Red Hot Organization ( RHO ) is a non-profit, 501(c) 3 , international organization with goals to promote diversity through equal access to healthcare through pop culture .
93-519: Since its inception in 1989, over 400 artists, producers and directors have contributed to over 21 compilation albums , related television programs , and media events to raise donations totaling more than 10 million dollars for HIV / AIDS relief and awareness around the world. The Red Hot Organization Collection was donated to Fales Library in New York City in 2006. First founded as King Cole, Inc. by Leigh Blake and John Carlin, Red Hot
186-489: A Grammy nomination, the Recording Academy defines a producer: The person who has overall creative and technical control of the entire recording project, and the individual recording sessions that are part of that project. He or she is present in the recording studio or at the location recording and works directly with the artist and engineer. The producer makes creative and aesthetic decisions that realize both
279-576: A loudspeaker . The first wire recorder was the Telegraphone invented by Valdemar Poulsen in the late 1890s. Wire recorders for law and office dictation and telephone recording were made almost continuously by various companies (mainly the American Telegraphone Company) through the 1920s and 1930s. These devices were mostly sold as consumer technologies after World War II. Widespread use of wire recording occurred within
372-606: A Blattnerphone at Avenue House in September 1930 for tests, and used it to record King George V 's speech at the opening of the India Round Table Conference on 12 November 1930. Though not considered suitable for music the machine continued in use and was moved to Broadcasting House in March 1932, a second machine also being installed. In September 1932, a new model was installed, using 3 mm tape with
465-423: A broad project, the creation of a popular music recording may be split across three specialists: the executive producer , who oversees business partnerships and financing; the vocal producer or vocal arranger, who aids vocal performance via expert critique and coaching of vocal technique, and the record producer or music producer, who, often called simply the producer, directs the overall creative process of recording
558-471: A cylinder. By the 1930s, a gramophone etched it laterally across a disc. Constrained in tonal range, whether bass or treble, and in dynamic range , records made a grand, concert piano sound like a small, upright piano, and maximal duration was four and a half minutes. Selections and performance were often altered accordingly, and playing this disc—the wax master—destroyed it. The finality often caused anxiety that restrained performance to prevent error. In
651-456: A fluctuating signal by moving the tape across a tape head that polarizes the magnetic domains in the tape in proportion to the audio signal. Tape-recording devices include the reel-to-reel tape deck and the cassette deck , which uses a cassette for storage. The use of magnetic tape for sound recording originated around 1930 in Germany as paper tape with oxide lacquered to it. Prior to
744-407: A leading A&R man of the 1950s. During the decade, A&R executives increasingly directed songs' sonic signatures, although many still simply teamed singers with musicians, while yet others exercised virtually no creative influence. The term record producer in its current meaning—the creative director of song production—appearing in a 1953 issue of Billboard magazine, became widespread in
837-516: A musical element while playing a previously recorded record, Les Paul developed a recording technique called "sound on sound". By this, the final recording could be built piece by piece and tailored, effecting an editing process. In one case, Paul produced a song via 500 recorded discs. But, besides the tedium of this process, it serially degraded the sound quality of previously recorded elements, rerecorded as ambient sound. Yet in 1948, Paul adopted tape recording, enabling true multitrack recording by
930-542: A new technique, " overdubbing ". To enable overdubbing, Paul revised the tape recorder itself by adding a second playback head, and terming it the preview head . Joining the preexisting recording head, erase head, and playback head, the preview head allows the artist to hear the extant recording over headphones playing it in synchrony, "in sync", with the present performance being recorded alone on an isolated track. This isolation of multiple tracks enables countless mixing possibilities. Producers began recording initially only
1023-434: A patent application in 1931, Merle Duston, a Detroit radio engineer, created a tape recorder capable of recording both sounds and voice that used a low-cost chemically treated paper tape. During the recording process, the tape moved through a pair of electrodes which immediately imprinted the modulated sound signals as visible black stripes into the paper tape's surface. The audio signal could be immediately replayed from
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#17328008100441116-503: A patent for his invention in 1909. The celluloid film was inscribed and played back with a stylus, in a manner similar to the wax cylinders of Edison's gramophone. The patent description states that the machine could store six records on the same strip of film, side by side, and it was possible to switch between them. In 1912, a similar process was used for the Hiller talking clock . In 1932, after six years of developmental work, including
