2 main paragraphs answering Do you Believe that the helps the music industry?
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The 1990’s saw one of the most rapid rates of technology innovation in the 20th century. An increase in the availability of mass media and a time when new music technology was shaping the sound and methodology of recording, transforming not only the songs of the 90s, but changing how music was to be consumed and made for decades to come.
At the centre of the new wave of technological innovations in the 90s was the digital revolution. Bricky, single-purpose mobile phones were turning into smaller devices loaded with lots of embedded functionality. The internet became incredibly popular and became a digital communication and information super highway used by 50% of Western Countries. Helping to increase the dominance of the internet was Intel’s Pentium chip.
1990 brought the arrival of the third generation of Macintosh musicware enabling many new concepts:
The use of internal computer cards for direct-to-hard-disk recording systems
MIDI sequencers with 512 channels and linkable to patch libraries
MIDI sequencers that could incorporate digital audio tracks
The use of patch libraries and sample editors
MIDI programming language became visual
Notation became compatible with the Standard MIDI files format
Pro Tools (1991)
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Pro Tools (1991)
In 1989, Digidesign founders Peter Gotcher and Evan Brooks first released Sound Tools, a completely digital recording and editing system for Apple Macintosh. But it was the reboot as Pro Tools in 1991 − with multitrack capabilities and faster processing − that broke the mold. Digidesign was later absorbed by Avid, and Pro Tools reigns among amateur artists and elite engineers alike, even if some idealists would trade its ease and affordability for the crackling imperfections of vintage hardware.
The MP3 (1995)
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The MP3 (1995)
The revolutionary audio file’s journey actually commenced in 1982, when German audio engineer Karlheinz Bradenburg helped a professor search for ways to apply digital-phone technology to music transmission. Over the next 13 years, as computers became more sophisticated, so did Bradenburg’s advances in compression (his biggest snag, amazingly, came when trying to capture, sans distortion, Suzanne Vega’s vocal on “Tom’s Diner”). In collaboration with the Moving Picture Experts Group (MPEG), standards were set, and thanks to the Internet, a proper host had emerged. The extension .MP3 was selected and cemented in July 1995, and the rest −including its unforeseen snowball effect on the music industry − is history still being encoded.
Auto-Tune (1997)
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Auto-Tune (1997)
A majority of these inventions came from scientific minds, and Auto-Tune is no exception. Its parent company, Antares Audio Technologies (originally called Jupiter Systems), was founded in 1990 by geophysicist Dr. Andy Hildebrand. Using the same Digital Signal Processing (DSP) technology he employed to measure seismic data, Hildebrand first patented the Infinity sample-looping software and various Pro-Tools plug-ins. But it was Auto-Tune − a DSP-powered program used to course correct vocals and instruments − that etched his legacy. Its creative limitlessness has empowered the likes of Kanye West (while remaining a bone of contention for purists), but it also gave us the recording careers of his fiancé, Kim Kardashian, so perhaps that’s a wash.
iPod (2001)
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iPod (2001)
Walkmans and Discmans were instantly forgotten, and gathering of .MP3s on desktops mushroomed when the iPod was made commercially available in October 2001. Sure, it cost $400 and needed semi-regular charges, but who could argue with 5 GB of collated, alphabetized, prioritized albums, songs and playlists all available and scrollable via a touch-sensitive pinwheel? Thirteen years hence, the iPod’s capabilities have merged with telecommunications via the iPhone, inspired scores of failed imitators (hello, Zune) and spawned legendary advertising campaigns that achieved standalone iconography.