For Groves, on every scene, there were usually two or more disk records which were cut and played back after being recorded. This way of playing it back was an immediate review of quality of recording how the artist had performed (Grove, 1973). This was important as usually there was a long time gap between recording and completing the full record. The role of audio engineers, prior to 1990s, was expanding inside recording studio. There were changes in the technology of recording in the 1990s. Therefore, it was becoming more complicated to record (Emmerson, 1975). Prior to 1990s, the engineer was merely observed as just a technician. However, after 1990s he was given an additional creative role in the procedure of producing music.
1980s already had witnessed the compact disc, synthesis, midi, and digital records. In 1980s there was a high welcome to visitor entering the records business. This was the compact in 80s which modified the approach by which people listen to the music and also it initiated the digital technology in recording industry. The CDs had been highly successful and the recording business could make huge revenues from selling and reselling CDs. All the prior released albums were resold in forms of compact disc (A sound argument, 2010).
Although most of the technicians and recording industry did not like the disks rather than vinyl tapes, this digital technology removed the unwonted sounds of clicks, pops. There was no skipping there for people started liking the quality of competition. The technicians, who started using digital technology for recording, were able to reap benefits in the long run. The digital technology had brought in various benefits ahead of analogy such as the better dynamic range. There was no hissing sound of tapes. The technicians and engineers were very happy because they could create exact copies of their recordings without any decrease in the quality of track.
In 80s, midi sequencer allowed the performances to be recorded and additions to be made until there was perfect record. The synthesisers drum machines and samplers rather than actual acoustic equipment were utilised by Groves to create the synthetic songs. There were small rooms for recording but the control rooms were bigger so that all technical changes could be made by the engineers in those control rooms.
The work of Groves was much complex as the performances were recorded and the recordings were done simultaneously with performance. This led to getting satisfactory records and close-to-perfect synchronisation among the picture and sound in close-up shots. These kinds of recordings were known as “standard recordings”. These records were played back to the artists and performers so that they could duplicate their performances very minutely in synchronisation with the created sounds. In case there was any lack of synchronisation, the photographs would be taken from little distance so that their lips could not be seen, which was not easy for the viewers to detect such flaws.
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