1209-588: A recording time of 32 minutes. In 1933, the Marconi Company purchased the rights to the Blattnerphone, and newly developed Marconi-Stille recorders were installed in the BBC's Maida Vale Studios in March 1935. The quality and reliability were slightly improved, though it still tended to be obvious that one was listening to a recording. A reservoir system containing a loop of tape helped to stabilize
1302-531: A set of recordings in Los Angeles. Later, folklorist Archie Green called this perhaps the earliest printed use of A&R man . Actually, it says neither "A&R man" nor even "A&R", an initialism perhaps coined by Billboard magazine in 1946, and entering wide use in the late 1940s. In the 1920s and 1930s, A&R executives, like Ben Selvin at Columbia Records , Nathaniel Shilkret at Victor Records, and Bob Haring at Brunswick Records became
1395-448: A woman the reins of an immense, creative project like making a record." Ultimately, the reasons are multiple and not fully clear, although prominently proposed factors include types of sexism and scarcity of female role models in the profession. Women producers known for producing records not their own include Sonia Pottinger, Sylvia Robinson and Carla Olson. In January 2018, a research team led by Stacy L. Smith, founder and director of
1488-454: A year. ABC agreed to let him use transcription discs for the 1946–47 season, but listeners complained about the sound quality. Crosby realised that Mullin's tape recorder technology would enable him to pre-record his radio show with high sound quality and that these tapes could be replayed many times with no appreciable loss of quality. Mullin was asked to tape one show as a test and was subsequently hired as Crosby's chief engineer to pre-record
1581-479: Is distinct from the role of an executive producer , who is mostly involved in the recording project on an administrative level, and from the audio engineer who operates the recording technology. Varying by project, the producer may or may not choose all of the artists. If employing only synthesized or sampled instrumentation, the producer may be the sole artist. Conversely, some artists do their own production. Some producers are their own engineers, operating
1674-660: Is more forgiving of overmodulation , whereby dynamic peaks exceed the maximal recordable signal level: tape's limitation, a physical property, is magnetic capacity, which tapers off, smoothing the overmodulated waveform even at a signal nearly 15 decibels too "hot", whereas a digital recording is ruined by harsh distortion of " clipping " at any overshoot. In digital recording, however, a recent advancement, 32-bit float , enables DAWs to undo clipping. Still, some criticize digital instruments and workflows for excess automation, allegedly impairing creative or sonic control. In any case, as production technology has drastically changed, so have
1767-439: Is the first step in a broader effort to improve those numbers and increase diversity and inclusion for all in the music industry." Tape recording An audio tape recorder , also known as a tape deck , tape player or tape machine or simply a tape recorder , is a sound recording and reproduction device that records and plays back sounds usually using magnetic tape for storage. In its present-day form, it records
1860-458: Is used for the capstan and one for driving the reels for playback, rewind, and fast forward. The storage of an analog signal on tape works well, but is not perfect. In particular, the granular nature of the magnetic material adds high-frequency noise to the signal, generally referred to as tape hiss . Also, the magnetic characteristics of tape are not linear . They exhibit a characteristic hysteresis curve, which causes unwanted distortion of
1953-465: Is usually called a tape recorder or – if it has no record functionality – a tape player , while one that requires external amplification for playback is usually called a tape deck (regardless of whether it can record). Multitrack technology enabled the development of modern art music and one such artist, Brian Eno , described the tape recorder as "an automatic musical collage device." Magnetic tape brought about sweeping changes in both radio and
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#17328008100442046-825: The Annenberg Inclusion Initiative, based in the USC Annenberg School for Communication and Journalism , issued a report, estimating that in the prior several years, about 2% of popular songs' producers were female. Also that month, Billboard magazine queried, "Where are all the female music producers?" Upon the Annenberg Inclusion Initiative's second annual report, released in February 2019, its department at USC reported, "2018 saw an outcry from artists, executives and other music industry professionals over
2139-707: The "bed tracks"—the rhythm section , including the bassline , drums, and rhythm guitar—whereas vocals and instrument solos could be added later. A horn section , for example, could record a week later, and a string section another week later. A singer could perform her own backup vocals, or a guitarist could play 15 layers. Across the 1960s, popular music increasingly switched from acoustic instruments, like piano, upright bass , acoustic guitar , and brass instruments , to electronic instruments, like electric guitars , keyboards , and synthesizers , employing instrument amplifiers and speakers. These could mimic acoustic instruments or create utterly new sounds. Soon, by combining
