|Are there any animals or plants inside the studio? I'm allergic to everything.|
|Are there any restaurants or stores near the studio?|
|Can I smoke in the studio? How about the bathroom?|
|Do I get a producer for the session?|
|Do you have a shower/bath?|
|I'm a student and would like some work experience as an intern at your studio. Do you have any openings right now?|
|I'm an audio engineer/producer. Do you have any jobs available at the studio?|
|Is there a public transit stop nearby?|
|What days and hours are you open?|
|What is the street address of the studio?|
|What styles of music has Fader Master Sound Studios recorded, produced or mixed before?|
|Why dont you have more questions in the F.A.Q.'s?|
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(Greek: stereos = solid; phone = sound) Generally, a term used to refer to the spatial distribution of sound, normally using AUDIO technology. More specifically, a form of reproduction which records, transmits and reproduces the original sound with two CHANNELs, regardless of the number of loudspeakers used. Also abbreviated to stereo.
(French: concrete music) A development introduced in Paris in 1948 by Pierre Schaeffer at the studio of the French Radio (O.R.T.F.). Its aim was to replace traditional musical material with recorded (i.e. concrete) sounds which were then manipulated by FILTERing, tape reversal, TAPE LOOPs, speed changes, tape SPLICEs, or other electronic means. The source of all sounds, however, was environmental. The experimental side of this study developed the concept of l'objet sonore.
Any process that encourages a person to listen more discriminately, particularly to sounds of the environment. The term was originally used by R.M. Schafer in his book Ear Cleaning (Toronto, BMI Canada, 1967) to contrast with the traditional practice of ear training in music education which concentrates on the identification and reproduction of intervals, chords, melodies and so on.
Although often employed interchangeably with ACOUSTICS, the term might better be restricted to the technology dealing with the practical applications of SOUND, as distinct from the pure science of acoustics. (It will be noted, however, that the contemporary acoustical engineer or acoustician is often mostly involved with the practical applications of sound.)