70s production techniques 

[Multitrack Tape Machines]

Multitrack tape machines made recording in the 1970s a viable option for artists and producers who wanted to experiment with new sounds, as well as create unique soundscapes. These machines enabled engineers to record multiple instruments and vocal performances on separate tracks, which could be edited, overdub or mixed with unparalleled precision. The technology was revolutionary. For the following decade, 16-track, 24-track or 32– track analogue tape machines from brands such as Studer, Ampex, MCI and Otari dominated the market.[N 26]. Major studios were heavily influenced by the Ampex MM-1000, Studer A80 (from 1971), and MCI JH-24.

During the 1970s, these devices were used to record audio onto 2-inch magnetic tape, which became iconic features due to their ability to maintain a warm and saturated sound. By enabling producers to record each instrument separately, the equipment' Increased tracks' enabled them to create cleaner mixes and more intricate arrangements and layers. This made overdubbing and multitrack mixing important in rock, disco, and progressive music. Other notable developments have come from this technology.

Analog tape also presented challenges. Engineers had to adjust every playback or edit due to concerns about tape hiss, degradation and physical wear which could cause varying degrees of damage to the sound quality. Along with manual fader rides, routing outboard gear, and effects routing, mixing on multitrack tape machines was also a significant part of the experience. Despite the limitations of multitrack tape machines, artists like Fleetwood Mac's Rumourn, Pink Floyd'S Dark Side of the Moon and Steely Dan'Aja were able to create their own sound. A major innovation in the music production industry went unnoticed for several decades.

[8 Track Cartridges]

In the 1970s, 8-track cartridges were a common music format for cars, providing listeners with dozens of albums to enjoy while they were in motion. 8-track tapes were initially introduced during the 1960'S, and by the early to mid-1970s, they became widely used before being largely replaced by cassette tape sales later in the decade. These cartridges were made up of continuous-loop magnetic tape, which was divided into four stereo "programs" that could be automatically switched between sections as the tape played.

By virtue of their ability to resist movement without manual manipulation, 8-tracks were able to be used in cars and were considered durable. Ford, GM and Chrysler were among automakers whose 8-track players became standard or optionally available on their cars, further popularizing the format. Led Zeppelin, The Rolling Stones, Pink Floyd, and Fleetwood Mac were among the artists who released their albums on 8-track records, allowing fans to enjoy their favourite tracks whenever they wanted.

The 8-tracks were not without their share of shortcomings. The format's fixed division of songs into four programs often resulted in uncomfortable song breaks, with tracks fading out mid-song, switching between programs, and faded back into the background. In addition, over time the use of the tape loop design wore itself down, giving way to loss of sound quality, warping, or tape jamming. The 8-track era came to a close in the late 1970s with the advent of compact cassettes, which offered more room for playback, were easier to transport, and allowed for precise rewinding/fastening. The 8-track is still a well-known symbol of 1970s music culture, especially for car audiophiles. 

[Noise Reduction]

The 1970s saw the introduction of noise reduction as a key aspect of music recording and production, with the aim of minimizing the unwanted hiss and tape noise in analogue recording. The use of multitrack tape machines with 16, 24, and 32 tracks in studios resulted in a cleaner and more professional sound, but high-frequency hiss was often observable during repeated overdubbing and playback of analogue tape. This proved problematic. The reduction of noise had the potential to improve analogue recordings, but it also posed some drawbacks, such as unnatural compression or slight high-frequency loss.

Dolan Laboratories developed Dolby A and Dollby B systems, which were among the most crucial noise reduction technologies of their time. Since its launch in late 1960, Dolby A has been a staple in professional studios throughout the 1970's. To minimize background noise, the method involved pre-evaluating quieter signals during recording and reversing them during playback to prevent unwanted noise from playing out while the music was played. The presence of this system helped to maintain the clarity of subtler moments on recordings by Pink Floyd, Fleetwood Mac, and Steely Dan, who relied heavily on dynamic range.

Dolby B technology, which was preferred for cassette tapes, offered consumers a more portable audio experience than that of vinyl and 8-track cartridges by reducing hiss levels. Some high-end studios used dbx noise reduction to provide more aggressive noise suppression, but it was not widely available and could cause playback compatibility issues.