Student Essays:
Student 1 Essay:
The influence of multi-track recording since the 1950’s
Since the 1950’s multi-track recording has driven the music industry to its peak and has been a huge
influence on the music we listen to today.
In the early 1950’s Tom Dowd (Atlantic records) was among the first people to use 4-track recording
in popular music. This spurred its use in other artist’s recordings like Les Paul (1957) who used the
first 8 track recorder (ampex 8 track). Also in 1957 Elvis Presley first used analogue magnetic tape
multi-tracking.
During the 1960s The Beatles and The Beach Boys were pioneers in multi-track recording. The
Beatle’s “A day in the Life” was probably used some of the most advanced multi-tracking techniques
to date.
In 1968 the first 16-track tape recorder was developed.
From then on artists like Pink Floyd and Mike Oldfield’s with his track “Tubular Bells” made
extensive use of the technology.
By 1975 digital tape replaced analogue magnetic tape in multi-track recording. This led to cleaner,
crisper audio quality.
With the advent of the CD and MIDI from 1981-1983, this was to change multi-tracking technology
forever into the digital world!
In 1984 Steinberg introduced the first version of Cubase with its earlier Pro-16 built in launching multitracking recording into the software world. This developed on the digital recording technology that
eventually became normal with the advent of the Alesis ADAT and Pro Tools in 1991.
From then on computers became steadily more powerful with software being enhanced and more
features being built in.
Today there is a huge choice of software DAW’s to do the job of multi-tracking recording including
Pro Tools, Cubase, FL Studio, Logic Pro etc. Multi-tracking in the music industry is the norm now
with the technology advancing still today!
Student 2 essay:
Multi-track recording has changed vastly since the 1950s. The early 1950s was when the utilisation of
the 4 track recording happened. Engineer Tom Down was among the first to use the 4 track recording
for popular music production whilst working for Atlantic Records. In 1956 Les Paul used the first 8track tape recorder to create multi-track recordings – Although tape recorders were still in common use
through the 1960s. The first of the Ampex 8-track recorders was sold to Les Paul for $10,000 in 1957
and was installed in his home recording studio by David Sarser.
The earliest multitrack recorders were analog magnetic tape machines with two or three tracks. Elvis
was first recorded on multitrack during 1957, as RCAs engineers were testing new machines.
In 1961, Phil Spector coined the phrase ‘Wall of sound’. This is the extensive use of layering mostly
percussion and other orchestral instruments onto a mono recording. An example of this can be found
on ‘The Crystals – Da Doo Ron Ron’.
In 1968 the first 16 track tape recorder was introduced. The 1970s saw the 4 track tape leading to
development of quadraphonic sound, in which each the four tracks was used to complete 360 degree
surround sound. Examples of use including Pink Floyds ‘The Dark Side of the Moon’ and Mike
Oldfields ‘Tubular Bells’, both released in stereo in 1970.
1975-1983 saw the digital tape recording being taken into professional audio stations, Phillips creating
the CD and the introduction of MIDI. Steinberg’s Cubase DAW began life in 1984. It was a music
program for the commodore 64 and Apple II work.
Later, in 2001 the introduction of Windows XP saw PC computers become extensively more powerful
which aloud for audio and midi sequencers to utilise more functional, or example having more audio
tracks, having better user interface.
Student Essay 3:
Multi-track recording vastly changed the music industry and has influenced recording for many years
now.
In 1956 Les Paul used the first 8-track tape recorder to create multi-track recordings, it was called an
Ampex 8-track recorder, it was bought for $10,000 and was known as the “Octopus”. This changed the
way recording studios worked. The industry now realized that instead of recording instruments within a
song all at the same time on one single track, they could layer instruments on a multi-track recording.
This improved sound quality and allowed for higher levels of sound engineering and manipulation.
The second Ampex 8 track recorder was sold to Atlantic Records in early 1958. Atlantic was the first
record company to use a multi-track recorder in their studio.
Abbey Road Studios installed Studer four-track machines in 1960, but The Beatles would not have
access to them until late 1963, and recordings before their first world hit single, ‘I want to Hold Your
Hand’ were made on two-track machines.
