Multitrack recording

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Multitrack recording (MTR), also known as multitracking, is a method of

Multitracking can be achieved with

With the introduction of SMPTE timecode in the early 1970s, engineers began to use computers to perfectly synchronize separate audio and video playback, or multiple audio tape machines. In this system, one track of each machine carried the timecode signal, while the remaining tracks were available for sound recording. Some large studios were able to link multiple 24-track machines together. An extreme example of this occurred in 1982, when the rock group Toto recorded parts of Toto IV on three synchronized 24-track machines.^[1] This setup theoretically provided for up to 69 audio tracks.

In the late 1970s and 1980s, digital multitrack tape machines emerged, including the 3M and Mitsubishi X-800 32-track machines, and Sony DASH PCM-3324 and later the PCM-3348 machines, which allowed greater flexibility with more available tracks for recording. ^[2] As well, in order to mix using automation on the console, analogue recorders generally required adjacent tracks to the time code track to be kept blank to avoid the time code signal interfering with the audio signals, which limited available tracks to 22 or 23 track at most. Digital multitrack machines had time code inserted elsewhere on the tape, and thus did not require allocating it to an audio track, which meant all tracks were available for recording. What's more, in the case of the PCM-3348, which doubled the number of tracks from the PCM-3324, both machines could use the same ½” digital tape, and also a 24-track reel first recorded on a PCM-3324 was able to be used on a PCM-3348 and have another 24 tracks overdubbed.^[3]

For computer-based systems, the trend in the 2000s is towards unlimited numbers of record/playback tracks, although issues such as

When recording, audio engineers can select which track (or tracks) on the device will be used for each instrument, voice, or other input and can even blend one track with two instruments to vary the music and sound options available. At any given point on the tape, any of the tracks on the recording device can be recording or playing back using sel-sync or Selective Synchronous recording. This allows an artist to be able to record onto track 2 and, simultaneously, listen to track 1, 3 and 7, allowing them to sing or to play an accompaniment to the performance already recorded on these tracks. They might then record an alternate version on track 4 while listening to the other tracks. All the tracks 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, reused. During mixdown, a separate set of playback heads with higher fidelity are used.

Before all tracks are filled, any number of existing tracks can be bounced into one or two tracks, and the original tracks erased, making more room for more tracks to be reused for fresh recording. In 1963,

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 by making additional takes of songs or instrumental tracks. 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

When recording is completed, the many tracks are mixed down through a

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.

Flexibility

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. In the 2010s, many rock and pop bands record each part of the song one after the other. First, the bass and drums are often recorded, followed by the chordal rhythm section instruments. Then the

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 distribution) phase. For example, if an artist wanted to apply one effects unit 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 and vocal sounds with complete freedom.

Multitracking a song also leaves open the possibilities of

History

The process was conceived and developed by Ross Snyder at Ampex in 1955 resulting in the first Sel-Sync machine, an 8-track machine which used one-inch tape. This 8-track recorder was sold to the American guitarist, songwriter, luthier, and inventor Les Paul for $10,000.^[5] It became known as the Octopus. Les Paul, Mary Ford and Patti Page used the technology in the late 1950s to enhance vocals and instruments. From these beginnings, it evolved in subsequent decades into a mainstream recording technique.

With computers

Since the early 1990s, many performers have recorded music using only a Mac or PC equipped with multitrack recording software as a tracking machine. The computer must have a sound card or other type of audio interface with one or more Analog-to-digital converters. Microphones are needed to record the sounds of vocalists or acoustic instruments. Depending on the capabilities of the system, some instruments, such as a synthesizer or electric guitar, can also be sent to an interface directly using Line level or MIDI inputs. Direct inputs eliminate the need for microphones and can provide another range of sound control options.

There are tremendous differences in computer audio interfaces. Such units vary widely in price, sound quality, and flexibility. The most basic interfaces use audio circuitry that is built into the computer

Microphones are often designed for highly specific applications and have a major effect on recording quality. A single studio-quality microphone can cost $5,000 or more, while consumer-quality recording microphones can be bought for less than $50 each. Microphones also need some type of microphone preamplifier to prepare the signal for use by other equipment. These preamplifiers can also have a major effect on the sound and come in different price ranges, physical configurations, and capability levels. Microphone preamplifiers may be external units or a built-in feature of other audio equipment.

Software

Software for multitrack recording can record multiple tracks at once. It generally uses

For classical and jazz recordings, particularly instrumentals where multitracking is chosen as the recording method (as opposed to direct to stereo, for example), a different arrangement is used; all tracks are recorded simultaneously.^[citation needed] Sound barriers are often placed between different groups within the orchestra, e.g. pianists, violinists, percussionists, etc.^{[citation needed]} When barriers are used, these groups listen to each other via headphones.^{[citation needed]}

Multitrack live recording is a lot like gigging – a lot of planning ahead of time, a lot of gear to carry and set up, a lot of waiting, and then a lot of hectic activity over the next 40 minutes or so!^{[citation needed]} There is little doubt that a pseudolive studio performance can enhance certain forms of music, particularly those with a lot of intensity in the live performance, but it still lacks the atmosphere of a real gig.^{[citation needed]} You may record the moment with a portable setup during the performance. You can produce wonderful live recordings with just two microphones and a building's inherent acoustics, but that will have to wait for another day. Taking a feed from the front of house (or FOH) desk directly to tape or DAT is another technique of live recording, although this will only work in large venues where everything is run through the PA system.^{[citation needed]} Even so, a loud backline will result in less guitar and bass being routed via the main PA system, resulting in an unbalanced mix.^{[citation needed]} A multitrack recording has distinct advantages: it allows you more control after the event because you may fine-tune the mix and correct any obvious mistakes without sacrificing the thrill of the live performance.^{[citation needed]} It does, however, necessitate a lot more pre-gig planning as well as a lot more equipment.

See also

References