An audio production facility atA recording studio is a specialized facility for, and of instrumental or vocal musical performances, spoken words, and other sounds. They range in size from a small in-home large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally both the and monitoring (listening and mixing) spaces are specially designed by an or to achieve optimum acoustic properties (acoustic isolation or diffusion or absorption of reflected sound that could otherwise interfere with the sound heard by the listener).Recording studios may be used to record, instrumental musicians (e.g., electric guitar, piano, saxophone, or ensembles such as ), artists for advertisements or in film, television, or animation, or to record their accompanying musical soundtracks. The typical recording studio consists of a room called the 'studio' or 'live room' (and sometimes additional isolation booths) equipped with and mic stands, where instrumentalists and vocalists perform; and the ', where, sometimes with, as well, operate, or computers (post 1980s and 1990s) with specialized software suites to, manipulate (e.g., by adjusting the equalization and adding effects) and route the sound for recording (on tape) or on hard disc.

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The engineers and producers listen to the live music and the recorded 'tracks' on high-quality or.Often, there will be smaller rooms called 'isolation booths' to accommodate loud instruments such as drums or electric guitar amplifiers and speakers, to keep these sounds from being audible to the microphones that are capturing the sounds from other instruments or voices, or to provide 'drier' rooms for recording vocals or quieter acoustic instruments such as an a. Major recording studios typically have a range of large, heavy, and hard-to-transport instruments and music equipment in the studio, such as a,. A Mexican singer recording tracks at the Tec de Monterrey studios Layout Recording studios generally consist of three or more rooms:.

The 'live room' of the studio where the vocalists sing and instrumentalists play their instruments, with their singing and playing picked up by microphones and, for electric and electronic instruments, by connecting the instruments' outputs or outputs to the mixing board (or by miking the speaker cabinets for bass and electric guitar);. Isolation booths or vocal booths. Isolation booths are small sound-insulated rooms with doors, designed for instrumentalists (or their loud speaker stacks).

Vocal booths are similarly designed rooms for singers. Neve VR60, a multitrack mixing console. Above the console are a range of studio monitor speakers.Recording studios are carefully designed around the principles of to create a set of spaces with the acoustical properties required for recording sound with precision and accuracy. This will consist of both room treatment (through the use of and materials on the surfaces of the room, and also consideration of the physical dimensions of the room itself in order to make the room respond to sound in a desired way) and (also to provide sonic isolation between the rooms) to prevent sound from leaving the property. A recording studio has to be soundproofed on its outer shell as well, to prevent noises from the surrounding streets and roads from being picked up by microphones.A recording studio may include additional rooms, such as a vocal booth—a small room designed for voice recording, as well as one or more extra isolation booths for loud guitar stacks and extra control rooms.

Even though sound isolation is a key goal, the musicians, singers, audio engineers and record producers still need to be able to see each other, to see cue gestures and by a. As such, the 'live room', isolation booths, vocal booths and control room typically have windows.

Engineers and producers watch a trumpet player from a window in the control room during a recording session. A selection of instruments at a music studio, including a.Not all music studios are equipped with musical instruments. Some smaller studios do not have instruments, and bands and artists are expected to bring their own instruments, amplifiers and speakers. However, major recording studios often have a selection of instruments in the 'live room', typically instruments, amplifiers and speaker cabinets that are large, heavy, and difficult to bring (e.g., a ) or infeasible (as in the case of a ) to bring in for a single recording session.

Having musical instruments and equipment in the studio creates additional costs for a studio, as pianos have to be tuned and instruments, tube amplifiers, and speakers need to be maintained.However, it makes it more convenient for recording artists, as they do not have to bring in large, heavy gear, or for guitar amps, they do not have to bring in a number of amps and cabinets. As well, less costly studio time is spent moving in gear and setting it up. Another benefit is that microphones can be set up in appropriate locations near all of the studio-owned instruments, and bass amps can have their plugged into the mixing board, which speeds up set-up time.Instruments which may be present in a studio include:. and related keyboard gear. (e.g., Steinway).