The Beach Boys’ had a significant, choir sound, to their tracks. This was achieved using multi-track
recording. In 1966 their acclaimed LP ‘Pet Sounds’ relied on multitrack recorders for its innovative
production. They started by recording all instrumental backing tracks with a large ensemble, recording
the performances live, direct to a four-track recorder. These recordings were then dubbed down to one
track of an eight-track tape. Six of the eight-track tapes were then used to individually record the vocals
of each member of the band and the final track was used for any final overdubs. This allowed the
recording engineers to manipulate the track which gave us the sound we know and love from The
Beach Boys today.
Student 4 Essay:
In the early 1950s an engineer called Tom Dowd was among the first to utilize 4-track recording whilst
working for Atlantic records. In 1956 Les Paul used the first 8-track tape recorder to create multi-track
recordings. In the following year the earliest multi-track recorders were analog magnetic tape machines
with two or three tracks. Elvis Presley was first recorded on a multi-track during 1957; when engineers
where testing their new machines. Sold to Atlantic records the second ampex model- 8 track 3 was first
to be used In the studio. In 1966 George martin produced the beatles ‘Revolver album’ which makes
use of 8track recording techniques at Abbies Road studios. Two years later the first 16-track tape
recorder was introduced. In the early 1970’s 4-track tap led to development , quadraphonic sound,
which each of the four tracks was used to stimulate a complete 360-degree surround sound. A number
of albums including pink floyds the dark side of the moon in a stereo and quadrophonic format in the
1970’s. In 1975 digital tape recording began to take to take hold in professional audio studios. In the
year of 1981 philips demonstrates the compact disc and two years later ( 1983) the introduction of
midi. In 1991 an affordable digital multitrack recorder was introduced by Alesis. In the same year the
first version of pro tools was launched offering four tracks and selling for $6,000. In 1996 major
development was made described as revolutionary by Virtual Studio Technology. In 1998 MP-3
players for download internet audio appear. In 2001 windows P saw PC computers become
expensively more powerful which allowed for audio and midi sequencers to utilise more functional e.g
more audio tracks, better user interface, better effects processing.
Essay from student 1:
The microphone has developed and changed dramatically since the early 1800s. 1827 saw the time Sir
Charles Wheatstone coined the phrase ‘Microphone’, however it took nearly 50 years after this to
invent the first one. Emile Berliner created the first telephone transmitter, which was then bought out
by The Bell Company for $50,000 to improve on their own communications device in 1876. Later, the
carbon microphone was invented by David Edward Hughes; this microphone, even now, forms the
basis of many microphones used in the modern day.
Developing into the 1900s, 1916 saw the invention of the condenser microphone; which is used now
days for the recording of studio vocal and also ambience, for example. Bell Labs and E.C Wente saw
the creation of this, and dubbed it a capacitor. Although new microphones are always being made, new
parts for them were also created to improve already made products, for example in the mid 1920s when
the improved electronic vaccum tube amplifier allowed greater volume output for devices, such as the
microphone and telephone devices.
Further on, the Omni-directional dynamic microphone was developed by Wente and Thuras and called
it ‘The Westenr Electric 618A’. These microphones are now all built into one; into the condenser
microphone, which allows different polar patterns to be set, not just omni-directional.
In 1942, the ribbon microphone was invented for radio broadcasting, initially. The most popular was
the 44BX developed by Harry Olson at RCA. The first ribbon microphones were very fragile and
needed to be handled with care to maintain their full high quality sound.
Lastly, the electret microphone, invented in 1962 by researchers James West and Gerhard Sessler
offered greater reliability, higher precision, lower costs and a smaller size; this was when the
microphone industry was revolutionised and allowed greater scope when recording different
instrumentation.
Essay from student 2:
A microphone is a device used to capture sound waves and convert them to electronic signals.
Microphones are one of the most important devices in music technology, so its history is important.
The first use of the word microphone was coined in 1827 by Sir Charles Wheatstone however the first
microphone was actually invented in 1876 by Emile Berliner. This microphone was used for an early
telephone device. The patent was bought by the Bell Corporation to improve their own
telecommunications device.
The first microphone that we would refer to as using a modern day design of a dynamic microphone
(the carbon microphone) was invented by David Edward Hughes in 1878. The first condenser
microphone on the other hand was invented in 1916 by E. C. Wente at Bell Labs.
