Passeq Analog Code
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25
example, harmonics of a reflected frequency spectrum may have
measurable more energy), and this can change a tone‘s perceived
sound. Later, when a musician has the impression that a recording
is not true to the original, that he or she has either played or sung,
an important consideration to make is to examine the resultant fre-
quency spectrum.
Sound Correction and Sound Design
Along with acoustic influences of a recording ambience, it
should also be understood and accepted that, to say the
least, there are definite technical limits to recording and
playback that may strongly influence an end result. In the
first decades of electronic recording, the principle influence
on the quality of such recordings centered on the choice
and placement of microphones. The first Equalzers were
used to combat technical and acoustical problems such
as insufficient frequency response from microphones and
loudspeakers or even inadequate relationships in room
acoustics that needed to be corrected or brought into bal-
ance. The goal was always to bring into balance as much as
possible—and maintain—the correct frequency spectrum
of an originating tone source.
The introduction of multi-track recording in the 1960’s
brought a fundamental change in the way recording was
done. Instruments intended for one production could be
recorded in separate sessions and at different times. The
mix from many individual recordings—at first in only four
tracks—nonetheless added a new problem of offering ways
to add further sonic quality through further processing of
individual tracks, because with each copy a track’s quality
was reduced. >
The Basics of Frequency Filtering
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