Maybe it was rationalized that the instruments could always have dimension and depth added later, in the mix. In any event, studios were now being built and re-modeled to reflect this new trend in recording. It signaled a whole new era for the recording studio, both in decor and acoustics. Gone were the burlap, white acoustic tiles and institutional color schemes. These were replaced by walls of bright fabric panels, rock, mirror and oak or cedar paneling, exotic wood flooring and designer lighting. But, more consequential, were the acoustical innovations. The better designed studios incorporated different recording areas, some live, some dead and some totally isolated - the drum, piano and vocal booths. But many studios during this period, unfortunately, opted for “totally dead”. Over-trapped and non-diffusive, the acoustics in these rooms had the effect of removing every last trace of natural ambiance (kinetic energy) and with it, all the excitement of the music. The resultant sounds tended to be very shallow in the low end and thin and harsh in the middle and highs. Fortunately, this trend has slowly been reversing itself, with many studios returning to more traditional acoustical values.
Also, during this period (the early seventies on) the recording console was continuing to evolve. Features such as: VCA’s (Voltage Controlled Amplifiers) and computer automation, multi-band parametric EQ, in-line monitoring, multiple echo and effects sends, user-friendly operation, space-age ergonomics and improved control room monitoring capabilities were becoming common-place. Add to this the almost endless list of ‘out-board’ equipment plus the synchronization of multi-tracks via SMPTE time code, and it’s easy to see what a powerful creative tool the recording studio was becoming.
As can be expected, the role of the recording engineer was also undergoing some radical changes. His scope of endeavor and importance had expanded along with the technology, exponentially, to where he was now firmly sandwiched between an increasingly complex electronic environment and an increasingly aware class of musician. There was, however, a caveat in all this. Perhaps it was the complexity of this new electronic environment, and all the options it presented, that was increasing the amount of time being spent in the studio? Whatever it was, it seemed that for a while, the music was in danger of becoming a slave to the technology of recording it. An obvious hazard, of all this new technology was the time now required to set the basic recording conditions. It was not uncommon for an engineer to take 2 or 3 hours (and sometimes considerably longer !) to get a basic drum sound. Another indication of this phenomena could be seen in the vast amounts of money that were being spent by the record companies on recording budgets. Although, no doubt a contributing factor to the large studio bills was the unusual collection of “sideshows” that many studios were now providing - perhaps as a necessary distraction from all this overwhelming technology - for their clients, including kitchens, Jacuzzis, saunas, video and game rooms, all to be enjoyed, of course, while the clock was running. Ultimately, when the productivity ceased to balance with the investment, the “bean-counters” at the record companies got wise, and things got lean and mean in the studio business - but that’s a story for another day!
Trend changes in popular music and technical innovation continue to have a significant impact on the way music is being recorded and mixed. For instance, the utilization of equalization has changed conceptually over the past few decades. Just as no two pieces of music are ever likely to be exactly the same, the application of equalization can never be expected to be the same, and therefore it should never be used arbitrarily. I say this because of a bad habit that I’ve noticed among a lot of contemporary recording engineers - one that bothers me! This is the practice of, at the beginning of a mix, bringing up each track individually, and spending inordinate amounts of time equalizing and processing it, without even trying to evaluate all the tracks and the performance as a whole ! At the very least, this practice leads to the over-equalization and processing of the tracks. A better approach might be to start the mix by reassembling the basic rhythm tracks, unaltered, and trying to re-create the magic for which that particular performance was chosen as the master. It is true that, with the addition and subtraction of various instruments to and from the mix, the tonal quality of some instruments may eventually need to be modified and processed, in order to better define and place them in the mix. But, I believe that an effort should always be made to first put everything into musical perspective without using any equalization or processing. You will be surprised at the difference in perspective that this simple exercise will give you. This comes from a trick learned, out of necessity, by recording engineers years ago, when equalization was a valuable and limited commodity, and used accordingly. The equalizer, in those days, was a corrective device, used to brighten up or add low-end to the overall mix, or to emphasize a section, or instrument, within the performance.
In most frames of reference, a good mix can be stated as a subtle composition of blend and definition. But remember, too much blend can produce a lack of definition. Conversely, too much definition can produce a lack of blend. This subtlety is particularly true of orchestral and big band music where instruments are sometimes blended together by the musical arrangement to create larger musical brushstrokes. But because, in general, the many different styles of music have their own idiosyncrasies, both musical and tonal, the end-mix, and the methods used to achieve it, will never be the same, and are therefore beyond the scope of this discussion. The fact is, some of today’s music does not seem to conform to any known standards, relying instead on seemingly discordant music and obviously disproportionate balances of the instruments and voices to convey its message. It’s as if the musicians are thumbing their noses at convention. But, I suppose that’s what makes this business so interesting ?