2232-432: The 1940s advent of tape recording —which Les Paul promptly innovated further to develop multitrack recording —and the 1950s rise of electronic instruments, turned record production into a specialty. In popular music, then, producers like George Martin , Phil Spector and Brian Eno led its evolution into its present use of elaborate techniques and unrealistic sounds, creating songs impossible to originate live. After
2325-462: The 1940s, during World War II, the Germans refined audio recording onto magnetic tape—uncapping recording duration and allowing immediate playback, rerecording, and editing—a technology that premised emergence of record producers in their current roles. Early in the recording industry, a record was attained by simply having all of the artists perform together live in one take. In 1945, by recording
2418-474: The 1950s. Consumer wire recorders were marketed for home entertainment or as an inexpensive substitute for commercial office dictation recorders, but the development of consumer magnetic tape recorders starting in 1946, with the BK 401 Soundmirror, using paper-based tape, gradually drove wire recorders from the market, being "pretty much out of the picture" by 1952. In 1924 a German engineer, Kurt Stille, developed
2511-522: The 1960s. Still, a formal distinction was elusive for some time more. A&R managers might still be creative directors, like William "Mickey" Stevenson , hired by Berry Gordy , at the Motown record label. In 1947, the American market gained audio recording onto magnetic tape. At the record industry's 1880s dawn, rather, recording was done by phonograph , etching the sonic waveform vertically into
2604-501: The 1980s, production's move from analog to digital further expanded possibilities. By now, DAWs, or digital audio workstations , like Logic Pro , Pro Tools and Studio One , turn an ordinary computer into a production console, whereby a solitary novice can become a skilled producer in a thrifty home studio. In the 2010s, efforts began to increase the prevalence of producers and engineers who are women, heavily outnumbered by men and prominently accoladed only in classical music. As
2697-634: The Brush Development Company in the United States, where work continued but attracted little attention until the late 1940s when the company released the very first consumer tape recorder in 1946: the Soundmirror BK 401. Several other models were quickly released in the following years. Tapes were initially made of paper coated with magnetite powder . In 1947/48 Minnesota Mining & Manufacturing Company ( 3M ) replaced
2790-525: The EMI TR90 and a Philips machine which was lightweight but very easy and quick to use. Bush House used several Leevers-Rich models. The Studer range of machines had become pretty well the studio recording industry standard by the 1970s, and gradually these replaced the aging BTR2s in recording rooms and studios. By the mid-2000s tape was pretty well out of use and had been replaced by digital playout systems. The typical professional audio tape recorder of
2883-647: The Kinks produced some of their own songs, although many such songs are officially credited to specialist producers. Yet especially influential was the Beach Boys, whose band leader Brian Wilson took over from his father Murry within a couple of years after the band's commercial breakthrough. By 1964, Wilson had taken Spector's techniques to unseen sophistication. Wilson alone produced all Beach Boys recordings between 1963 and 1967. Using multiple studios and multiple attempts of instrumental and vocal tracks, Wilson selected
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2976-519: The Poulsen wire recorder as a dictating machine. The following year a fellow German, Louis Blattner , working in Britain, licensed Stille's device and started work on a machine which would instead record on a magnetic steel tape, which he called the Blattnerphone. The tape was 6 mm wide and 0.08 mm thick, traveling at 5 feet per second; the recording time was 20 minutes. The BBC installed
3069-639: The ability to pre-record their broadcasts with the high quality of tape, and the recording ban was lifted. Crosby invested $ 50,000 of his own money into the Californian electronics company Ampex , and the six-man concern (headed by Alexander M. Poniatoff , whose initials became part of the company name) soon became the world leader in the development of tape recording, with its Model 200 tape deck, released in 1948 and developed from Mullin's modified Magnetophons. The BBC acquired some Magnetophon machines in 1946 on an experimental basis, and they were used in
3162-409: The artist's and label's goals in the creation of musical content. Other duties include, but are not limited to: keeping budgets and schedules; adhering to deadlines; hiring musicians, singers, studios, and engineers; overseeing other staffing needs; and editing (Classical projects). The producer often selects and collaborates with a mixing engineer, who focuses on the especially technological aspects of
3255-469: The best combinations of performance and audio quality, and used tape editing to assemble a composite performance. The 1980s advent of digital processes and formats rapidly replaced analog processes and formats, namely, tape and vinyl. Although recording onto quality tape, at least half an inch wide and traveling 15 inches per second, had limited "tape hiss" to silent sections, digital's higher signal-to-noise ratio , SNR, abolished it. Digital also imparted to