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Vintage (e.g., ).: this may only include the wood-shelled drums and the stands. Studios typically own major brands such as Premier, Ludwig and Gretsch. Some studios have a selection of classic snares. Drummers typically prefer to use their own and. and bass speaker cabinet (e.g., a tube amp and an 8x10' cabinet). and guitar speaker cabinets (e.g., a and a tube amp and speaker stack.

Tube amps made by Vox, Ampeg, and Gibson may also be available. Vintage guitars and basses made by Fender, Gibson, and Rickenbacker. In rare cases, studios may have a ethnic drums, sitars, a double bass, or unusual instruments that bands might wish to try for a particular sound.Guitarists and bassists are often expected to bring their own guitars, basses. Drummers often bring their own snare drum, cymbals and sticks/brushes.The types and brands of music equipment owned by a studio depends on the styles of music for the bands and artists that typically record there. A studio that mainly records will be likely to have large, powerful guitar amp heads and speaker stacks (e.g., amps for guitar).

In contrast, a studio which mainly records country bands will likely have a selection of smaller, vintage combo amps (e.g., 1950s Fender 'tweed' combos). A studio that records a lot of 1970s-style may have a vintage or.Digital audio workstations. Music production using a digital audio workstation (DAW) with set-upIn the 2000s and 2010s, general purpose computers have rapidly assumed a large role in the recording process.

With software such as, a powerful, good quality computer with a fast processor can replace the, equipment, and (reverb, echo, compression, etc.) that a recording studio required in the 1980s and 1990s. A computer thus outfitted is called a, or DAW. Popular audio-recording software includes Apple, Digidesign's —near standard for most professional studios— and both by, —popular for MIDI and film scoring. Other software applications include, and.In the 2010s, software applications are more reliant on the quality of the audio recording hardware than the computer they are running on, therefore typical high-end computer hardware is less of a priority unless is involved.

While is used for most studio work, there is a breadth of software available for. If no is used and all mixing is done using only a keyboard and mouse, this is referred to as mixing in the box ('ITB'). The 'OTB' is used when mixing with other hardware and not just the PC software.Project studios.

Main article:A small, personal recording studio is sometimes called a project studio or home studio. Such studios often cater to specific needs of an individual artist, or are used as a hobby. The first modern project studios came into being during the mid-1980s, with the advent of affordable devices, and microphones. The phenomenon has flourished with falling prices of equipment and accessories, as well as inexpensive products.Recording drums and amplified electric guitar in a home studio is challenging, because they are usually the loudest instruments. Conventional drums require sound isolation in this scenario, unlike electronic or sampled drums.

Getting an authentic electric guitar amp sound including power-tube distortion requires a power attenuator (either power-soak or power-supply based) or an isolation box, or booth. A convenient compromise is amp simulation, whether a modelling amp, preamp/processor, or software-based guitar amp simulator. Sometimes, musicians replace loud, inconvenient instruments such as drums, with keyboards, which today often provide somewhat realistic. The capability of introduced by the and its comparatively low cost, originally introduced at $3995, were largely responsible for the rise of project studios in the 1990s. Isolation booth An isolation booth is a standard small room in a recording studio, which is both soundproofed to keep out external sounds and keep in the internal sounds, and like all the other recording rooms in sound industry, it is designed for having a lesser amount of diffused reflections from walls to make a good sounding room. A drummer, vocalist, or guitar speaker cabinet, along with microphones, is acoustically isolated in the room. A professional recording studio has a control room, a large live room, and one or more small isolation booths.

