This course provides an engaging and methodical insight into the past and present cultural and commercial music industry developments, directions, and trends. It will equip the students with the knowledge and skills necessary to appreciate, understand and more productively participate in today’s music industry field.
Roots: Magnetic Recording and Multitracks (Part 4)
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From the course by West Virginia University
Today’s Music Industry
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From the lesson
Magnetic Recording and Multitracks
Meet the Instructors
Darko VelichkovskiMusic Industry Program Director
Music Industry
Back to the reel-to-reel multitrack tape recorders. We left that story back in the 70s, with 16-track
recorders becoming the standard in the recording studios, remember? But, if we can have 16
tracks, why not more? There is that question again. Such a human curse, right? When is
enough, enough? Is there enough? But that’s another course. And another department. Anyway,
Music Center Incorporated, or MCI, an audio equipment manufacturer that will eventually
be acquired by Sony, developed the first 24-track machine using a 2-inch tape, almost at the
same time as the first 16-tracks were hitting the market, back in 1968. Ampex followed,
and started to produce their 24-track machines in 1969. But these 24-track recorders were
so expensive, that Ampex’s most advanced 1979 model ATR-124 sold only 50 or so units.
It would be several years before the price tag would come down to the point where the
24-tracks were replacing 16-tracks in the professional studios. But eventually it did
happen. And so in the mid to late 80s and throughout the 90s, the 24-track tape recorder
ruled as the professional recording format.
But wait, and there is that question again of course, if we can have 24 tracks, why not
even more? We are gluttonous creatures aren’t we? Well, MCI made a 32-track machine, using
a 3-inch tape in the late 70s, but never released it. The tape was just too wide and unwieldy
and it would have been just too expensive to deal with all the problems of the tape
transport on such a machine. So that idea was out. But could we maybe sync two 24-tracks,
and record on all 48 tracks simultaneously, or one at the time? Yes, we could, and we
did. A 48-track method, using two synced 24-tracks, became the hi-end way to do it. And it still
is, in the analog part of the music production world today.
Of course, digital recording technology eventually arrived on the market. After the initial introduction
of the digital multi-track tape recorders by Sony, Studer, 3M, and Mitsubishi in the
early 1980s, which were prohibitively expensive, and thus never really became standard production
equipment, in 1992 the first affordable digital multi-track tape recorder was introduced:
the so-called ADAT machine, by ALESIS, using a VHS format video tape as a recording medium.
Tascam followed with its price friendly digital 8-track, called DA88, using a Hi8 video tape.
Both, ADATs and DA88s, could be synced up to 16 units, creating a possibility for a
128-track digital system. 128 tracks. OK, so is that enough? Aaaa, can we have more?
Because if we can have more, we would like to have more. I mean, what’s the harm? Can
we really have more?
Well, computers and software would bring us more. Eventually. Not just more available
tracks, but also unprecedented editing possibilities, bordering on endless and infinite. At about
the same time that the ADATs and DA88s were introduced, several audio software companies
are introducing their latest products to the industry as well, using computer based digital
recording and editing. Digidesign’s Pro Tools appeared on the market, in its first
version, in 1991, as a result of about 7 years of development, and several different preceding
platforms. Most of the user interface and the engine was licensed by Digidesign from
a San Francisco software company, OSC, that a year earlier created the Pro Tools predecessor
called DECK, D E C K. It will eventually become one of de facto standards in the recording
productions worldwide, as it still is today. That 1991 Pro Tools version offered only 4
tracks, and cost 6,000 dollars, which was pretty steep, but it offered editing capabilities
that digital tape recorders just couldn’t touch: non-destructive, GUI interface editing,
with undo options, and many other editing and processing features.
Which is just what the doctor ordered if one needed or wanted to have control over the
material down to a sample, and to be able to edit it to the Nth degree. And we did.
We like the Nth degree. And so Digital Audio Workstations, DAWs, as we know them today,
entered the race for our attention, use, and dollars, of course. In addition to Pro Tools,
others that were developing similar products throughout the 80s joined the race - Cubase,
Logic, Digital Performer – all of which are still in the market, and in the studios
across the world today. And that gluttonous dream of ours of more tracks, finally became
a reality. OK, so how many tracks is that today? No count. Just more. As many as you
want. Actually as many as you are willing to spend on your computer processor and memory,
since the amount of available tracks on a DAW today simply depends on that, and not
on the limitations of technology. Hundreds? Sure. Thousands. Yes, thousands, if you need
thousands of tracks to do your music production, which if you do, you probably need to reexamine
your life, pick another profession, and start over.
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