3348-508: The broadcasts had to be transcriptions, but their audio quality was indistinguishable from that of a live broadcast and their duration was far longer than was possible even with 16 rpm transcription discs. In the final stages of the war in Europe, the Allies' capture of a number of German Magnetophon recorders from Radio Luxembourg aroused great interest. These recorders incorporated all
3441-517: The capabilities of tape, multitrack recording, and electronic instruments, producers like Phil Spector , George Martin , and Joe Meek rendered sounds unattainable live. Similarly, in jazz fusion , Teo Macero , producing Miles Davis 's 1970 album Bitches Brew , spliced sections of extensive improvisation sessions. In the 1960s, rock acts like the Beatles , the Rolling Stones , and
3534-426: The coils of the tape head creates a fluctuating magnetic field. This causes the magnetic material on the tape, which is moving past and in contact with the head, to align in a manner proportional to the original signal. The signal can be reproduced by running the tape back across the tape head, where the reverse process occurs – the magnetic imprint on the tape induces a small current in the read head which approximates
3627-610: The decades spanning from 1940 until 1960, following the development of inexpensive designs licensed internationally by the Brush Development Company of Cleveland, Ohio and the Armour Research Foundation of the Armour Institute of Technology (later Illinois Institute of Technology ). These two organizations licensed dozens of manufacturers in the U.S., Japan, and Europe. Wire was also used as a recording medium in black box voice recorders for aviation in
3720-476: The development of magnetic tape, magnetic wire recorders had successfully demonstrated the concept of magnetic recording , but they never offered audio quality comparable to the other recording and broadcast standards of the time. This German invention was the start of a long string of innovations that have led to present-day magnetic tape recordings. Magnetic tape revolutionized both the radio broadcast and music recording industries. It gave artists and producers
3813-1166: The early 1950s used 1 ⁄ 4 in (6 mm) wide tape on 10 + 1 ⁄ 2 in (27 cm) reels, with a capacity of 2,400 ft (730 m). Typical speeds were initially 15 in/s (38.1 cm/s) yielding 30 minutes' recording time on a 2,400 ft (730 m) reel. Early professional machines used single-sided reels but double-sided reels soon became popular, particularly for domestic use. Tape reels were made from metal or transparent plastic. Standard tape speeds varied by factors of two: 15 and 30 in/s were used for professional audio recording; 7 + 1 ⁄ 2 in/s (19.1 cm/s) for home audiophile prerecorded tapes; 7 + 1 ⁄ 2 and 3 + 3 ⁄ 4 in/s (19.1 and 9.5 cm/s) for audiophile and consumer recordings (typically on 7 in (18 cm) reels). 1 + 7 ⁄ 8 in/s (4.8 cm/s) and occasionally even 15 ⁄ 16 in/s (2.4 cm/s) were used for voice, dictation, and applications where very long recording times were needed, such as logging police and fire department calls. The 8-track tape standard, developed by Bill Lear in
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3906-488: The early stages of the new Third Programme to record and play back performances of operas from Germany. Delivery of tape was preferred as live relays over landlines were unreliable in the immediate post-war period. These machines were used until 1952, though most of the work continued to be done using the established media. In 1948, a new British model became available from EMI: the BTR1. Though in many ways clumsy, its quality
3999-401: The first decade of the 21st century, analog magnetic tape has been largely replaced by digital recording technologies. The earliest known audio tape recorder was a non-magnetic , non-electric version invented by Alexander Graham Bell 's Volta Laboratory and patented in 1886 ( U.S. patent 341,214 ). It employed a 3 ⁄ 16 -inch-wide (4.8 mm) strip of wax-covered paper that
4092-425: The flutter the more noise that can be heard causing the quality of the recording to be worse. Higher tape speeds used in professional recorders are prone to cause head bumps , which are fluctuations in low-frequency response. There is a wide variety of tape recorders in existence, from small hand-held devices to large multitrack machines. A machine with built-in speakers and audio power amplification to drive them
4185-430: The general public. Record producer A record producer or music producer is a music creating project's overall supervisor whose responsibilities can involve a range of creative and technical leadership roles. Typically the job involves hands-on oversight of recording sessions; ensuring artists deliver acceptable and quality performances, supervising the technical engineering of the recording, and coordinating
4278-460: The industry are Logic Pro and Pro Tools. Physical devices involved include the main mixer, MIDI controllers to communicate among equipment, the recording device itself, and perhaps effects gear that is outboard. Yet literal recording is sometimes still analog, onto tape, whereupon the raw recording is converted to a digital signal for processing and editing, as some producers still find audio advantages to recording onto tape. Conventionally, tape