See also:1890s to 1930s In the era of acoustical recordings (prior to the introduction of microphones, electrical recording and amplification), the earliest recording studios were very basic facilities, being essentially soundproof rooms that isolated the performers from outside noise. During this era it was not uncommon for recordings to be made in any available location, such as a local ballroom, using portable acoustic recording equipment. In this period, master recordings were made by cutting a rotating cylinder (later disc) made from wax. Performers were typically grouped around a large acoustic horn (an enlarged version of the familiar horn).

The acoustic energy from the voices or instruments was channeled through the horn's diaphragm to a mechanical cutting lathe located in the next room, which inscribed the signal as a modulated groove directly onto the surface of the master. Following the invention and commercial introduction of the microphone, the electric, the and the, the recording industry gradually converted to electric recording, and by 1925 this technology had replaced mechanical acoustic recording methods for such major labels as and, and by 1933 acoustic recording was completely obsolete.1940s to 1970s.

The Studio for Electronic Music ca. 1956.Electrical recording was common by the early 1930s, and mastering lathes were electrically powered, but master recordings still had to be cut into a disc, by now a lacquer, also known as an. In line with the prevailing musical trends, studios in this period were primarily designed for the live recording of symphony orchestras and other large instrumental ensembles. Engineers soon found that large, reverberant spaces like concert halls created a vibrant acoustic signature as the natural reverb enhanced the sound of the recording. In this period large, acoustically 'live' halls were favored, rather than the acoustically 'dead' booths and studio rooms that became common after the 1960s.

Because of the limits of the recording technology, which did not allow for techniques, studios of the mid-20th century were designed around the concept of grouping musicians (e.g., the or a ) and singers (e.g., a group of ), rather than separating them, and placing the performers and the microphones strategically to capture the complex acoustic and harmonic interplay that emerged during the performance. In the 2000s, modern still sometimes use this approach for large projects that use large orchestras.Halls and churches Because of their superb acoustics, many of the larger studios were converted churches. Examples include 's in, the famed in New York City (a converted Armenian church, with a ceiling over 100 feet high), and the studio in New York (where artists like, and were recorded) which was also a large converted church that featured a high, domed ceiling in the center of the hall.Facilities like the Columbia Records 30th Street Studio in New York and in London were renowned for their 'trademark' sound—which was (and still is) easily identifiable by audio professionals—and for the skill of their staff engineers.

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( July 2017) Electric recording studios in the mid-20th century often lacked isolation booths, baffles, and sometimes even speakers, and it was not until the 1960s, with the introduction of the high-fidelity that it became common practice for performers to use headsets to monitor their performance during recording and listen to playbacks. It was difficult to isolate all the performers—a major reason that this practice was not usedsimply because recordings were usually made as live ensemble 'takes' and all the performers needed to be able to see each other and the ensemble leader while playing.

The recording engineers who trained in this period learned to take advantage of the complex acoustic effects that could be created through 'leakage' between different microphones and groups of instruments, and these technicians became extremely skilled at capturing the unique acoustic properties of their studios and the musicians in performance.The use of different kinds of microphones and their placement around the studio was a crucial part of the recording process, and particular brands of microphone were used by engineers for their specific audio characteristics. The smooth-toned ribbon microphones developed by the company in the 1930s were crucial to the 'crooning' style perfected by, and the famous U47 was one of the most widely used from the 1950s.

This model is still widely regarded by audio professionals as one of the best microphones of its type ever made. Learning the correct placement of microphones was a major part of the training of young engineers, and many became extremely skilled in this craft. Well into the 1960s, in the classical field it was not uncommon for engineers to make high-quality orchestral recordings using only one or two microphones suspended above the orchestra.

