Recording - October 2012 - 16

Suddenly “everybody” could be a “producer”! Distribution: the MP3 and the consumer’s acceptance of bad quality audio, and the decline in retail sales its availability resulted in.” Neil Dorfsman, producer/engineer/mixer (neildorfsman.com): “The ability to record (and punch-in) “non-destructively”. Can’t tell you how many sessions, musicians, engineers and producers were mangled & stressed and done-in before the incredible invention of RAM.” Toby Gad, Hit Maker (tobygad.com): “25 years ago I dabbled with Logic on an Atari computer. You needed a million dollars 25 years ago for something you can do now for $1000 with one program that unites audio recording, audio processing, sequencing, sampling, synthesizing, drum sequencing, etc... That’s useful, astonishing and shifts the power back to the creative force.”

Michael Laskow, Founder and CEO, TAXI (taxi.com): “GarageBand! I know it’s considered entry level, but that’s exactly the point! Having a fully functional basic studio available to people just starting out is a game changer. Additionally, iTunes makes it possible to earn money from digital sales. Apple seems to get it all right!” Mark Needham, mix engineer (markneedham.com): “I started on a 4-track Crown tape recorder in 1970 and a 4-input Altec tube mixer. This afternoon, I am mixing a 200-plus track session on a digital console, and streaming the audio halfway around the world. Almost everything I do today, I would never have imagined possible when I started!” Mike Pappas, recording engineer: “The democratization of the recording process through the use of personal computers and software replacing studios and tape machines, allowing anyone with modest means to record themselves.” Mike Rivers, recording engineer (mikeriversaudio.wordpress.com): “The TEAC 144 Portastudio (1979), the first practical moderately priced recorder that allowed a musician to build up a multi-track project with nothing else but a microphone and a set of headphones. The Alesis ADAT (1991) completely turned both the hobbyist and professional recording industry on its ear. The iPhone—you can record on it and distribute your recording without it leaving your hand. The biggest change in distribution is the Internet. No middleman necessary.”

David Glasser, owner/mastering engineer, Airshow Mastering (airshowmastering.com): “Most astonishing? For someone who was used to lugging cases of analog tape through airports after a gig, I’m astonished by the Internet, and the ability to transfer huge amounts of data quickly anywhere in the world.” Don Grusin, musician (dongrusin.com): “Recording [longdistance] in real time with fellow producers, players, and singers from around the world, simultaneously, and at the highest audio quality. The philosophy of ‘transcending time zones’ is almost a Zen-style dreamland...” Kirt R. Hamm, Conservatory of Recording Arts & Sciences, Phoenix, AZ (cras.edu): “The availability of affordable gear [...] means that it is more important than ever that users are properly educated in the proper use of gear. Recording schools are more important than ever! The distribution question can be answered in a single word—INTERNET! There still isn’t a single model that answers the question “how do the creators of content get paid?’” Holly Knight, songwriter, producer and musician (hollyknight.com): “The most helpful development for individual recording musicians? Japanese Toto toilets? Just kidding... Programs such as Pro Tools|HD that have made it possible to record out of our own studio instead of paying the $300 an hour that many studios were charging. The most surprising new thing? The ability to send MP3s and WAV files across the internet within seconds... recording with someone halfway around the world in real time for free... that’s a good one... “
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RECORDING October 2012

Michael C. Ross, recording engineer (studioexpresso.com/ profiles/michaelcross.htm): “High-quality digital recording has changed everything. An example: I recorded and mixed a record that is currently #1 in Turkey by an artist named Kenan Dogulu. After I returned to L.A., they made a few subtle changes to a few of the songs. Things like, changing a word in a few spots. They sent the files to me, I inserted them in to my mix, matched the sound I had gotten when I was there, printed the mix, then sent it to them for approval. This process took only a few hours. 20 years ago, this process was (I think) possible, but it would have taken days and cost thousands of dollars!” Darren Schneider, Full Sail University, Winter Park, FL (fullsail.edu): “The emulation of analog gear, compressors, and reverbs. It is hard to tell the difference between the real unit and the plug-in.”

http://www.taxi.com http://www.neildorfsman.com http://www.markneedham.com http://www.tobygad.com http://mikeriversaudio.wordpress.com http://www.airshowmastering.com http://www.dongrusin.com http://www.cras.edu http://www.studioexpresso.com/profiles/michaelcross.htm http://www.studioexpresso.com/profiles/michaelcross.htm http://www.hollyknight.com http://www.fullsail.edu

Recording - October 2012

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