4371-413: The innovative pop music studio-as-an-instrument recordings of artists such as Frank Zappa , the Beatles , and the Beach Boys . Philips advertised their reel-to-reel recorders as an audial family album and pushed families to purchase these recorders to capture and relive memories forever. But the use for recording music slowly but steadily rose as the main function for the tape recorder. Tape enabled
4464-577: The introduction of the first commercial tape recorder, the Ampex 200 model, launched in 1948, the invention of the first multitrack tape recorder , brought about another technical revolution in the recording industry. Tape made possible the first sound recordings totally created by electronic means, opening the way for the bold sonic experiments of the Musique Concrète school and avant-garde composers like Karlheinz Stockhausen , which in turn led to
4557-538: The key technological features of modern analog magnetic recording and were the basis for future developments in the field. Development of magnetic tape recorders in the late 1940s and early 1950s is associated with the Brush Development Company and its licensee, Ampex . The equally important development of the magnetic tape medium itself was led by Minnesota Mining and Manufacturing (3M) corporation. In 1938, S.J. Begun left Germany and joined
4650-669: The knowledge demands, although DAWs enables novices, even teenagers at home, to learn production independently. Some have attained professional competence before ever working with an artist. Among female record producers, Sylvia Moy was the first at Motown , Gail Davies the first on Nashville's Music Row , and Ethel Gabriel , with RCA , the first at a major record label . Lillian McMurry , owning Trumpet Records , produced influential blues records. Meanwhile, Wilma Cozart Fine produced hundreds of records for Mercury Records ' classical division. For classical production, three women have won Grammy awards, and Judith Sherman 's 2015 win
4743-507: The lack of women in music" and "the plight of women in music", where women were allegedly being "stereotyped, sexualized, and shut out". Also in February 2019, the Recording Academy 's Task Force on Diversity and Inclusion announced an initiative whereby over 200 artists and producers—ranging from Cardi B and Taylor Swift to Maroon 5 and Quincy Jones —agreed to consider at least two women for each producer or engineer position. The academy's website, Grammy.com , announced, "This initiative
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#17328008100444836-455: The major radio networks didn't permit the use of disc recording in many programs because of their comparatively poor sound quality. Crosby disliked the regimentation of live broadcasts 39 weeks a year, preferring the recording studio's relaxed atmosphere and ability to retain the best parts of a performance. He asked NBC to let him pre-record his 1944–45 series on transcription discs , but the network refused, so Crosby withdrew from live radio for
4929-576: The manufacturing of record discs. After World War II , pioneering A&R managers who transitioned influentially to record production as now understood, while sometimes owning independent labels, include J. Mayo Williams and John Hammond . Upon moving from Columbia Records to Mercury Records , Hammond appointed Mitch Miller to lead Mercury's popular recordings in New York. Miller then produced country-pop crossover hits by Patti Page and by Frankie Laine , moved from Mercury to Columbia, and became
5022-569: The mid-1960s, popularized consumer audio playback in automobiles in the USA. Eventually, this standard was replaced by the smaller and more reliable Compact Cassette , which was launched earlier in 1963. Philips 's development of the Compact Cassette in 1963 and Sony 's development of the Walkman in 1979 led to widespread consumer use of magnetic audio tape. In 1990, the Compact Cassette
5115-429: The most listenable records to come across our desk in months." A review of a 1994 Red Hot Organization one-hour music video collection noted that the affected persons depicted in the video were either gay males, injection drug users, or African. Some researchers argued that depictions such as this focus the majority viewers' attention specifically on these groups and assume that HIV is a problem for minorities, and not for
5208-774: The music a perceived "pristine" sound quality, if also a loss of analog recordings' perceived "warm" quality and better-rounded bass. Yet whereas editing tape media requires physically locating the target audio on the ribbon, cutting there, and splicing pieces, editing digital media offers inarguable advantages in ease, efficiency, and possibilities. In the 1990s, digital production reached affordable home computers via production software. By now, recording and mixing are often centralized in DAWs, digital audio workstations —for example, Pro Tools , Logic Pro , Ableton , Cubase , Reason , and FL Studio —for which plugins , by third parties, effect virtual studio technology . DAWs fairly standard in
5301-498: The original signal and is then amplified for playback. Many tape recorders are capable of recording and playing back simultaneously by means of separate record and playback heads. Modern professional recorders usually use a three-motor scheme. One motor with a constant rotational speed drives the capstan . Usually combined with a rubber pinch roller, it ensures that the tape speed does not fluctuate. The other two motors, which are called torque motors, apply equal and opposite torques to
