These were large multi-volume manuals, consisting of hundreds of pages of detailed operating instructions, schematics, and related drawings. Early on, both Western Electric and RCA established operations that were specifically dedicated to sound recording for film, with sales and support operations located in Hollywood and New York.
Western Electric opted to do its initial manufacturing at both the huge Hawthorne Works facility on the south side of Chicago, as well as its Kearny, New Jersey, plant. These facilities employed thousands of people already engaged in the manufacturing of telephone and early sound reinforcement equipment, as well as related manufacturing of vacuum tubes and other components used in sound equipment.
The engineering design for early sound equipment was done by engineers who came out of sound reinforcement and telephony design and manufacturing, as these areas of endeavor already had shared technologies related to speech transmission equipment. Optical sound recording was still in its infancy at this stage though, and required a completely different set of engineering skills. With the rapid adoption of sound by the major studios beginning in April post The Jazz Singer , there was no time for manufacturers to develop equipment from the ground up.
If they were to establish and maintain a foothold in the motion picture business, they had to move as quickly as possible. Due to the high cost and complexities of manufacturing, engineers were encouraged by management to adapt existing design approaches used for broadcast and speech reinforcement equipment, as well as disc recording, to the needs of the motion picture business.
As such, it was not unusual to see mixing and amplifier equipment designed for broadcast and speech reinforcement show up in a modified form for film recording. Examples of these shared technologies are evident in nearly all of the equipment manufactured by both RCA and Western Electric operating under their Electrical Research Products division. This is particularly evident in the equipment manufactured by RCA, which had shared manufacturing facilities for sound mixing equipment, microphones, loudspeakers and related technology used in the broadcast and sound reinforcement fields.
The sole standout being Fox, who had developed its own Fox-Movietone system. In , Siemens in Germany had developed a directional microphone which provided a solution to sounds coming from off set.
Disney also released the movie Fantasia, a groundbreaking achievement that featured the first commercial use of multi-channel surround sound in the theater. Using eight! Likewise, functionality of standard mixing equipment for production sound saw few advances, except for much-needed improvements to amplifier technology primarily in relation to problems due to microphonics in early tube designs.
Re-recording consoles, however, began to see some changes, mostly in regards to equalization. Some studios began increasing the count of dubbers as well, which required an increase in the number of inputs required. For the most part, though, the basic operations of film sound recording and re-recording remained as they were in the previous decade. System T was then launched in to meet the demand for Broadcast production with an off-the-shelf IP infrastructure Dante and built on the Tempest platform developed for the Live consoles.
This technology is now at the very heart of our AWS and Duality premium studio consoles. Help Centre. Media Careers Events. Our History Legal. Our History. From a small Acorn grew a mighty console company.
By submitting this form you agree to have your data processed in the method defined in the privacy policy. The legendary console, used by the Beatles and many others, is widely acknowledged to be the first console that established the template that all subsequent consoles would follow, namely a bank of input channels in the unit shown in Figure 2 , just eight arranged in rows with a fader at the bottom and EQ controls above.
But the consoles employed in recording studios were unwieldy beasts resembling large, thick tables with two solid legs, they were clearly not suited to the demands of live sound. Figure 3 shows it being put to use at the Groveland Festival in New York state in Going into the s, the design of analog consoles settled into the basic template of a bunch of input channels and a master section arranged on a near horizontal control surface.
Each channel typically featured, from top to bottom: gain, EQ, auxiliary sends, pan pot and a fader which were ordered that way simply because that was the order of the signal flow with the obvious exception of post fade sends.
This neat design allowed channel strips to be narrow which enabled more channels to be fitted into smaller frame sizes increasing the channel count and creating the familiar sea of knobs. A key part of the design of the analog console was the humble fader.
Fader like controls already existed but much like the ones found on those pioneering REDD consoles they were actually rotary controls arranged side on and fitted with a lever which extended up to the control surface — this explains that characteristic curved path of movement. The person who pioneered the use of the linear fader was Atlantic Records engineer and producer Tom Dowd.
He observed that when mixing with knobs you could only manipulate two at once i. In your mixing workflow do you tend to use subgroups, VCAs, or both? How do you tend to organize them, and what advantages are Using multiple time windows in a single measurement as a way to measure and optimize the response of a sound system in a room. Understanding the various signal levels each component requires is key to successfully getting everything to "play nice" together within a system.
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