In the late 1920s accompanied by the invention of the vacuum tube amplifier earlier in the decade
(which helped microphone development a lot), the first omnidirectional dynamic microphone was
developed again by Wente but with Thuras as well at Bell Labs.
In 1942 a new type of microphone was developed by Harry Olson specifically for radio broadcasts.
The ribbon microphone was extremely fragile and needed to be handled with extra care to maintain a
high quality of sound.
In 1962 Bell labs again revolutionised the music industry with the Electret microphone. This
microphone offered greater reliability with low costs, smaller size and higher precision.
During the 1970s even better dynamic and condenser microphones were developed and improved upon
which allowed for even higher quality, lower impedance and more cost effective methods of recording.
Essay from Student 3:
A microphone is a piece of hardware used to convert sound to an electronic voltage/signal. This signal
can then be recorded for a permanent reference to the original sound.
The first ever microphone was designed in 1876 by Emile Berliner. The microphone was innovated
into the carbon microphone in 1878 by David Edward Hughes, which formed the basis to many of the
microphones still in use today.
The microphones typically used in studios, condenser microphones, were invented in 1916 at Bell Labs
by E C Wente.
The current industry standard for live vocal microphones is Shure’s SM58 Dynamic microphone. It
was first produce in 1966 by Shure Incorporated, it has built a strong reputation for it’s durability and
sound and is still the industry standard almost 50 years later.
For recording guitars in a studio and at live events is Shure’s SM57 dynamic microphone, it was
developed in 1937 when Shure engineer Ben Bauer developed the first single-element directional
microphone.
Essay from student 4:
The microphones seen in modern recording have come a long way from their 19 th century predecessors,
the phrase having been coined by Sir Charles Wheatstone in 1827.
The invention of the microphone, the rights of which were won by Thomas Edison after a long legal
battle, were used in early AM radio broadcasting systems until the late 1920’s, and aided the
development of telephones from 1890 right up until the 1980’s. In 1916 Bell Labs produced the first
condenser microphones, which range in use from telephone receivers and amateur karaoke machines to
expensive, high-fidelity recording equipment seen in studios today. The development of the vacuum
tube amplifier provided a greater volume output for devices like microphones, and the early 20 th
century became a time for great development with the rising popularity of radio. The Dynamic (the
general use of which focuses on live performance) and the Ribbon microphones (invented for the
specific purpose of radio broadcasting, with extremely fragile internal parts) were significant
developments of microphone technology between 1920 and 1950.
The invention of the Electret microphone by West and Sessler in 1962 led to revolutionising the
microphone industry, with companies producing reliable high-quality microphones which were smaller
and more commercially affordable. The technological advancement of the 21st century has resulted in
the development of microphones able to convert sound waves through fibre optics -changes in light
intensity- and even the refractions of laser beams.
Answer by Student 1:
Since the 1970’s synthesis improved rapidly and progressed in the music industry. In 1969 the
minimoog synthesizer was made; a potable version of the moog synthesizer, started a revolution in the
synthesizer area and was used by Wendy Carlos on the album Switched-on bach. From here the
Sequential Circuits Prophet-5 was introduced into the music industry. Which is a polyphonic analogue
synth that plays five notes simultaneously. This synthesizer was used by Paul McCartney in Wonderful
Christmas time. In 1981 the Roland Juipter 8 was introduced which was polyphonic which was capable
of playing 8 notes simatainously which was a rapid improvement from the Swquentail circuits Prophet5. This synthesizer was used by the world wide famous band Queen in the song Radio Ga Ga. The
Juipter 8 really changed the music industry completely, having 8 features, 16 analog oscillators a at 2
per voice, eight voice polyphony and easy programming.
Answer by Student 2:
The synthesizer had a considerable effect on 20th century music. At the end of the 1960’s bands such as
The Monkees were using the first commercially available Moog synths in their albums, and the
following decade saw synthesis increase in popularity. The development of miniaturised solid-state
components allowed synths to become self-contained, portable instruments, creating new and artificial
sound instead of just mimicking real instruments. Examples of this include the work of Isao Tomita in
the early 70’s, who made significant advances in analog synthesizer programming.
