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42-708: Victory Mixture is unusual in that it was recorded without the use of overdubbing or sound editing, the idea being to record the songs in the same manner as they were recorded originally in the 1950s and early 1960s — without soundboard technology. The album was released in Europe on the French Sky Ranch label; it was released a year later in the United States on the Orleans Records label, that label's second offering. The success of Victory Mixture in Europe ensured

84-418: A digital audio workstation (DAW) or tape recorder . The overdub process can be repeated multiple times. This technique is often used with singers, as well as with instruments, or ensembles/orchestras. Overdubbing is typically done for the purpose of adding richness and complexity to the original recording. For example, if there are only one or two artists involved in the recording process, overdubbing can give

126-416: A mastering engineer prepares the final product for production. Audio mixing may be performed on a mixing console or in a digital audio workstation . In the late 19th century, Thomas Edison and Emile Berliner developed the first recording machines. The recording and reproduction process itself was completely mechanical with little or no electrical parts. Edison's phonograph cylinder system utilized

168-452: A sound card , using digital audio workstation software. Because the process of overdubbing involves working with pre-recorded material, the performers involved do not have to ever have physically met each other, nor even still be alive. In 1991, decades after her father Nat King Cole had died, Natalie Cole released a " virtual duet " recording of " Unforgettable " where she overdubbed her vocals onto her father's original recording from

210-476: A bunch of the musicians from down there, the music of New Orleans." DeVille told Sheila Rene about the beginnings of Victory Mixture : Producer Carlo Ditta described the birth of the album this way: In the summer of 1992, DeVille toured Europe with Dr John , Johnny Adams, Zachary Richard , and The Wild Magnolias as part of his "New Orleans Revue" tour. He told Leap in the Dark , "The travel, buses, and planes and

252-532: A disdain for double-track recording. Vig had to reportedly convince Cobain to use the recording technique by saying, "The Beatles did it on everything. John Lennon loved the sound of his voice double-tracked." In December 2023 Paul McCartney put the concept of overdubbing in the spotlight by re-releasing an underdubbed version of the Paul McCartney and Wings album Band on the Run . The underdubbed tracks highlight

294-499: A live performance. If the recorded mix was not satisfactory, or if one musician made a mistake, the selection had to be performed over until the desired balance and performance was obtained. The introduction of multi-track recording changed the recording process into one that generally involves three stages: recording , overdubbing , and mixing. Modern mixing emerged with the introduction of commercial multi-track tape machines, most notably when 8-track recorders were introduced during

336-428: A microphone to be connected remotely to a recording machine meant that microphones could be positioned in more suitable places. The process was improved when outputs of the microphones could be mixed before being fed to the disc cutter, allowing greater flexibility in the balance. Before the introduction of multitrack recording , all sounds and effects that were to be part of a recording were mixed simultaneously during

378-600: A pair of famous overdubbed sides in 1941 entitled " The Sheik of Araby " and "Blues of Bechet". The multi-instrumentalist recorded the clarinet, soprano, tenor saxophone, piano and the bass and drum parts for both songs, and then he recorded each track separately on top of one another to create two single tracks. The recordings were then issued as "Sidney Bechet's One Man Band". The 1946 Disney animated film Make Mine Music includes overdubbed duo and trio performances by Nelson Eddy as an opera singing whale. The 1950 Disney film Cinderella used multiple tracks for vocals for

420-417: A program with a multiple-channel configuration into a program with fewer channels. Common examples include downmixing from 5.1 surround sound to stereo, and stereo to mono. Because these are common scenarios, it is common practice to verify the sound of such downmixes during the production process to ensure stereo and mono compatibility. The alternative channel configuration can be explicitly authored during

462-405: A recording produced by George Martin . Abbey Road Studios had no multitrack recorders at the time, so a pair of mono machines were used. Martin used the same process later for a Peter Sellers comedy record, this time using stereo machines and panning . Ross Bagdasarian , also known as David Seville, combined overdubbing with tape speed manipulation to create " The Chipmunk Song ," performing

