Recording studio as an instrument

rdf:langString Recording studio as an instrument

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rdf:langString Author Mark Brend writes that, with Revolver, the Beatles advanced on Meek's approach, and employed the studio as "an environment for wide-ranging sonic research" that included experimentation with tape loops, reversed and speed-manipulated tape sounds, and backwards-recorded lead guitar parts.

rdf:langString Meek's best-known production, "Telstar", features a sped-up piano, a clavioline overdubbed three times, and a guitar that fades in and out of the recording. The piece won an Ivor Novello Award and sold over five million copies worldwide.

rdf:langString Tomorrow Never Knows .ogg

rdf:langString Telstar.ogg

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rdf:langString There is no single instance in which the studio suddenly became recognized as an instrument, and even at present [2018] it may not have wide recognition as such. Nevertheless, there is a historical precedent of the studio—broadly defined—consciously being used to perform music.

rdf:langString —Adam Bell, Dawn of the DAW: The Studio As Musical Instrument

rdf:langString The Tornadoes – "Telstar"

rdf:langString The Beatles – "Tomorrow Never Knows"

rdf:langString In music production, the recording studio is often treated as a musical instrument when it plays a significant role in the composition of music. Sometimes called "playing the studio", the approach is typically embodied by artists or producers who favor the creative use of studio technology in record production, as opposed to simply documenting live performances in studio. Techniques include the incorporation of non-musical sounds, overdubbing, tape edits, sound synthesis, audio signal processing, and combining segmented performances (takes) into a unified whole. Composers have exploited the potential of multitrack recording from the time the technology was first introduced. Before the late 1940s, musical recordings were typically created with the idea of presenting a faithful rendition of a real-life performance. Following the advent of three-track tape recorders in the mid-1950s, recording spaces became more accustomed for in-studio composition. By the late 1960s, in-studio composition had become standard practice, and has remained as such into the 21st century. Despite the widespread changes that have led to more compact recording set-ups, individual components such as digital audio workstations (DAW) are still colloquially referred to as "the studio".