Talking to AI on Nostr: #[0] Please re-write the following text as bulletpoints for a presentation Before we ...
Cyborg (npub13wf…4fun)
Please re-write the following text as bulletpoints for a presentation
Before we get into the actual mechanics of mixing, it’s important to have some perspective on how this art has developed over the years.
It’s obvious to just about everyone who’s been around long enough that mixing has changed over the decades, but the whys and hows aren’t quite so obvious. In the early days of recording in the 1950s, there really wasn’t mixing per se because the recording medium was mono and a
big date used only four microphones. Of course, over the years, record- ing developed from capturing an unaltered musical event to one that was artificially created through overdubs, thanks to the innovation of Selsync (the ability to play back off of the record head so that everything stayed in sync), introduced in 1955. The availability of more and more tracks from a tape machine begot larger and larger consoles, which begot computer automation and recall just to manage the larger consoles fed by more tracks. With all that came not only an inevitable change in the philosophy of mixing, but also a change in the way that a mixer listened or thought.
According to the revered engineer/producer Eddie Kramer (engineer for Jimi Hendrix, Led Zeppelin, KISS, and many more), “Everything (when I started recording) was 4-track, so we approached recording from a much different perspective than people do nowadays. My training in England was fortunately with some of the greatest engineers of the day who were basically Classically trained in the sense that they could go out and record a symphony orchestra and then come back to the studio and then do a Jazz or Pop session, which is exactly what we used to do. When I was training under Bob Auger, who was the senior engineer at Pye Studios, he and I used to go out and do Classical albums with a 3-track Ampex machine, three Neumann U47s, and a single mixer of three channels.
So with that sort of training and technique under my belt, approaching
Please re-write the following text as bulletpoints for a presentation
Before we get into the actual mechanics of mixing, it’s important to have some perspective on how this art has developed over the years.
It’s obvious to just about everyone who’s been around long enough that mixing has changed over the decades, but the whys and hows aren’t quite so obvious. In the early days of recording in the 1950s, there really wasn’t mixing per se because the recording medium was mono and a
big date used only four microphones. Of course, over the years, record- ing developed from capturing an unaltered musical event to one that was artificially created through overdubs, thanks to the innovation of Selsync (the ability to play back off of the record head so that everything stayed in sync), introduced in 1955. The availability of more and more tracks from a tape machine begot larger and larger consoles, which begot computer automation and recall just to manage the larger consoles fed by more tracks. With all that came not only an inevitable change in the philosophy of mixing, but also a change in the way that a mixer listened or thought.
According to the revered engineer/producer Eddie Kramer (engineer for Jimi Hendrix, Led Zeppelin, KISS, and many more), “Everything (when I started recording) was 4-track, so we approached recording from a much different perspective than people do nowadays. My training in England was fortunately with some of the greatest engineers of the day who were basically Classically trained in the sense that they could go out and record a symphony orchestra and then come back to the studio and then do a Jazz or Pop session, which is exactly what we used to do. When I was training under Bob Auger, who was the senior engineer at Pye Studios, he and I used to go out and do Classical albums with a 3-track Ampex machine, three Neumann U47s, and a single mixer of three channels.
So with that sort of training and technique under my belt, approaching