5394-406: The paper backing with cellulose acetate or polyester , and coated it first with black oxide, and later, to improve signal-to-noise ratio and improve overall superior quality, with red oxide ( gamma ferric oxide ). American audio engineer John T. Mullin and entertainer Bing Crosby were key players in the commercial development of magnetic tape. Mullin served in the U.S. Army Signal Corps and
5487-452: The power to record and re-record audio with minimal loss in quality as well as edit and rearrange recordings with ease. The alternative recording technologies of the era, transcription discs and wire recorders , could not provide anywhere near this level of quality and functionality. Since some early refinements improved the fidelity of the reproduced sound, magnetic tape has been the highest quality analog recording medium available. As of
5580-438: The precursors of record producers, supervising recording and often leading session orchestras. During the 1940s, major record labels increasingly opened official A&R departments, whose roles included supervision of recording. Meanwhile, independent recording studios opened, helping originate record producer as a specialty. But despite a tradition of some A&R men writing music, record production still referred to just
5673-449: The production team and process. The producer's involvement in a musical project can vary in depth and scope. Sometimes in popular genres the producer may create the recording's entire sound and structure. However, in classical music recording, for example, the producer serves as more of a liaison between the conductor and the engineering team. The role is often likened to that of a film director though there are important differences. It
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#17328008100445766-465: The radio industry for the first time to pre-record many sections of program content such as advertising, which formerly had to be presented live, and it also enabled the creation and duplication of complex, high-fidelity, long-duration recordings of entire programs. It also, for the first time, allowed broadcasters, regulators and other interested parties to undertake comprehensive logging of radio broadcasts for legislative and commercial purposes, leading to
5859-411: The recording industry. Sound could be recorded, erased and re-recorded on the same tape many times, sounds could be duplicated from tape to tape with only minor loss of quality, and recordings could now be very precisely edited by physically cutting the tape and rejoining it. In August 1948, Los Angeles-based Capitol Records became the first recording company to use the new process. Within a few years of
5952-463: The recording process, namely, operating the electronic equipment and blending the raw, recorded tracks of the chosen performances, whether vocal or instrumental, into a mix , either stereo or surround sound. Then a mastering engineer further adjusts this recording for distribution on the chosen media. A producer may work on only one or two songs or on an artist's entire album, helping develop the album's overall vision. The record producers may also take on
6045-509: The rest of the series. Crosby's season premier on 1 October 1947 was the first magnetic tape broadcast in America. He became the first major American music star to use tape to pre-record radio broadcasts, and the first to master commercial recordings on tape. The taped Crosby radio shows were painstakingly edited through tape-splicing to give them a pace and flow that was wholly unprecedented in radio. Soon other radio performers were demanding
6138-438: The role of executive producer, managing the budget, schedules, contracts, and negotiations. (Artists and Repertoires) In the 1880s, the record industry began by simply having the artist perform at a phonograph . In 1924, the trade journal Talking Machine World , covering the phonography and record industry, reported that Eddie King, Victor Records ' manager of the "New York artist and repertoire department", had planned
6231-583: The same 3 ⁄ 16 -inch-wide (4.8 mm) strip. While the machine was never developed commercially, it somewhat resembled the modern magnetic tape recorder in its design. The tapes and machine created by Bell's associates, examined at one of the Smithsonian Institution 's museums, became brittle, and the heavy paper reels warped. The machine's playback head was also missing. Otherwise, with some reconditioning, they could be placed into working condition. The waxed tape recording medium
6324-457: The same recorder unit, which also contained photoelectric sensors, somewhat similar to the various sound-on-film technologies of the era. Magnetic recording was conceived as early as 1878 by the American engineer Oberlin Smith and demonstrated in practice in 1898 by Danish engineer Valdemar Poulsen . Analog magnetic wire recording , and its successor, magnetic tape recording, involve
6417-521: The signal. Some of this distortion is overcome by using inaudible high-frequency AC bias when recording. The amount of bias needs careful adjustment for best results as different tape material requires differing amounts of bias. Most recorders have a switch to select this. Additionally, systems such as Dolby noise reduction systems have been devised to ameliorate some noise and distortion problems. Variations in tape speed cause wow and flutter . Flutter can be reduced by using dual capstans. The higher
