|This is the talk page for discussing improvements to the Overdubbing article.|
|WikiProject Professional sound production||(Rated Start-class, Mid-importance)|
Confusion: overdubbing vs mutiple tracking vs sweetening
In the United States, the unions SAG and AFTRA seem to call overdubbing "multiple tracking" in their rules. http://www.sagaftra.org/node/1475. See also this pdf with definitions: AFTRA INFORMATION REGARDING "MULTIPLE TRACKING" VS. "SWEETENING"
5Q5's post continued: Wikipedia has the articles Multitrack recording and History of multitrack recording, the latter which states "Multi-track recording differs from overdubbing and sound on sound because it records separate signals to individual tracks. Sound on sound which Les Paul invented adds a new performance to an existing recording by placing a second playback head in front of the erase head to play back the existing track before erasing it and re-recording a new track."
This is too confusing to me, as it is possible we are dealing with obsolete terms. Music is not my beat. I still don't know what it's called when you hear a singer's voice on a song sung in perfect harmony with themselves, sometimes for just seconds as an added effect. Multitracking, overdubbing, sweetening? Sigh. 5Q5 (talk) 15:36, 21 March 2013 (UTC)
Reorganization by recording formats as a possible rewrite strategy
This seems already a quite useful article, but the history of 'overdubs' (and I use the term broadly and inclusively, I admit) might be best considered in terms of each format of recording. For example: -Cylinder recordings were, at first, recorded to other cylinder machines to be re-recorded (dubbed?) before being sold to the general public. -Edison Diamond disc recordings that were first obtained acoustically (without electrical microphones) were later re-released with electrically recorded orchestra backing. This could be considered a dub. This is partly represented in the article at the time of this comment, but perhaps could be expanded on. -Fully electrically recordings on 78 rpm discs were generally one take, but exceptions are surely there before L.P's. Most frequently people mention Les Paul as recording to one 78 rpm record, then playing along with that recording to record another disc recording as the birth of multi-track or dub recording. This may or may not be the case, but Les Paul seems to have had quite an effect on how often this process is applied. — Preceding unsigned comment added by 188.8.131.52 (talk) 05:45, 1 June 2013 (UTC)