Is there a ballpark dividing line where the various elements of a
recording, the lead vocal, the instrumentation, and the background >singingwere all recorded at the same time as opposed to those various >elements being recorded separately, like after and on top the the >instrumental track.
Such as, I'm guessing the various elements of Don' Be Cruel were all
recorded simultaneously, whereas jumping up to the Beatles, multi, multi >tracks per recording.
So could provide some examples close to or at the end of the former, and
the beginning of the latter ?
I hope I'm asking this correctly, because I had a little trouble with it
in my head.
Thanks,
On Sat, 22 Mar 2025 12:38:28 -0700, Steve Mc
<stevemc209@sbcglobal.net> wrote:
Is there a ballpark dividing line where the various elements of a >>recording, the lead vocal, the instrumentation, and the background >>singingwere all recorded at the same time as opposed to those various >>elements being recorded separately, like after and on top the the >>instrumental track.
Such as, I'm guessing the various elements of Don' Be Cruel were all >>recorded simultaneously, whereas jumping up to the Beatles, multi, multi >>tracks per recording.
So could provide some examples close to or at the end of the former, and >>the beginning of the latter ?
I hope I'm asking this correctly, because I had a little trouble with it
in my head.
Thanks,
Is the point one way better than the other? In fact I'm not sure I
can provide specific records production processes without having been
at the studio at the time or having read or been told how the record
was produced. I started recording in studios in 1958 and we simply
recorded it all at the same time at first but gradually moved to
tracking the song with a guide vocal. The first studio I was in was a
mono studio. Then at King Records in Cincinnati they had a stereo
board so you could bounce tracks if you needed or wanted to OD
something. This would be 1959. Then it was 4-track decks. By the time
I got to New York in 1966 it was up to 8 tracks then 16. Of course the >recorders kept adding more tracks to record on. The more tracks you
had the easier it was to OD more tracks. When you had 4 like the
Beatles did all you had to do to keep ODing tracks was to keep one
open. In other words keep bouncing tracks and combining then to one.
I think just tracing the evolvment of recording technology pretty much
tells the story on this.
Is there a ballpark dividing line where the various elements of a
recording, the lead vocal, the instrumentation, and the background singingwere all recorded at the same time as opposed to those various elements being recorded separately, like after and on top the the instrumental track.
On Sat, 22 Mar 2025 23:05:03 -0500, Jim Colegrove
<coolg@thecoolgroove.com> wrote:
On Sat, 22 Mar 2025 12:38:28 -0700, Steve Mc
<stevemc209@sbcglobal.net> wrote:
Is there a ballpark dividing line where the various elements of a >>>recording, the lead vocal, the instrumentation, and the background >>>singingwere all recorded at the same time as opposed to those various >>>elements being recorded separately, like after and on top the the >>>instrumental track.
Such as, I'm guessing the various elements of Don' Be Cruel were all >>>recorded simultaneously, whereas jumping up to the Beatles, multi, multi >>>tracks per recording.
So could provide some examples close to or at the end of the former, and >>>the beginning of the latter ?
I hope I'm asking this correctly, because I had a little trouble with it >>>in my head.
Thanks,
Is the point one way better than the other? In fact I'm not sure I
can provide specific records production processes without having been
at the studio at the time or having read or been told how the record
was produced. I started recording in studios in 1958 and we simply
recorded it all at the same time at first but gradually moved to
tracking the song with a guide vocal. The first studio I was in was a
mono studio. Then at King Records in Cincinnati they had a stereo
board so you could bounce tracks if you needed or wanted to OD
something. This would be 1959. Then it was 4-track decks. By the time
I got to New York in 1966 it was up to 8 tracks then 16. Of course the >>recorders kept adding more tracks to record on. The more tracks you
had the easier it was to OD more tracks. When you had 4 like the
Beatles did all you had to do to keep ODing tracks was to keep one
open. In other words keep bouncing tracks and combining then to one.
I think just tracing the evolvment of recording technology pretty much >>tells the story on this.
Remember that mono 45 rpm singles were the coin of the realm when they
took over the market from 78 rpm singles. The point here is a stereo
single wasn't even on the market until 1958. The juke boxes, radio
stations and record players were all mono devices. Even the Beatles
thought mono for the first pressings of their 45s.