In the 1960s, engineers began experimenting with placing microphones much closer to instruments than had previously been the norm. The distinctive rasping tone of the horn sections on the recordings ' and ' were achieved by having the saxophone players position their instruments so that microphones were virtually inside the mouth of the horn. Records with Furnace Mountain Band in Virginia (2012)The unique sonic characteristics of the major studios imparted a special character to many of the most famous popular recordings of the 1950s and 1960s, and the recording companies jealously guarded these facilities. According to sound historian David Simons, after Columbia took over the 30th Street Studios in the late 1940s and manager had tweaked it to perfection, Miller issued a standing order that the drapes and other fittings were not to be touched, and the cleaners had specific orders never to mop the bare wooden floor for fear it might alter the acoustic properties of the hall. There were several other features of studios in this period that contributed to their unique 'sonic signatures'. As well as the inherent sound of the large recording rooms, many of the best studios incorporated specially-designed, purpose-built rooms which were often built beneath the main studio.These were typically long, low rectangular spaces constructed from hard, sound-reflective materials like concrete, fitted with a loudspeaker at one end and one or more microphones at the other.

During a recording session, a signal from one or more of the microphones in the studio could be routed to the loudspeaker in the echo chamber; the sound from the speaker reverberated through the chamber and the enhanced signal was picked up by the microphone at the other end. This echo-enhanced signal—which was often used to 'sweeten' the sound of vocals—could then be blended in with the primary signal from the microphone in the studio and mixed into the track as the master recording was being made. Special equipment was another notable feature of the 'classic' recording studio. The biggest studios were owned and operated by large media companies like RCA, Columbia and EMI, who typically had their own electronics research and development divisions that designed and built custom-made recording equipment and mixing consoles for their studios. Likewise, the smaller independent studios were often owned by skilled electronics engineers who designed and built their own desks and other equipment. A good example of this is the famous in Los Angeles, the site of many famous American pop recordings of the 1960s. Co-owner David S.

Gold built the studio's main mixing desk and many additional pieces of equipment and he also designed the studio's unique trapezoidal echo chambers.During the 1950s and 1960s, the sound of pop recordings was further defined by the introduction of proprietary sound processing devices such as equalizers and compressors, which were manufactured by specialist electronics companies. One of the best known of these was the famous equalizer, which was used by almost all the major commercial studios of the time.Multi-track recording With the introduction of, it became possible to record instruments and singers separately and at different times on different tracks on tape, although it was not until the 1970s that the large recording companies began to adopt this practice widely, and throughout the 1960s many 'pop' classics were still recorded live in a single take. After the 1960s, the emphasis shifted to isolation and sound-proofing, with treatments like echo and reverberation added separately during the mixing process, rather than being blended in during the recording.

One regrettable outcome of this trend, which coincided with rising inner-city property values, was that many of the largest studios were either demolished or redeveloped for other uses. In the mid 20th century, recordings were, made on ¼-inch or ½-inch, or, more rarely, on 35mm, with reaching 8 tracks in the 1950s, 16 in 1968, and 32 in the 1970s. The commonest such tape is the 2-inch analog, capable of containing up to 24 individual tracks. Generally, after an audio mix is set up on a 24-track tape machine, the signal is played back and sent to a different machine, which records the combined signals (called printing) to a ½-inch 2-track stereo tape, called a master.Before digital recording, the total number of available tracks onto which one could record was measured in multiples of 24, based on the number of 24-track tape machines being used. In the 2010s, most recording studios now use equipment, which limits the number of available tracks only on the basis of the 's or computer hardware interface's capacity and the ability of the hardware to cope with processing demands.

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Analog tape machines are still used by some audiophiles and sound engineers, who believe that digitally recorded audio as sounding too harsh and who believe that tape has a 'warmer' sound. The scarcity and age of analog tape machines has increased their value, as does the fact that some audio engineers still believe in recording to analog tape.Radio studios. The studio at Ridge Radio in, EnglandRadio studios are very similar to recording studios, particularly in the case of production studios which are not normally used, such as studios where interviews are taped for later broadcast. This type of studio would normally have all of the same equipment that any other audio recording studio would have, particularly if it is at a large station, or at a combined facility that houses a station group, but is also designed for groups of people to work collaboratively in a live-to-air situation (see ).Broadcast studios also use many of the same principles such as sound isolation, with adaptations suited to the live on-air nature of their use. Such equipment would commonly include a for putting on the air, a for receiving, a for detecting unexpected, and a for dropping anything from to. In the U.S., stations by the (FCC) also must have an decoder (typically in the studio), and in the case of full-power stations, an encoder that can interrupt programming on all channels which a station transmits in order to broadcast urgent warnings.are also used for playing, phone calls, and, and now full when no staff are present.

