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Good read, mainly the high end has changed it appears. Thanks for the article Bud. Cliff
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Wow - this was a fascinating read! Something I'd never thought to pay mind towards, but interesting to see the progression. Thanks for sharing 
Cheers,
Deryk
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The song remains the same?
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Definitely food for thought, thanks for posting.
win 10 64 bit 16gb,i7 chip, ssd 500gb, m-audio air, ,Roland BK-7M, 1000,shure sm7b,sonar,acid,mixcraft, variety of plugins.Sample tank 3,Kontakt. TC Helicon Voicelive 3 2 . https://beatmaster1.bandcamp.com/releases
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Thanks Bud! That was awesome as a Tonal Balance user....
 Steve BIAB/RB 2022, Pro Tools 2020, Korg N5, JBL LSR 4328 Powered Monitors, AKG/Shure Mics.
PC: Win11 PRO, 4 TB M2 SSD, 2 TB HD, 128 GB Memory
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There's a missing side to the article. The article focuses on the recording technology, but there was also the source side of things that were bespoke design to attempt to overcome the recording technology limitations, that also contributed to some over-emphasis on certain frequencies. The resonator guitar and all of the various stringed instruments that had 'horn' features built into them to compete with brass instruments. https://en.wikipedia.org/wiki/Stroh_violinSlightly later, the advent of the electric guitar came about by the very same limitation of recording technology - to get guitar sound to compete with horns. Way back from there, if you consider Gregorian Chant and early music designed to be performed in large stone cathedrals with very long reverberation times, the length of notes as well as the spectral arrangement of parts was designed to take advantage of the long reverb times. One story that was told to the Detroit chapter of AES by Dave Clark and Tony Bongiovi, in a talk given on the floor of the main studio at Hitsville, quite a bit of the sound of the electric guitars on Motown records is down to plugging the guitars directly into the mixing desk through a patchbay in the wall just for that purpose. No amps. If you look at this photo https://www.gearslutz.com/board/attachments/studio-building-acoustics/188894d1282599964-motown-studio-dimensions-hitsville-studio.jpg The patch bay is just under and to the left of the studio window. Here are the temptations and likely the funk brothers in a session. Take note where the guitar and bass player are. They are right there by the DI patch bay. https://i.ytimg.com/vi/vh_Qg4CbM8Q/hqdefault.jpgIt was magic being on that floor for that lecture, listening to two of the engineering geeks from Motown's past. Both of those guys went on to different types of fame, Bongiovi's certainly more flamboyant. Yes, he is Jon Bon Jovi's uncle.
Last edited by rockstar_not; 07/01/18 05:42 PM.
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Interesting read...but I'm not sure that there is a missing side of the Izotope article. The focus from my perspective was on the, well, the tonal balance of the periods. Sure it was influenced by the technology, the rooms, the instruments but the point, I think, was to illustrate how it has changed over time...in what seems to be to be a predictable manner.
Bud
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Fascinating Bud and Scott... all new to me and eyeopening!
Thanks for posting.
MY SONGS...Audiophile BIAB 2024
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If you ever get the chance to visit Hitsville, it is indeed well worth the effort.
I'm surprised it took me so long to do it.
Many many MANY famous people have stood in those rooms.
Make your sound your own!
.. I do not work here, but the benefits are still awesome
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