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Research

Todays technology is responsible for the distribution of music (Simpson). Platforms like
SoundCloud, YouTube, and Spotify are frequently accessed to listen to various styles of music.
Music recording technologies that people can use in their own home are starting to change how
people create and access music (Homer). You can record music anywhere (Ariza). Most people
are used to music being created in a professional recording studio, but it so happens that
recording music at home with music software has a big effect on the music industry (Homer). To
get started with recording whether youre at home or in an expensive recording studio, you need
to know basics about producing music and music software.
One of the most important things to remember is that you have to really listen to the
music that youve created and try to hear everything separately (Ariza). The MIDI, a.k.a. the
musical instrument digital interface, lets any computer control certain music production
machines like synthesizers (Homer). The MIDI is immensely helpful to those who choose to
create music at home because some people simply cant afford various music technologies and
machines. When a musician steps into the studio and starts to perform, theyre performing into a
channel, which is where the music created is stored (Ariza). Its common to perform the same
part of a song over and over again in order for it to sound the best it can be. Once you have all
of the channels you need, you put them together in a track, which is multiple channels merged
together, for the song to be complete (Ariza).
An important aspect of having your musician perform is how their voice or instrument
works with the microphone provided. Some of those who record music at home may not have
quality microphones that will provide the quality sound theyre looking for in their song. To avoid
your microphone picking up random sounds from your recording space, be sure that the
microphone provided is at least 1 to 6 inches away from the musician (Bartlett). Background

noise can be very distracting in songs and takes away the effect that you want to hear in a song.
For better sounds, turn off appliances and other objects that may buzz before you record
(Bartlett). Lastly, its very important to find balance when recording singers. For example, when
recording backup singers, they may have to be repositioned in order to get the right balance
(Eargle).
Another important aspect of recording in a studio is the acoustics of where youll be
recording. Famous and professional music producers usually have their recording studios
customized and tuned so the songs recorded can have the best possible sound (Huber &
Runstein). For the music to sound nice in the space where youre recording, it depends on the
shape of the room, the room mode, and reflection management (Ballou). Of course, there will be
outside noise that isnt wanted. Some examples of outside noise would be coughing, rain,
thunder, air conditioning, etc. (Howard & Murphy) To overcome unnecessary/distracting noises,
building a room with certain objects on the walls that can absorb sound would do the trick
(Huber & Runstein). However, if youre short on money, you can use simple furniture to absorb
sounds (Nisbett). Unfortunately, sounds absorb at different frequencies (Ariza).
Something to consider when recording in a studio, whether you're the producer or
musician, is how you want the listeners to feel and what kind of emotion you want to put into
your song. Many people who listen to music do it because they want to change or release some
of their emotions (Juslin & Sloboda). Most professional musicians can convey five specific
emotions: joy, anger, fear, tenderness, and sadness (Juslin & Laukka). The way that people
perceive music depends on different factors, like their gender, age, race, etc. (Yang & Chen)
Most emotions caused from music come from a persons past experiences when they hear
something specific in the music (Juslin & Laukka). Its extremely important to decide what
emotion you want to have while performing and what emotion you think people should have.

Works Cited
Ariza, Christopher. "Music and Technology: Recording Techniques and Audio Production." N.p.,
n.d. Web. 15 Sept. 2016.
Ballou, Glen. Handbook for Sound Engineers: The New Audio Cyclopedia. Indianapolis, IN:
H.W. Sams, 1987. Google Books. Web. 3 Oct. 2016.
Bartlett, Bruce, and Jenny Bartlett. Practical Recording Techniques: The Step-by-step Approach
to Professional Audio Recording. Revised ed. N.p.: Taylor & Francis, 2013. Google
Books. Web. 3 Oct. 2016.
Eargle, John. The Microphone Book: From Mono to Stereo to Surround - a Guide to Microphone
Design and Application. Burlington: Elsevier, 2004. Google Books. Web. 6 Oct. 2016.
Homer, Matthew. "Beyond the Studio: The Impact of Home Recording Technologies on Music
Creation and Consumption." N.p., Sept. 2009. Web. 21 Sept. 2016.
Howard, David M., and Damian Murphy. Voice Science, Acoustics, and Recording. San Diego:
Plural, 2007. Google Books. Web. 5 Oct. 2016.
Huber, David Miles, and Robert E. Runstein. M
odern Recording Techniques. 8th ed. N.p.: CRC,
2013. Google Books. Web. 5 Oct. 2016.
Juslin, Patrik N., and John A. Sloboda. H
andbook of Music and Emotion: Theory, Research,
Applications. Oxford: Oxford UP, 2010. Print.
Juslin, Patrik N., and Petri Laukka. "Expression, Perception, and Induction of Musical Emotions:
A Review and a Questionnaire Study of Everyday Listening."Journal of New Music
Research 33.3 (2010): 217-38. Print.
Lundqvist, Lars-Olov, Patrik N. Juslin, Fredrik Carlsson, and Per Hilmersson. "Emotional
Responses to Music: Experience, Expression, and Physiology."Psychology of Music 37
(n.d.): 61-90. Web. 6 Oct. 2016.

Nisbett, Alec. The Sound Studio: Audio Techniques for Radio, Television, Film and Recording.
Amsterdam: Focal, 2003. Google Books.
Scherer, Klaus R., and Marcel R. Zentner. "EMOTIONAL EFFECTS OF MUSIC: PRODUCTION
RULES." Christine Harris, Ph.D. N.p., 2001. Web. 20 Sept. 2016.
Simpson, Shane. "NEW TECHNOLOGY AND MUSIC: EVOLUTION TO REVOLUTION."
Simpsons. N.p., n.d. Web. 20 Sept. 2016.
Yang, Yi-Hsuan, and Homer H. Chen. M
usic Emotion Recognition. Boca Raton, FL: CRC, 2011.
Web. 3 Oct. 2016.

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