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504-418: A small horn terminated in a stretched, flexible diaphragm attached to a stylus which cut a groove of varying depth into the malleable tin foil of the cylinder. Emile Berliner's gramophone system recorded music by inscribing spiraling lateral cuts onto a vinyl disc. Electronic recording became more widely used during the 1920s. It was based on the principles of electromagnetic transduction . The possibility for

546-476: A sufficient number of mix busses can be used to create a 5.1 surround sound mix, but this may be frustrating if the console is not specifically designed to facilitate signal routing, panning, and processing in a surround sound environment. Whether working in an analog hardware, digital hardware, or DAW mixing environment, the ability to pan mono or stereo sources and place effects in the 5.1 soundscape and monitor multiple output formats without difficulty can make

588-458: A then-significant amount of overdubbing, along with other studio techniques such as flanging , delay , phasing and vari-speed . Les Paul's advancements in recording were seen in the adoption of his techniques by artists like Buddy Holly . In 1958, Holly released " Words of Love " and "Listen to Me", which were composed with overdubbing for added instrumentation and harmonies. Peter Ustinov performed multiple voices on "Mock Mozart ", in

630-469: Is the operational heart of the mixing process. Mixers offer a multitude of inputs, each fed by a track from a multitrack recorder. Mixers typically have 2 main outputs (in the case of two-channel stereo mixing) or 8 (in the case of surround). Mixers offer three main functionalities. Mixing consoles can be large and intimidating due to the exceptional number of controls. However, because many of these controls are duplicated (e.g. per input channel), much of

672-404: Is the process of optimizing and combining multitrack recordings into a final mono , stereo or surround sound product. In the process of combining the separate tracks, their relative levels are adjusted and balanced and various processes such as equalization and compression are commonly applied to individual tracks, groups of tracks, and the overall mix. In stereo and surround sound mixing,

714-706: The Eurythmics topped the charts in 1983 with the song " Sweet Dreams (Are Made of This) ", recorded by band member Dave Stewart on a makeshift 8-track recorder. In the mid-to-late 1990s, computers replaced tape-based recording for most home studios, with the Power Macintosh proving popular. In the mid-1980s, many professional recording studios began to use digital audio workstations (DAWs) to accomplish recording and mixing previously done with multitrack tape recorders, mixing consoles, and outboard gear. A mixer ( mixing console , mixing desk, mixing board, or software mixer)

756-484: The space of the final audio wave; removing unnecessary frequencies and volume spikes to minimize the interference or clashing between each element. The frequency response of a signal represents the amount (volume) of every frequency in the human hearing range , consisting of (on average) frequencies from 20 Hz to 20,000 Hz (20 kHz.) There are a variety of processes commonly used to edit frequency response in various ways. The mixdown process converts

798-432: The 1920s, but Varèse, also a French composer, wrote scores later played live by musicians. As from 1949, Schaeffer composed and recorded on acetates with Pierre Henry ( Symphonie pour un homme seul , 1950), who also recorded with Varèse in 1954. Together, they used some of the earliest tape recorders available in the early 1950s. The invention of magnetic tape opened up new possibilities for overdubbing, particularly with

840-424: The 1960s. As there is no limit in timespan with overdubbing, there is likewise no limit in distance, nor in the number of overdubbed layers. Perhaps the most wide-reaching collaborative overdub recording was accomplished by Eric Whitacre in 2013, where he edited together a " Virtual Choir " of 8,409 audio tracks from 5,905 people from 101 countries. Perhaps the earliest commercial issue of recordings with overdubs

882-491: The 1960s. The ability to record sounds into separate channels made it possible for recording studios to combine and treat these sounds not only during recording, but afterward during a separate mixing process. The introduction of the cassette-based Portastudio in 1979 offered multi-track recording and mixing technology that did not require the specialized equipment and expense of commercial recording studios. Bruce Springsteen recorded his 1982 album Nebraska with one, and