6510-431: The song in its final mix. The producer's roles can include gathering ideas, composing music, choosing session musicians , proposing changes to song arrangements, coaching the performers, controlling sessions, supervising the audio mixing , and, in some cases, supervising the audio mastering . A producer may give creative control to the artists themselves, taking a supervisory or advisory role instead. As to qualifying for
6603-511: The speed of the recording. Despite these drawbacks, the ability to make replayable recordings proved useful, and even with subsequent methods coming into use (direct-cut discs and Philips-Miller optical film the Marconi-Stilles remained in use until the late 1940s. Magnetic tape recording as we know it today was developed in Germany during the 1930s at BASF (then part of the chemical giant IG Farben ) and AEG in cooperation with
6696-404: The speed. The tape was 3 mm wide and traveled at 1.5 meters/second. They were not easy to handle. The reels were heavy and expensive and the steel tape has been described as being like a traveling razor blade. The tape was liable to snap, particularly at joints, which at 1.5 meters/second could rapidly cover the floor with loops of the sharp-edged tape. Rewinding was done at twice
6789-498: The standard in recording rooms for many years and was in use until the end of the 1960s. In 1963, the Beatles were allowed to enhance their recordings at the BBC by overdubbing. The BBC didn't have any multi-track equipment; Overdubbing was accomplished by copying onto another tape. The tape speed was eventually standardized at 15 ips for almost all work at Broadcasting House, and at 15 ips for music and 7½ ips for speech at Bush House. Broadcasting House also used
6882-536: The state radio RRG . This was based on Fritz Pfleumer 's 1928 invention of paper tape with oxide powder lacquered onto it. The first practical tape recorder from AEG was the Magnetophon K1 , demonstrated in Berlin, Germany in 1935. Eduard Schüller [ de ] of AEG built the recorders and developed a ring-shaped recording and playback head. It replaced the needle-shaped head which tended to shred
6975-516: The supply and take-up reels during recording and playback functions and maintain the tape's tension. During fast winding operations, the pinch roller is disengaged and the take-up reel motor produces more torque than the supply motor. The cheapest models use a single motor for all required functions; the motor drives the capstan directly and the supply and take-up reels are loosely coupled to the capstan motor with slipping belts, gears, or clutches. There are also variants with two motors, in which one motor
7068-710: The tape. Friedrich Matthias of IG Farben/BASF developed the recording tape, including the oxide, the binder, and the backing material. Walter Weber, working for Hans Joachim von Braunmühl [ de ] at the RRG, discovered the AC biasing technique, which radically improved sound quality. During World War II , the Allies noticed that certain German officials were making radio broadcasts from multiple time zones almost simultaneously. Analysts such as Richard H. Ranger believed that
7161-440: The technology across the project: preproduction, recording, mixing , and mastering . Record producers' precursors were "A&R men", who likewise could blend entrepreneurial, creative, and technical roles, but often exercised scant creative influence, as record production still focused, into the 1950s, on simply improving the record's sonic match to the artists' own live performance. Advances in recording technology, especially
7254-416: The use of a magnetizable medium which moves with a constant speed past a recording head. An electrical signal, which is analogous to the sound that is to be recorded, is fed to the recording head, inducing a pattern of magnetization similar to the signal. A playback head can then pick up the changes in magnetic field from the tape and convert it into an electrical signal to be amplified and played back through
7347-481: The vast majority have been men. Early in the 2010s, asked for insights that she herself had gleaned as a woman who has specialized successfully in the industry, Wendy Page remarked, "The difficulties are usually very short-lived. Once people realize that you can do your job, sexism tends to lower its ugly head." Still, when tasked to explain her profession's sex disparity, Page partly reasoned that record labels, dominated by men, have been, she said, "mistrustful of giving
7440-453: Was Bing Crosby's technical director, Murdo Mackenzie. He arranged for Mullin to meet Crosby and in June 1947 he gave Crosby a private demonstration of his magnetic tape recorders. Bing Crosby , a top movie and singing star, was stunned by the amazing sound quality and instantly saw the huge commercial potential of the new machines. Live music was the standard for American radio at the time and
7533-442: Was Red Hot Organization's 15th entry into its series of tribute albums. Rio 2 was reviewed by critics to high acclaim. The Wall Street Journal noted that the album possessed "unusual collaboration and combinations" that would solidify Red Hot's place "in the musical landscape." The Denver Post stated that the album was full of "summery, breezy songs" that alternately "surprises and triumphs" and ultimately deemed it "one of