The emergence of Synthpop, a sub-genre of New Wave, in the late 1970’s can be credited to the
development of synthesis, taking inspiration from the ground-breaking work of all-electronic German
bands like Kraftwerk and Tangerine Dream, and David Bowie during his Berlin period (1976-1977).
Synthpop bands such as the Human League used monophonic synthesizers to produce simple, austeresounding music.
By the 1980’s companies were selling portable, compact, inexpensive synthesizers to the public. In
conjuction with the development of MIDI, it was far easier for musicians to synchronise synthesizers
with other electronic instruments for use in commercial music. In the 1990’s, synthesizer imitations
were integrated into computer software and DAW’s, known as software synthesizers. Soon after, VST
and other such plugins were able to emulate the sounds created from the original hardware synths.
Answer by Student 3:
Modern popular music ranging from the 1970s to present day still use many of the older synthesizers,
such as the Minimoog. The Minimoog was developed in 1969 and is a portable version of the moog
modulator. It has a recognisable lead synth sound and was used on the song ‘Closer to the edge’ by the
British band Yes in 1972. The minimoog has industry recognition and it has obviously been used for a
long time as the song ‘Gimme! Gimme! Gimme!’ by ABBA, the bassline was played on the Minimoog
in 1979.
In 1981 the Roland Jupiter-8 was created, this could produce 8 notes simultaneously and one of it’s
main features included a built in arpeggiator. This was used on Queen’s song ‘Radio Ga Ga’ in 1984;
this song is still popular today so it is clear the Jupiter was a success in the music industry. As well as
Queen, other artists using this synthesizer includes The Blue Nile, they used a Jupiter on their 1989
album ‘Hats’ and Madonna using it in her song ‘Crazy for you’ in 1984.
Following on from the Jupiter, Roland then created the Roland TB-303 in 1982; this was used in dace
music to 1980s Acid house. It was used for creating bass lines and has a distinctively squelchy sound.
Yamaha fought back from this Roland dominance by introducing the Yamaha DX-7. This was the first
commercially successful digital synth that used frequency modulation. It is capable of creating a wide
range of timbres and it’s real potential comes when re-producing real sounds. One of the main users of
this synth was Brian Eno who used the instruments to create unique and interesting timbres and it’s
distinctive sound can be heard on many recordings, especially pop music from the 1980s.
Korg followed on from the idea of the Yamaha DX-7’s instrument re-creation by producing the Korg
M1. The Korg M1 is a sampling synth was used extensively in pop music during the 1980s and 90s, it
was used extensively in music such as the album ‘Back on the Block’ in 1989 by Quincy Jones, and
Snap!’s ‘Rhythm Is A Dancer’ uses it for the piano part. It was used in lots of music in the 1980s and
90s because of the high accuracy t creating realistic sounding instruments well as more unusual
sounding timbres.
Modern songs continue to use synthesizer ideas that were developed 10, 20 and even 30 years ago. The
music industry isn’t just developing new technology but it continues to use previous technology. Ideas
in modern music such as Dubstep style wobble bass has been developed over time through different
synthesizers. Bass lines, lead lines, pads and many more instruments within modern songs continue to
be created through synthesis. Lady gaga and Calvin Harris is a particular example where most parts of
a song are created digitally. Music technology is still developing and more songs are moving from
using acoustic instruments to digital ones created with synthesizers.
Answer by Student 4:
Since the 1970s synthesisers have undertaken a large role in the creation of modern popular music.
Rhodes’ Piano made in 1965 is a classic electric piano that sounds like a bell crossed with a
vibraphone. Similar to the Wurlitzer electric piano, the Rhodes Piano was heard in 1970 on Herbie
Handcocks ‘Bitch Brew’. The Hohner Clavinet built 1968, heard in Stevie Wonders’ Superstition
(1972) is a classic funk sounding piano, which typically has 60 keys covering the keyboard range F1 to
E6. Superstition is immediately recognisable as a result of its funk-like tone created from the
synthesizer. A year later (1969) the Minimoog; a portable version of the Moog modular synth, known
for its monophonic lead synth sound was built. It’s known for also being in Stevie Wonders’ track
‘Living for the City’.