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924-720: The Spanish style... He knows it all, his play is very subtle, very sophisticated. On stage I always have to tell him to play louder; he's afraid of stepping on me. That's a good guitarist. I'd like to play more the guitar, the slide particularly, but when I listen to him I stay paralyzed." Koella played in Bob Dylan's backup band in 2003 and 2004. Victory Mixture was also the first time DeVille sang with background vocalists Dorene and Yadonna Wise, who would tour with DeVille in The Mink DeVille band in years to come. Allen Toussaint introduced

966-638: The Wise sisters to DeVille. The songs "Teasing You," "Beating Like a Tom-Tom," and ”Who Shot the La-La” can also be heard on DeVille's Big Easy Fantasy album (1995). The songs have slightly different horn and background-vocal arrangements. Overdubbing Overdubbing (also known as layering ) is a technique used in audio recording in which audio tracks that have been pre-recorded are then played back and monitored, while simultaneously recording new, doubled, or augmented tracks onto one or more available tracks of

1008-402: The accommodations had to be some of the worst I've ever experienced, but the shows themselves were great. At the end of each show we'd throw Mardi Gras rows out to the audience, you know strands of purple and gold beads, and they'd never seen anything like it and they loved it.” Victory Mixture was produced by Carlo Ditta, the founder of Orleans Records. Ditta met DeVille in 1980 when DeVille

1050-676: The bare-bones nature of the album's original recordings made in the EMI Records studio in Lagos, Nigeria before additional instruments were added in London. Paulinho da Costa 's song "Ritmo Number One" from his 1977 album " Agora " uses a base track with surdo (big bass drum) and percussion, overdubbed with 8 percussion tracks ( repique , pandeiro , congas , tamborims , a-go-go , cuíca , bell tree , reco-reco ). Audio mixing (recorded music) In sound recording and reproduction , audio mixing

1092-419: The basic tracks"), where tracks containing the rhythm section (usually including drums) are recorded first, then following up with overdubs (solo instruments, such as keyboards or guitar , then finally vocals). This method has been the standard technique for recording popular music since the early 1960s. Today, overdubbing can be accomplished even on basic recording equipment, or a typical PC equipped with

1134-411: The bass track added later. Similarly, if only one or two guitarists are available, but a song calls for multiple guitar parts, a guitarist can play both lead and rhythm guitar . Overdubbing is also used to solidify a weak singer; double tracking allows a singer with poor intonation to sound more in tune. (The opposite of this is often used with sampled instruments ; detuning the sample slightly can make

1176-400: The console can be learned by studying one small part of it. The controls on a mixing console will typically fall into one of two categories: processing and configuration. Processing controls are used to manipulate the sound. These can vary in complexity, from simple level controls, to sophisticated outboard reverberation units. Configuration controls deal with the signal routing from the input to

1218-536: The credited performers. The early records of the Monkees were made by groups of studio musicians pre-recording songs (often in a different studio, and some before the band was even formed), which were later overdubbed with the Monkees' vocals. While the songs became hits, this practice drew criticism. Michael Nesmith in particular disliked what overdubbing did to the integrity of the band's music. Additionally, in working with producer Butch Vig , Kurt Cobain had expressed

1260-465: The development of multitrack recording with sel-sync . One of the first known commercially released overdubbed recordings was "Confess" for Mercury Records by Patti Page in 1948, although this overdubbing was done with acetate. With the popularity of this recording, Page recorded "With My Eyes Wide Open I'm Dreaming" using the same overdubbing technique. The vocals were listed as "Voices by: Patti Page, Patti Page, Patti Page, Patti Page". Les Paul

1302-462: The difference between a successful or compromised mix. Mixing in surround is very similar to mixing in stereo except that there are more speakers, placed to surround the listener. In addition to the horizontal panoramic options available in stereo, mixing in surround lets the mix engineer pan sources within a much wider and more enveloping environment. In a surround mix, sounds can appear to originate from many more or almost any direction depending on

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1344-430: The effect of sounding like many performers. In vocal performances, the performer usually listens to an existing recorded performance (usually through headphones in a recording studio ) and simultaneously plays a new performance along with it, which is also recorded. The intention is that the final mix will contain a combination of these " dubs ". Another kind of overdubbing is the so called " tracking " (or "laying