7626-401: Was a chance visit to a studio at Bad Nauheim near Frankfurt while investigating radio beam rumors, that yielded the real prize. Mullin was given two suitcase-sized AEG 'Magnetophon' high-fidelity recorders and fifty reels of recording tape. He had them shipped home and over the next two years he worked on the machines constantly, modifying them and improving their performance. His major aim
7719-658: Was an early female record producer, having produced both of her Ivor Novello award-winning songs. Across the decades, many female artists have produced their own music. For instance, artists Kate Bush , Madonna , Mariah Carey , Janet Jackson , Beyoncé (even that of Destiny's Child and the Carters ), Lana Del Rey , Taylor Swift , and Lorde have produced or coproduced and Ariana Grande who produces and arranges her vocals as well as being an audio engineer. Still among specialists, despite some prominent women, including Missy Elliott in hip hop and Sylvia Massy in rock,
7812-553: Was coated by dipping it in a solution of beeswax and paraffin and then had one side scraped clean, with the other side allowed to harden. The machine was of sturdy wood and metal construction and hand-powered by means of a knob fastened to a flywheel . The wax strip passed from one eight-inch reel around the periphery of a pulley (with guide flanges) mounted above the V-pulleys on the main vertical shaft, where it came in contact with either its recording or playback stylus . The tape
7905-459: Was established in 1989 in response to the AIDS epidemic and its impact on artists and creators within New York City . Carlin, who previously pursued a career as an entertainment lawyer, expressed the wish to create an " AIDS charity album" to pay tribute to American singer/songwriter Cole Porter. In 1990, the project was released, entitled Red Hot + Blue , featuring various artists. The project
7998-490: Was good, and as it wasn't possible to obtain any more Magnetophons it was an obvious choice. In the early 1950s, the EMI BTR 2 became available; a much-improved machine and generally liked. The machines were responsive, could run up to speed quite quickly, had light-touch operating buttons, forward-facing heads (The BTR 1s had rear-facing heads which made editing difficult), and were quick and easy to do fine editing. It became
8091-455: Was her fifth. Yet in nonclassical, no woman has won Producer of the Year , awarded since 1975 and only one even nominated for a record not her own, Linda Perry. After Lauren Christy 's 2004 nomination, Linda Perry 's 2019 nomination was the next for a woman. On why no woman had ever won it, Perry commented, "I just don't think there are that many women interested." In the U.K., Lynsey de Paul
8184-592: Was later adapted into a one-and-a-half-hour TV special, hosted by Richard Gere , Carrie Fisher and Kyle MacLachlan which aired on World AIDS Day 1990 during prime time on ABC. In 1995: Time magazine listed Red Hot's Stolen Moments: Red Hot + Cool as its number one pick for the Best Music of 1994. Red Hot + Rio 2 , produced by Béco Dranoff, John Carlin, and Paul Heck; with supervising musical producers Andres Levin , Mario Caldato Jr., and Kamal Kassin; in collaboration with U.S. label E1 Entertainment ,
8277-495: Was later refined by Edison's wax cylinder , and became the first widespread sound recording technology, used for both entertainment and office dictation. However, recordings on wax cylinders were unable to be easily duplicated, making them both costly and time consuming for large scale production. Wax cylinders were also unable to record more than 2 minutes of audio, a problem solved by gramophone discs . Franklin C. Goodale adapted movie film for analog audio recording. He received
8370-421: Was posted to Paris in the final months of WWII. His unit was assigned to find out everything they could about German radio and electronics, including the investigation of claims that the Germans had been experimenting with high-energy directed radio beams as a means of disabling the electrical systems of aircraft. Mullin's unit soon amassed a collection of hundreds of low-quality magnetic dictating machines, but it
8463-465: Was the dominant format in mass-market recorded music. The development of Dolby noise reduction technology in the 1960s brought audiophile-quality recording to the Compact Cassette also contributing to its popularity. Since their first introduction, analog tape recorders have experienced a long series of progressive developments resulting in increased sound quality, convenience, and versatility. Due to electromagnetism , electric current flowing in
8556-434: Was then taken up on the other reel. The sharp recording stylus, actuated by a vibrating mica diaphragm, cut the wax from the strip. In playback mode, a dull, loosely mounted stylus, attached to a rubber diaphragm, carried the reproduced sounds through an ear tube to its listener. Both recording and playback styluses, mounted alternately on the same two posts, could be adjusted vertically so that several recordings could be cut on
8649-467: Was to interest Hollywood studios in using magnetic tape for movie soundtrack recording. Mullin gave two public demonstrations of his machines, and they caused a sensation among American audio professionals; many listeners literally could not believe that what they heard was not a live performance. By luck, Mullin's second demonstration was held at MGM Studios in Hollywood and in the audience that day
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