Even though recordings with ODs took place as early as 1941, the
overdubbing paradigm arrived with the prolieration of multi-track
recording equipment. RCA was doing two-channel stereo recordings
(classical) as early as 1953. But the arrival of magnetic tape spurred
it on. "How High the Moon" by Les Paul and Mary Ford is an early
example of overdubbing. In R&R, Buddy Holly did it on some of his
hits. Prior to all of it they used two mono machines to create
overdubbing.
Les Paul is the most obvious person to popularize the process with his multi-recording head equipment and technical applications.
On Sun, 23 Mar 2025 09:24:03 -0500, Jim Colegrove
<coolg@thecoolgroove.com> wrote:
On Sat, 22 Mar 2025 23:05:03 -0500, Jim ColegroveMore on overdubbing:
<coolg@thecoolgroove.com> wrote:
On Sat, 22 Mar 2025 12:38:28 -0700, Steve McRemember that mono 45 rpm singles were the coin of the realm when they
<stevemc209@sbcglobal.net> wrote:
Is there a ballpark dividing line where the various elements of aIs the point one way better than the other? In fact I'm not sure I
recording, the lead vocal, the instrumentation, and the background
singingwere all recorded at the same time as opposed to those various
elements being recorded separately, like after and on top the the
instrumental track.
Such as, I'm guessing the various elements of Don' Be Cruel were all
recorded simultaneously, whereas jumping up to the Beatles, multi, multi >>>> tracks per recording.
So could provide some examples close to or at the end of the former, and >>>> the beginning of the latter ?
I hope I'm asking this correctly, because I had a little trouble with it >>>> in my head.
Thanks,
can provide specific records production processes without having been
at the studio at the time or having read or been told how the record
was produced. I started recording in studios in 1958 and we simply
recorded it all at the same time at first but gradually moved to
tracking the song with a guide vocal. The first studio I was in was a
mono studio. Then at King Records in Cincinnati they had a stereo
board so you could bounce tracks if you needed or wanted to OD
something. This would be 1959. Then it was 4-track decks. By the time
I got to New York in 1966 it was up to 8 tracks then 16. Of course the
recorders kept adding more tracks to record on. The more tracks you
had the easier it was to OD more tracks. When you had 4 like the
Beatles did all you had to do to keep ODing tracks was to keep one
open. In other words keep bouncing tracks and combining then to one.
I think just tracing the evolvment of recording technology pretty much
tells the story on this.
took over the market from 78 rpm singles. The point here is a stereo
single wasn't even on the market until 1958. The juke boxes, radio
stations and record players were all mono devices. Even the Beatles
thought mono for the first pressings of their 45s.
Even though recordings with ODs took place as early as 1941, the
overdubbing paradigm arrived with the prolieration of multi-track
recording equipment. RCA was doing two-channel stereo recordings
(classical) as early as 1953. But the arrival of magnetic tape spurred
it on. "How High the Moon" by Les Paul and Mary Ford is an early
example of overdubbing. In R&R, Buddy Holly did it on some of his
hits. Prior to all of it they used two mono machines to create
overdubbing.
Perhaps the earliest commercial issue of recordings with overdubs was
by RCA Victor in the late 1920s, not long after the introduction of
electric microphones into the recording studio. Recordings by the late
Enrico Caruso still sold well, so RCA took some of his early records
made with only piano accompaniment, added a studio orchestra, and
reissued the recordings.
Sidney Bechet made a pair of famous overdubbed sides in 1941, "Sheik
of Araby" and "Blues of Bechet". Multi-instrumentalist Bechet recorded
on six different instruments; each version had to be recorded onto a
new master disc along with the preceding performance, with consequent
loss of audio quality. The novelty was issued as "Sidney Bechet's One
Man Band". The American Federation of Musicians protested the
recording, putting an end to experiments with commercial overdubbing
in the United States for years.
The invention of magnetic tape, developed in Germany in 1928, based on
the earlier magnetic wire recording from Denmark, opened up new
possibilities for overdubbing, particularly with the development of multitrack recording. The first commercially released overdubbed
recording made on multitrack magnetic tape was by guitarist Les Paul,
whose 1947 record "Lover (When You're Near Me)", featured eight
different electric guitar parts.
Les Paul is the most obvious person to popularize the process with his multi-recording head equipment and technical applications.
There is a book titled:
America on Record: A History of Recorded Sound
by Andre Millard
1995
You may find it valuable.
--
BR
There is a book titled:
America on Record: A History of Recorded Sound
by Andre Millard
1995
You may find it valuable.
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