Indeed you are correct. This was accomplished by utilizing two four track
systems to record separately on each track, then adding them all together
through overdubbing. And or deleting what tracks were incorrect without loosing
sound quality from the original tracks and doing retakes, of course, lol.. This
saved tons of studio time.
However on the retail end in American Music Industry in Hollywood this theory
of splitting tracks gave way to such things as sound on sound systems
(Magnavox) and quadraphonic sound systems which my friend Hammond Guthrie gave
to the Who. (Quadrophenia by The Who comes to mind for this reason and all
types of other sound on sound systems (such as one of my favorites utilizing a
Hammond Lesley L system and speaker system I was able to have sound coming
from every direction at the same time no matter what instrument I played
through it. It sounded great)..
T.
Dan Hughes <[EMAIL PROTECTED]> wrote:
Kelly says: ...it was almost as if they took a mono-track of the voice
and put it on
one channel, then a mono-track of the instruments and put it on the
other channel and called it "stereo".
-----------------------------------------------------
The first album by P.F. Sloan is like that. The left channel is vocal
only, the right channel is instrumental only. So you can rotate your
balance control one way and get Sloan singing a capella, rotate it the
other way and you get instrumental versions of Sloan's songs.
It was horrible.
---Dan
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