Tracking:
Multitrack recording ('multitracking' or just 'tracking' for short) is a method of sound recording that allows for the separate recording of multiple sound sources to create a cohesive whole. This is the most common method of recording popular music.
Multitracking can be achieved with analogue, tape based, equipment (from simple cassette based four or eight trackers to 2" reel-to-reel 24 track machines), digital equipment that relies on tape storage of recorded digital data (such as ADAT eight track machines) and hard disk based systems, often employing a computer and multitrack audio recording software. Multitrack recording devices vary in their specifications, such as the number of simultaneous tracks available for recording at any one time; in the case of tape based systems this is limited by, among other factors, the physical size of the tape employed. Some of the biggest professional analog recording studios used a computer to synchronize multiple 24-track machines, effectively multiplying the number of available tracks into the hundreds. The rock group Toto recorded their fourth album on four computer-synced 24-track machines, for example.
For computer-based systems the trend is towards unlimited numbers of record/playback tracks, although issues such as memory and CPU available will in fact limit this from machine to machine. Moreover, on computer-based systems, the number of simultaneously available recording tracks is limited by the sound card discrete analogue or digital inputs.
When recording, audio engineers can select which track (or tracks) on the device will be used for each instrument, voice, or other input.
At any given point on the tape, any of the tracks on the recording device can be recording or playing back, so that an artist is able to record, for instance, onto track 2 and, simultaneously, listen to track 1, allowing them to sing or to play an accompaniment to the performance already recorded on track 1. They might then record on track 3 while listening to track 2. All three performances can then be played back in perfect synchrony, as if they had originally been played and recorded together. This can be repeated until all of the available tracks have been used, or in some cases fact, reused.
At any given point in the recording process, any number of existing tracks can be "sub-mixed" into one or two tracks and the original tracks erased, making more room for more tracks to be reused for fresh recording. Beatles producer George Martin used this technique extensively to achieve multiple track results, while still being limited to using only multiple four-track machines, until an eight-track machine became available during the recording of the Beatles' White Album. The Beach Boys' Pet Sounds also made innovative use of multitracking with 8-track machines of the day (1965-66).
Multitrack recording also allows any recording artist to record multiple "takes" of any given section of their performance, allowing them to refine their performance to virtual perfection. A recording engineer can record only the section being worked on, without erasing any other section of that track. This process of turning the recording mechanism on and off is called "punching in" and "punching out".
During multitracking, multiple musical instruments (and vocals) can be recorded, either one at a time or simultaneously, onto individual tracks, so that the sounds thus recorded can be accessed, processed and manipulated individually to produce the desired results. For example, after recording some parts of a song, an artist might listen to only the guitar part, by 'muting' all the tracks except the one on which the guitar was recorded. If they then wanted to listen to the vocals in isolation, they would do so by muting all the tracks apart from the vocals track. If they wanted to listen to the entire song, they could do so by un-muting all the tracks. If they did not like the guitar part, or found a mistake in it, and wanted to replace it, they could do so by re-recording only the guitar part (i.e., re-recording only the track on which the guitar was recorded), rather than re-recording the entire song. This kind of editing freedom is one of the biggest benefits of multitracking.
If all the voices and instruments in a recording are individually recorded on distinct tracks, then the artist is able to retain complete control over the final sculpting of the song, during the mix-down (re-recording to two stereo tracks for mass consumption) phase.
For example, if an artist wanted to apply one effect to a synthesizer part, a different effect to a guitar part, a 'chorused reverb' effect to the lead vocals, and different effects to all the drums and percussion instruments, they could not do so if they had all been originally recorded together onto the same track. However, if they had been recorded onto separate tracks, then the artist could blend and alter all of the instrument's sounds with complete freedom.
Multitrack recording allows a single musician to record multiple parts, allowing duos and trios to produce a larger sound, larger groups to double parts or add different instruments, and also a solo performer to create an ensemble sound, playing different parts.
Multitracking a song also leaves open the possibilities of remixes by the same or future artists, such as DJs. If the song was not available in a multitrack format recording, the job of the remixing artist could be very difficult, or impossible, because once the tracks have been re-recorded together during the mixdown phase, they are inseparable. Theoretically, one could use frequency selective filters for this, but in reality this has not been done with any great degree of success because of the multi-harmonic (having many frequencies) nature of many musical instruments and voices.
Mixing:
When recording is completed, the many tracks are "mixed down" through a mixing console to a two-track stereo recorder in a format which can then be duplicated and distributed. (Movie and DVD soundtracks can be mixed down to four or more tracks, as needed, the most common being five tracks, with an additional subwoofer track, hence the "5.1" surround sound most commonly available on DVDs.)
Most of the records, CDs and cassettes commercially available in a music store are recordings that were originally recorded on multiple tracks, and then mixed down to stereo.
In some rare cases, as when an older song is technically "updated", these stereo (or mono) mixes can in turn be recorded (as if it were a "submix") onto two (or one) tracks of a multitrack recorder, allowing additional sound (tracks) to be layered on the remaining tracks.
Mastering:
Mastering, a form of audio post-production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the master); the source from which all copies will be produced (via methods such as pressing, duplication or replication). The format of choice these days is digital masters, although analog masters, such as audio tapes, are still being used by the manufacturing industry and a few engineers who specialize in analog mastering.
The source material is processed using equalization, compression, limiting, noise reduction and other processes. Subsequently, it is rendered to a medium such as CD or DVD. This mastered source material is also put in the proper order at this stage. This is commonly called the assembly or track sequencing. More tasks such as editing, pre-gapping, leveling, fading in and out, noise reduction and other signal restoration and enhancement processes can be applied as part of the mastering stage.
The specific medium varies, depending on the intended release format of the final product. For digital audio releases, there is more than one possible master medium, chosen based on replication factory requirements or record label security concerns.
A mastering engineer may be required to take other steps, such as the creation of a PMCD (Pre-Mastered Compact Disc), where this cohesive material needs to be transferred to a master disc for mass replication. A good architecture of the PMCD is crucial for a successful transfer to a glass master that will generate stampers for reproduction.
The process of audio mastering varies depending on the specific needs of the audio to be processed. Steps of the process typically include but are not limited to the following:
1. Transferring the recorded audio tracks into the
Digital Audio Workstation (DAW) (optional).
2. Sequence the separate songs or tracks (The
spaces in between) as it will appear on the final
product (for example, an Audio CD).
3. Process or "sweeten" audio to maximize the
sound quality for its particular medium.
4. Transfer the audio to the final master format (i.e.,
Red Book-compatible audio CD or a CD-ROM data,
half-inch reel tape, PCM 1630 U-matic tape, etc.).
Examples of possible actions taken during mastering:
1. Edit minor flaws.
2. Apply noise reduction to eliminate hum and hiss.
3. Adjust stereo width.
4. Add ambience.
5. Equalize audio between tracks.
6. Adjust volumes.
7. Dynamic expansion.
8. Dynamic compression.
9. Peak limit the tracks.
The guidelines above are mainly descriptive of the mastering process and not considered specific instructions that may or may not be applied in a given situation. Mastering engineers need to examine the types of input media, the expectations of the source producer or recipient, the limitations of the end medium and process the subject accordingly. General rules of thumb can rarely be applied.
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