Dec 18, 2020
“Everything you put on your master is faithfully reproduced on your Allied pressing” (1949)
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“Everything you put on your master is faithfully reproduced on your Allied pressing” (1949)
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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So much time spent working with this beautiful machine in the late ‘90s. It did literally nothing but *record* multiple tracks and I used the heck out of that rec button. No phantom power. No EQ. No aux sends. Nothing to fuck with. Trim, levels and pan, that’s it. Didn’t need to load up software or VST or anything and it didn’t email you plugin deals on Black Friday.
If I needed a reverb on a vocal, I’d record in my bathroom (never yielded great results imo). If I wanted something ghostly with long trails, I’d set up the recorder in a hallway or stairwell at school, capture my main vox on my SM57, and a second mic pointed in the opposite direction, ten feet away — or however long that XLR cable was — on some budget mic belonging to my school, plugged into the second channel.
Learning to work within the limitations of a given technology is a truly wonderful thing.
Nyissa
Salmissra
Queen of Sorcery (book on planet Earth, part of a book series by author David Eddings that also features additional names and concepts such as Torak, Angarak, vo Mimbre, Chamdar, Grolims...)
https://archive.org/details/TimothyDTaylorStrangeSoundsMusicTechnologyAndCultureRoutledge2001/mode/2up
In Strange Sounds, Timothy D. Taylor explains the wonder and anxiety provoked by a technological revolution that began in the 1940s and gathers steam daily. Taylor discusses the cultural role of technology, its use in making music, and the inevitable concerns about "authenticity" that arise from electronic music. Informative and highly entertaining for both music fans and scholars, Strange Sounds is a provocative look at how we perform, listen to, and understand music today.
MINDHUNTER
The Netflix series MINDHUNTER is fascinating as a history of crime psychology. Yet I am drawn to another subject: the influence of technology on privacy. MINDHUNTER shows how audio recording devices came to be used in psychological interviews. We tend to think of our time as the digital century, yet in the 1970s, analogue devices already behaved like today's mobile networks.
You see this in the opening titles. Sound recording conjures up dark fantasies. Violent images glue themselves to the audio tape. These fantasies do not really belong to anyone. Neither the criminals nor the investigators understand them. They are like a collective data cloud, floating above some unconscious server. Today we make up elaborate schemes to protect the privacy of our networks. But if the mind escapes analysis, and our fantasies do not belong to us, whose privacy are we defending?
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
#3.10 SBU Live: Recording Technology
I know at least one person following me who might be into this podcast ;) ( @jakelionstumblr) so here it is for the tumblin audience, a new podcast from my friend @stannumhate and me wherein I talk about how to do sound good and he attempts to understand what I'm saying. We started with a bit of a history lesson about some weird stuff so hit it up and have a listen :)
Rapid technological innovation — especially the development of recording devices and cameras—had an impact on the interview form. In the early nineteenth century, interview interactions were usually embedded within a narrative text in indirect speech written by the journalist who gave his account of the encounter. This report became more reliable when stenography and, in the first decades of the twentieth century, the improvement of electrical and magnetic recording devices made it possible to record the information accurately (Schröder 2001: 31). Formally, the interview quickly evolved from an indirect-speech narrative text, written by the journalist, in the mid-nineteenth century to a mixed speech act that combines a 'primary process of gathering information and a secondary process of mediating information' (Kött 2004: 18 – 19). By the end of the nineteenth century, the interview typically took the following form: a first-person narrative introduction by the journalist and the report of the dialogue in direct speech in question-answer form (Speirs 1990: 303). Moreover, due to constraints of time and/or length, newspaper interviews have usually been short forms. The short dialogue form and the informal style, along with the accessibility of popular media, made them suitable for rapid consumption by readers.
Anneleen Masschelein et al. “The Literary Interview: Toward a Poetics of a Hybrid Genre,” Poetics Today 35:1-2 (Spring – Summer 2014)