Tag Archives: Technique

II.a — Skráargæði

Efnið sem við eigum, skrárnar með tangótónlistinni, er grundvöllur góðrar tónlistar á milongu. Það er hægt að bæta úr gölluðu efni að vissu marki í tónjöfnum, en einungis í litlu mæli.

II.b — Samanburður á gæðum yfirfærslu

In the previous chapter we noted that the transfer quality of the same song can vary widely. This depends on many factors, the quality of the original shellac records, the technique used for recording the music and transfering it to digital format, and the post-production

V.a – Tónjöfnun

Music on shellac records has a unique frequency range that is quite different from modern music. Because of this equipment that is adequate for pop music, for example, does not suit tango music in the same way. The common two or three field equalisation of

IV.b – Guardia nueva tónjöfnun

As we’ve said before, there is reason to equalise tango tracks in various cases, both to improve on the sound of the older music, and to rectify faults in post-production of a lot of the music available. We have alreaydy analysed some of the scenarios

V.c — Edad de oro equalisation

Recording technology improved gradually from the commencement of electronic recording in 1926 until the end of the shellac age, after 1950. This involved among other things better cutting tecniques, increasing the frequency response of the records. At the same time gradual improvements in microphone technology

V.d — Tónjöfnun salar

When moving from your own studio to a new venue to DJ, you will find that your carefully crafted equalisation sounds a lot different than at home. Different types of speaker systems tend to emphasise music in different ways and the specific acuoustics of the

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