• ease to be able to apply multiple layers of effects and compression on all vocal elements allow for highly polished sound

• automation is easy allowing manipulation fo volume, panning

• can manipulate samples with time stretching and pitch shifting

• pitch and rhythm correction flex pitch

• reversed cymbals exist

• autotune for vocals is now there

• visual editing allows for precise rhythm correction of audio so lead and backing can be perfectly matched

sequencing

• hardware sequenceres allowed sequenced pattersn to be looped

• often 1 bar

• acoustic drums were replaced by sequenced drum machine parts suitable for edm

• quanitsed parts became mroe common

• you could get everything in time loses human feel

• swing could make this feel more human

• synthesisers were easier to use so used for chords or solo rather than guitar as you can just edit the notes in daw

• daw

• this tech allowed for all sequencing, smapling, recrdoign and effects processeing to be handled natively on the computer

• audio editing in sequnecer

• can change the velocity of hits via quanitse