Further on in 1977 the Sequential Circuits Prophet-5 was created; a polyphonic analogue synth that has
a maximum polyphony of 5 notes, meaning it can play up to 5 notes simultaneously. It was one of the
first synthesizers to implement a patch memory system storing sounds and settings created by its user.
In 1984 rock band Queen used the Roland Jupiter-8 polyphonic synth in there track ‘Radio GaGa’. It’s
capability of playing 8 notes simultaneously is one of its main features, alongside its built in
arpeggiator; which was a new feature in 1981 for this synthesizer.
In the early 80s, the Roland TB-303 was used in dance music- Acid house. It created bass lines and has
a distinctive squelch sound which gives its originality. It’s heard in Phuture – Acid Trax.
In 1983, the Yamaha DX-7 was made. Being the first commericially successful digital synth that used
Frequency Modulation (FM), it’s capable of creating a range of timbres. It’s full potential is mainly
shown when creating real sounds, and can be heard to its potential in Brian Eno’s work, where he
created unique and interesting timbres.
Finally the Korg M1 (1988) is the most popular sampling synth which was used extensively in all kinds
of popular music during the late 1980s and through-out the 1990s from dance tracks to more pop songs.
It creates accurate sounding instruments that sound realistic as well as more unusual creative timbres.
Mike Oldfield is a pioneer of this synth.
Since the 1970s synths have become more and more involved in the pop songs heard today. SynthPop
had a big part to play in this movement and Japanese group ‘Yellow Magic Orchestra’ were the early
synthpop pioneers. From Stevie Wonder to Queen to now the use of modern synthesizer technology
from Kraftwerk and Yazoo.
Answer by Student 5:
One of the earliest synthesizers invented was a self-vibrating electromagnetic circuit invented by the
American electrical engineer Elisha Grey in 1876. By doing this he also invented the first single note
oscillator. This truly was the first synthesizer, as we know it today.
In 1897 the first additive synthesizer was born masquerading as the tone wheel organ (teleharmonium),
invented by Thaddeus Cahill. Later in 1934 this same principle was seen in the Hammond Organ.
In 1927 the Theremin was introduced which used a heterodyne circuit to produce audio frequency. The
Theremin has been used widely in music technology including extensive use by the Beach Boys.
In 1939 analogue subtractive and polyphonic synthesizers which included audio oscillators, filters,
envelope controllers, and effects units and been introduced. An example of this would be the
Hammond Novachord which unfortunately was discontinued due to world war 2.
With the start of the 60s the use of synthesizers gained a wider audience. Pioneers in synthesis such as
Bob Moog created modular synthesizers such as the “moog modular” and the “mini moog”. Of all the
people to make use of the modular synthesizer were The Beatles in their abbey road album, Pink Floyd,
and in 1969 the first international “dance music hit” was released in the form of Gershon Kingsley’s
Popcorn on his album “music to moog by”.
By the 1970’s and 80’s the use of synthesizers in popular music exploded from the Roland Juno and
Jupiter 8 to the Prophet-5 synthesizer. There were so many to pick from and a huge base of artists to
utilise them, such as; Vangelis, Kraftwerk, Gary Numan, and other major synthpop hits such as
Eurythmics and The Human League. Synthesizers had captured the world and had become one of the
most important instruments in the music industry.
Later on with the emergence of the club scene, synthesizers like the Moog Prodigy inspired dance
groups like “The Prodigy” to form. Through to the late 90’s hardware synthesizers were being phased
out in favour for software synthesizers, which could emulate anything that a modular synthesizer could
do and more. VST synthesizers now are so vast that they are all readily available for use on a DAW.
Software synthesisers can include Additive synthesis, Subtractive sysnthesis, FM synthesis, Phase
Distortion synthesis, Physical modelling, Granular, Re-synthesis, and Sample based romplers/samplers.
And it doesn’t stop there! These different types can be combined, for example: The image-line
synthesizer Harmor is an additive synthesizer which acts like a subtractive synthesizer utilizing resynthesis! Modern artists who use software synthesizers are so varied, spanning from chart artists to
dedicated Dance music producers like Darude, Eric Prydz, The Prodigy (however they still like to use
some hardware synthesizers), or Nero amongst others.