1386-462: The label's continuing operation. In 1988, Willy DeVille relocated from New York to New Orleans. He told Leap in the Dark : "I was tired of being 'Willy DeVille,' walking out of my building and having to be the guy who was up on stage all the time, even when I wasn't performing. I wanted to get away from that. So I got down there (to New Orleans) and it was as if this famous guy had come to town, and I didn't want that. So I decided to do an album with

1428-644: The output of the console through the various processes. Digital audio workstations (DAW) can perform many mixing features in addition to other processing. An audio control surface gives a DAW the same user interface as a mixing console. Outboard audio processing units (analog) and software-based audio plug-ins (digital) are used for each track or group to perform various processing techniques. These processes, such as equalization, compression, sidechaining, stereo imaging, and saturation are used to make each element as audible and sonically appealing as possible. The mix engineer also will use such techniques to balance

1470-455: The placement of the tracks within the stereo (or surround) field are adjusted and balanced. Audio mixing techniques and approaches vary widely and have a significant influence on the final product. Audio mixing techniques largely depend on music genres and the quality of sound recordings involved. The process is generally carried out by a mixing engineer , though sometimes the record producer or recording artist may assist. After mixing,

1512-446: The production process with multiple channel configurations provided for distribution. For example, on DVD-Audio or Super Audio CD , a separate stereo mix can be included along with the surround mix. Alternatively, the program can be automatically downmixed by the end consumer's audio system. For example, a DVD player or sound card may downmix a surround sound program to stereo for playback through two speakers. Any console with

1554-593: The song "Oh, Sing Sweet Nightingale". In 1948, experiments mixing sound effects and musical instruments made by Pierre Schaeffer at the Radio Télédiffusion Française experimental studio in Paris led to Étude aux Tourniquets , the first avant-garde composition using recording as a composition technique, recorded, and mixed directly on acetate records as tape recorders were not yet available. Similar sound collage experiments had been made by Edgard Varèse in

1596-442: The sound more lifelike.) The effect is used to give one singer a fuller sound. They would effectively harmonize with their own vocals, like a choir but with just one voice. Overdubbing has sometimes been viewed negatively, when it is seen as being used to artificially enhance the musical skills of an artist or group, such as with studio-recorded inserts to live recordings, or backing tracks created by session musicians instead of

1638-401: The voices of all three Chipmunks, Alvin, Simon, and Theodore, recorded to a half-normal-speed playback of the instrumental backup; and conversing with the singing rodents in his own voice, recorded at full speed. Overdubs can be made for a variety of reasons. One of the most obvious is for convenience; for example, if a bass guitarist were temporarily unavailable, the recording can be made and

1680-448: Was an early innovator of overdubbing, and began to experiment with it around 1930. He originally created multi-track recordings by using a modified disk lathe to record several generations of sound on a single disk, before later using tape technology, having been given one of the first Ampex 300 series tape recorders as a gift from Bing Crosby . His 1950 #1 hit, " How High The Moon ", performed with his then-wife Mary Ford , featured

1722-408: Was by RCA Victor in the late 1920s, not long after the introduction of electric microphones into the recording studio. Recordings by the late Enrico Caruso still sold well, so RCA took some of his early records made with only piano accompaniment, added a studio orchestra, and reissued the recordings. A foreshadow of overdubbing can be seen with Sidney Bechet , an American jazz musician who made

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1764-601: Was touring with Mink DeVille , and Ditta joined the band in an after-hours jam session at the Beat Exchange, a New Orleans punk rock hangout. This album was the first time DeVille recorded with guitarist Freddy Koëlla (credited on this album as Frèdèrick Koella), who would record and tour with DeVille for many years to come. The two were introduced by guitarmaker James Trussart. Said DeVille, "I adore (Trussart). He made my guitar and introduced me to my guitarist, Fred. A fabulous guitarist. He can play like Ry Cooder , he can play

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