In times of analog supremacy, many conditions had to be fulfilled in order to transfer the material from one hip hop mixing techniques to another. First, the formats of the multitrack recorders had to match, which means they had to have the same number of tracks and the same tape width. Second, the type of noise reduction that was used during recording, as well as the exact rotational speed of the tape had to be uniform, too. And, of course, the playback heads of these two cumbersome devices had to be calibrated the same way. Modern technical capabilities open new horizons for mixing engineers. The introduction of portable digital media to the recording and mixing process gave the freedom to choose a facility for each of the working phases. In order to select a studio for recording the original material (so-called tracking), you have to know what is your task. There are rooms great for recording drums and there are places with excellent vocal microphones. Not to mention that technologies are driven by the music itself. For example, if you are making an electronic dance project, there’s no need to have an analog record player at hand. However, it’s preferred while working with the acoustic drum music. A guitarist would like to experiment with different combo amps and a keyboardist needs an analog Rhodes with a Leslie speaker, but they aren’t present in every studio.
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