![]() ![]() I got to spend every day in the studio with the likes of Count Basie, Duke Ellington, Woody Herman and so on. Music recording was in a state of revolution. That point in time was the end of the Big Band era. When I started work as a professional, at Universal Recording in Chicago, I was only twenty-two years old. My original intent was to write a book with a purely technical sum and substance, relating my view of techniques that I had learned in various studios and in school (I studied electrical engineering with a minor in music at the University of Minnesota).Īs the work on this book progressed (in fits and starts, over the next fifteen years or so), I began to realize that quite possibly I had a bit of story to tell. I began work on this book about twenty years ago, when I was living in Chicago. On November 10, 2001, Bruce Swedien Doctor of Philosophy Degree from Luleå University of technology in Luleå, Sweden, presented under ruling of King Carl XVI Gustav. Has Technology Improved The Quality Of Recorded Music? Stereo Music Recording Technique In The Past Popular music-United States-History and criticism. Make mine music / Bruce Swedien foreword by Quincy Jones.ġ. Library of Congress Cataloging-in-Publication Data Malmqvist, Ileana Padron, Bea Swedien, Bruce Swedien, Norm Theland, Peter Wade, and Getty/Hulton Archives Photos by Björn Asplind, Trond Braaten, Guy Charbaneau, Jim Cunningham, Sam Emerson, Matt Forger, David Goggin, Rob Herrera, Adam Lundquist, Bengt H. The following people were also very helpful during production: Göran Folkestad, Per-Anders Nilsson, Ki Rydberg, and Angela Strolia Originally published in hardcover in 2003 by MIA Musikk, Norway No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Music touches us all in so many wonderful ways, whichever side of the control room glass we’re on! It’s all good!Īll rights reserved. What has made it comfortable for us to spend countless happy hours together in the studio is that both Bruce and I share the knowledge that music is the denominator - the great leveler - the joyous equalizer (no pun intended). ![]() To create something from nothing.Įarly in my career, while doing that very thing, I met a young dude at Universal Studios in Chicago by the name of Bruce Swedien, who seemed to share my excitement in creating recorded music images that originated in our own imagination. To place the paint on the blank canvas in just the right space and time. Having played so many roles in music, I think it is producing which gives me the most pleasure, because it allows my first loves to always stay close to me: arranging, orchestrating, conducting, and scoring films - my preferred means of musical self-expression. To me, the most interesting factor of that development is that, during that time, music has remained the singularly most influential medium the world has known. I have personally witnessed how music has evolved over the last few decades. To my wife Bea, the best insulation I have ever found. His efforts and marvelous wisdom are always right on time! My genuine gratefulness to my good friend Trond Braaten for his sincere friendship and his always knowledgeable help. My gratitude and appreciation to my good friend Björn Asplind. I am extremely grateful to both Robert Moog and Roger Linn for sharing their meaningful insight into this fascinating subject with us. Her encouragement and great soul food (when I needed it most) was more important to this project than she’ll ever know! My heartfelt thanks to my best friend and wife, Bea, for her pains spent, hour after hour, day after day, reading and correcting my manuscript. I have recorded almost every type of musical instrument and every type of voice, including horses, dogs, cats, chickens, cows, and an assortment of birds, crickets, and frogs. I will attempt to adapt my experience and knowledge gained through countless hours spent in the recording studio, recording on countless miles of tape and on every conceivable kind of digital audio workstation. ![]() This book is the result of the many requests for information that I have received while doing a series of seminars on music recording at colleges and universities in America, Europe, and Asia and a multitude of letters and inquiries regarding the subject. Musicians, singers, producers, engineers, and anyone else interested in music and recording sound history: ![]()
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