Technology, Culture, and the Art of Studio Recording from Edison to the LP
Publication Year: 2013
Published by: The Johns Hopkins University Press
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Title Page, Copyright Page
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...y interest in the art of sound engineering was sparked by my early experience in a recording studio when my high school rock band, The Poor Girls, made a demo record at Cleveland Recording. That was in the days when you walked out of the studio with a ten-inch lacquer disc, or ?acetate,? in a paper sleeve, with one song on each side. Watching the engineer ...
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...0 n 1943, accordion player and bandleader Frankie Yankovic booked time in the studios of the Cleveland Recording Company during a two-week furlough before being shipped overseas. In one afternoon, Yankovic and his polka band cut thirty-two sides, about eight times the average number of songs expected in the standard three-hour recording session of that period. The stu-...
1 Capturing Sound in the Acoustic Era: Recording Professionals and Clever Mechanics
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...arly phonograph makers and recording companies bore little resem-blance to the large entertainment conglomerates they became by the end of the twentieth century. Beginning in small-machine shops and inven-tors? laboratories, they could be counted among the many specialty manufac-turing firms that composed the largest sector of American production in the ...
2 The Studio Electrifies: Radio, Recording, and the Birth of the Small Studio Business
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... ueled by the dance craze of the 1910s that introduced new steps such as the turkey trot and the foxtrot, the record industry, by World War I, had entered what some historians referred to as its first ?golden age.?1 By the early 1920s, the spectrum of recorded music had broadened to include more jazz, blues, gospel, and hillbilly music, and new record labels such as Gennett, ...
3 A Passion for Sound: Amateur Recordists, the Audio Engineering Society, and the Evolution of a Profession
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...wireless experimenters, mostly white, middle- to upper-class men and boys, found a resolution to the contradictions of modern life in mechani-cal and electrical tinkering, reclaiming a sense of mastery, even masculinity, through control of technology, so too did amateur recordists, fascinated with the ability to harness sound waves, seek to capture a moment in time or a musi-...
4 When High Fidelity Was New: The Studio as Instrument
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...ecord sales rebounded in the years leading up to World War II, and sound of records and to the acoustical properties of the studios in which they were made. While listeners enjoyed natural reverberation in live symphonic or big band performances, records could not convey room ambience in the same way because of the extraneous noise of shellac discs and the limited ...
5 Control Men in Technological Transition: Engineering the Performance in the Age of High Fidelity
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...fter World War II, a revolution took place in the recording stu-dio. In the spring of 1948, the first high-quality magnetic tape re-corders entered broadcast and recording studios, and Columbia in-troduced the 331/3 rpm long-playing microgroove record (LP). In 1952, binaural recording and reproduction systems were demonstrated at the Audio Fair, and ...
6 The Search for the Sound: Rhythm and Blues, Rock ’n’ Roll, and the Rise of the Independents
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Rhythm and Blues, Rock ?n? Roll, and the Rise of the Independentsuring the 1940s and 1950s, control men and sta? producers at Colum-bia, RCA Victor, Decca, Mercury, and Capitol refined their recording techniques and established slick production values for the classical, popular, and swing artists signed to those labels. This same period also wit-...
7 Channeling Sound: Technology, Control, and Fixing It in the Mix
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...uring the 1950s, recording engineers balanced, or mixed, the relative volumes of instruments during recording based on what they heard coming out of a single control room monitor. With stereo, engineers had to approach their art in a completely new way. Rather than one or two mi-crophones being fed into a single channel to be reproduced by a single speaker, ...
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...n 1970, Billboard proclaimed the recording studio ?The Crucible of Cre-ativity.? No longer a facility for merely transferring an artist?s performance to disc, the studio was now ?the chief tool of the producer . . . the final cata-lyst, the crucible wherein the talents of producer, artist, songwriter and mu-sician may be brought together and into the market place and exposed to the ...
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Essay on Sources
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When I began my research in 1995, there were only a few studies in the history of the phonograph, fewer still in the history of sound recording, and nothing that traced the history of studio recording or sound engineering from the acoustic period through to the advent of digital sound. Edward R. Kealy?s dissertation, ?The Real Rock Revolution: Sound Mixers, Social Inequality, and the Aesthetics of Popular Music Production? (PhD ...
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Page Count: 320
Illustrations: 16 b&w photos
Publication Year: 2013
Series Title: Studies in Industry and Society
Series Editor Byline: Philip B. Scranton, Series Editor Published with the assistance of the Hagley Museum and Library