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Recording and Producing in the Home Studio: A Complete Guide
With the explosion of project studio gear available, it's easier than ever to create pro-quality music at home. This book is the only reference you'll ever need to start producing and engineering your music or other artists' music in your very own home studio. You don't have a home studio yet, but have some basic equipment? This essential guide will help you set up your studio, begin producing projects, develop your engineering skills and manage your projects. Stop dreaming and start producing!80% (11)
Mr.Harry Webb Became " Cliff Richard " .
Cliff Richard ( Harry Roger Webb ) pictured during a summery late afternoon on the Bury Green Estate , Cheshunt , in 1958 .The obviously self aware and alert young man had became a very popular teenage pop idol within a year or so . CREDITS :The above picture is a modified image from a pictorially informative book by Steve Turner titled " Cliff - For The Record " . Unfortunately , by my opinion , the particular image in the book has been printed in a garish a red tone that overwhelms the subject image : therefor the above utterly unofficial picture has been corrected as far as possible. As "Cliff Richard" , Harry Webb became famous almost overnight for his recording of " Move It " on EMI s Columbia label . Years later Ian Samwell , the writer of the song , explained in a broadcast for BBC Radio London that he had hurriedly written the lyrics during a journey aboard a London Green Line bus . Samwell's then situation was that E.M.I. Columbia Records who were to record Cliff Richard with his then band "The Drifters" had decided upon a song titled " Schoolboy Crush " as the intended " A " side of an anticipated single . However Columbia's Norrie Paramor had left the choice of a song for the disc's "B" side to the artists themselves , so Samwell , being a performing member of "The Drifters" and a songwriter also , was preoccupied by the choice of a suitable "B" side song. Fortunately , suitably inspired by an idea , he was able to hurriedly outline suitable lyrics for that song whilst a passenger on a Green Line bus . By the time of its eventual recording ,the song , titled " Move It " was virtually completed . However , the song required some inspired rearrangement at the recording session itself. The song Move It is not a love song of the sort most commonly written . It does not even contain that word . The lyrics review the popular music trends and concerns of that summer, trends that young persons and teenagers in particular would have been been very familiar with from their reading of the daily and musical press . However by its strong of rock'n'roll sound it was almost a love call to the millions of younger people that by then had delightedly accepted it as being almost personally their very own . On the recording of " Move It " on Sunday evening , July 24th ,1958 , Cliff Richard [ vocal ] was instrumentally accompanied by Terry Smart , Ian Samwell , Ernie Shear and Frank Clarke . According to Ian Samwell , " Shear and bassist Frank Clarke were older men who by their looks would not have been imagined as rock'n'roll musicians. Clarke - who played double bass - was a very experienced session musician : physically he was a tall, good looking ,well dressed and muscularly looking man . Guitarist Ernie Shear was a short , stocky , dark and wavy haired Scotsman . A horn rimmed spectacle wearer by 1958 - Shear had moved to London when aged just fifteen years and had eventually found work in the Oscar Rabin Band. " Says Ian Samwell ; quote - On ' Move It ' Ernie Shear played a blond Hofner guitar with a DeArmond pick-up near the bridge. Though it has been suggested that he used a Fender amp , I doubt that he did ; it seems too early . The British government was managing a still much deprived post-war economy, and import restrictions were still firmly in place. Shear would have had to travel to the United States or import it himself. It's more likely that he would have used a Selmer or some such. In the studio's recording control room, there were two engineers, Malcolm Addey and Peter Brown. They were both formally dressed but Norrie Paramor was resplendent in a Hawaiian shirt and Bermuda shorts ! He had recently returned from his summer holidays in Tangier.Previously we had only seen him sitting behind a desk at his office appearing and acting every inch the businessman as he peered over his rimless glasses. I believe his title at the time was Recording Manager rather than Producer : end substantially direct quote. THE SESSION : Immediately at the onset of the 7.pm recording session , because no demonstration recording had been made of the song [ and as it had not been annotated as sheet music ] " The Drifters" performed it for Clarke and Shear . Probably " The Drifters" had not appreciated quite how or even if their recording session would be augmented by other musicians ! As it was Samwell , being as professional as he could be , simply presented Shear with the song's lyrics which the session man duly placed on his music stand . After the introduction and initial practices of the song , Paramor very quickly decided that Shear's guitar playing , his instrument and equipment , were better than Samwell's aShow Systems Installation Technology
Joe began his career at Tanis Recording Studios in 1985 as an Assistant Audio Engineer. Between 1986 and 2002, Joe worked at Bandworld Sound & Lighting, with duties including Production Management, Audio Engineering, System Design and Fabrication, Rigging, Installation, and Design. Between 1987 and 1993, Joe worked with Ronnie Hawkins and The Hawks as the Front of House Sound Engineer. Joe also worked with CTV on the annual Hospital for Sick Children tele-thon, with duties including stage patching, equipment installation and in-studio and monitor mixing for all performers. Throughout the 1990's, Joe also conducted several oversea tours with the Canadian Armed Forces, including trips to Ellesmere Island, Bosnia, Cambodia and Vietnam. From 1996 to 1998, Joe worked as a MIDI Programmer for Julio Iglesias on two world tours and also completed tours with Styx, Kenny Rogers as well as numerous other artists. Since 2004, Joe has worked as head of audio at Fallsview Casino in Niagara Falls, approving all equipment on behalf of the venue, training stagehands and audio operators and overseeing system installs via oustide companies. Joe also oversaw numerous shows at Fallsview, including the David Foster Gala, which included guests such as Paul Anka, Julio Iglesias, Andrea Boccelli, David Foster, Michael Buble, among others.
The Alpha Desktop Recording Studio is extremely compact, yet it gives you the features needed to get professional recording results anywhere! Designed with many of the same features found in professional studios, Alpha Studio is your complete recording solution: a USB powered I/O mixer with Cubase LE, the popular recording production suite from Steinberg, and the acclaimed Lexicon Pantheon VST reverb plug-in. A dual-input, 2-bus, 2-output USB I/O mixer with extra high-impedance instrument input and separate headphone output gives you the freedom to not only record but also mix anywhere. Features: Stereo line inputs for keyboards, drum machines or analog output of a CD/MP3 player. RF-filtered TRS active-balanced inputs accept either balanced or unbalanced signals. Low-noise mic preamp with balanced XLR inputs. High-impedance front panel input for electric guitar or bass. Separate mic and line level input controls with individual peak indicators. Monitor mix control for balancing an audio source between live input and playback mix level while recording. Can be switched to stereo or mono. High-powered headphone amp offers ultra-clear fidelity while delivering ample power for any type of headphones. RF-filtered and TRS balanced Line outputs for speaker monitoring. Connect to your computer with the included USB cable. No need for a power supplyso you can record anywhere you can take your laptop. Warranty:One year parts and laborRelated topics:
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