For, a producer or assistant in a control room runs the show, including and entering the ' names and subject into a, which the can see and make a proper introduction with. Radio contest winner interviews can also be edited 'on the fly' and put on the air within a minute or two after they have been recorded accepting their prize.Additionally, can be interconnected via, or split into two parts, with inputs and outputs wired to a rackmount audio engine, and one or more control surfaces (mixing boards) or computers connected via, allowing the producer or the talent to control the show from either point.

With and (live) or (recorded), this also allows, so that can do shows from a home studio via or the. Additional outside audio connections are required for the for stations, for sending and receiving shows, and for or.See also.References. George Petersen, 'In Memoriam: Keith Barr 1949-2010', Mix Magazine Online, Aug 2010,. Archived from on 2010-08-29. Retrieved 2010-08-26. CS1 maint: Archived copy as title. Huber, David Miles (2005).

Elsevier Inc. Watson, T.A. Library of Alexandria. ^ Simons, David (2004).

San Francisco: Backbeat Books. Newell, Philip (2003). Retrieved 14 January 2017. 2011-07-27 at the - The Liederkranz of the City of New York website. The Liederkranz Club put up a building in 1881 at 111-119 East 58th Street, east of Park Avenue., Da Capo Press, 2001. Cf. Ahern, S (ed), Allen & Unwin, Sydney, 2011.

Studio ChapterFurther reading. Cogan, Jim; Clark, William. Temples of Sound: Inside the Great Recording Studios. San Francisco: Chronicle Books, 2003. Horning, Susan Schmidt. Chasing Sound: Technology, Culture, and the Art of Studio Recording from Edison to the LP.

Baltimore: Johns Hopkins University Press, 2013.; Granata, Charles L. Making Records: The Scenes Behind the Music. New York: Hyperion, 2007.External links.

(various pricing, feature-limited free demo) is the latest version of the long-time sequencer and recording app formerly known as Fruity Loops. Despite a slightly non-standard user interface, FL Studio is one of the easier digital audio workstations to use-if you come from a step/pattern-based recording background.A slick bitmapped interface makes working in FL Studio a pleasant experience indeed.If you're used to, you'll adapt to FL Studio in a heartbeat. However, users of track-based programs such as, Sonar, or will have a steeper learning curve. You record audio into the playlist for use as parts, or the Edison audio editor insert (added to a track like and effect) to create ad hoc audio tracks. Once you're used to it, there's a certain elegance to this marrying of step- and track-based approach to music creation.At first glance, you might not notice much new in FL Studio 9.1, but there are literally hundreds of refinements and improvements. Most address bugs and user suggestions to enhance usability, but there are some new features such as the Drumpad instrument, Fruity Convolver reverb, Harmless additive synthesis instrument, Stereo Shaper, and Vocodex vocoding plugin. There's also welcome support for VST3 instruments and plugins as well as multi-core CPU support.FL Studio is available in four flavors: the $49 Express Edition, $99 Fruity Edition, $199 Producer Edition, and the $299 Signature Bundle.

There are some significant differences, and too many to get into here, but you'll find them listed in a document that appears when you close the demo or at vendor.All in all, FL Studio is a worthy program that will suit many user's work styles-especially those into electronic or dance music. 9.1 is a nice upgrade, and as always, is free to owners of any version of the program.

You buy this program only once, a policy we'd like to see more often in an industry full of companies more concerned with maintaining revenue stream than getting it right the first time.Note: The demo will let you save a song, but not reopen it.