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Drawing on ideas about listening environments and on historical discussions in the Quarterly Journal of Speech, the text weighs costs, critiques gear-obsession, and calls for increasing staff familiarity with accessible recording technologies and workflows.",{"@graph":14,"@context":72},[15,34,55],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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pitfalls does the author identify when discussing sound technologies for communication centers?","Question",{"text":62,"@type":63},"The author warns against technological determinism and against incorrectly assuming that everything required by the latest technology is entirely new.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"Why does the author argue communication centers should adopt DAW software?",{"text":67,"@type":63},"The argument supports using more professional DAW software to improve the ability to record sound with minimal background noise and to increase familiarity among centers and employees.",{"name":69,"@type":60,"acceptedAnswer":70},"How does the text use the Quarterly Journal of Speech in its analysis?",{"text":71,"@type":63},"It examines historical discussions of microphones and recording processes by analyzing articles from the Quarterly Journal of Speech, then connects that review to a survey of current DAW options and teaching 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University  \nIntroduction  \nIn a popular TED talk, Treasure (2014) reflects on problems with the way that we use the human voice: “We speak not very well, to people who simply aren’t listening, in an environment that’s all about noise and bad acoustics.” A truly beautiful world, he muses, would be one in which we would create and consume sound with attention and “in environments that were designed consciously for sound.” Whether or not one agrees with his pessimism about everyday speaking, communication centers can be one of the spaces where human sound is produced and listened to with the kind of idealized attention that Treasure imagines. With that kind of listening in mind, I reflect particularly on the technologies available today and going into the future that can and should be of use for producing and listening to sound in communication centers.  \nI see two potential pitfalls in discussing sound technologies in this context. The first is promoting technological determinism that relies too heavily on technology to shape practice or that may insist that certain practices will only be possible with particular kinds of specialized technology. The second potential pitfall is wrongly assuming that everything about the latest technology that communication centers may need is completely new.  \nMy argument that communication centers and multiliteracy centers embrace more professional Digital Audio Workstation (DAW) software could be critiqued for suggesting that centers acquire  \nsoftware and hardware that could be expensive (though I will recommend some inexpensive options) . I confess that I have spent hours over the last decade, pouring over online forum arguments about the best microphones, preamps, and DAWs. Recording equipment can come at a significant cost, with some microphones costing thousands of dollars. Obsession with recording gear features in a sketch from comedy series Portlandia, where a would-be recording artist with a head of curly red hair (Fred Armisen), invests in all the right equipment for a recording studio (Armisen, 2012) . In a quick sequence of cuts, he gives his taciturn friend Lance the grand tour, repeatedly touting equipment that was used on the Beach Boys Pet Sounds and “a lot of Beatles type stuff” and showing off his specially-designed echo chamber. Armisen’s deadpan delivery pokes fun at recording engineers and hobby home recorders alike.“I’ve got all the top-quality stuff, I just need the top-quality people,” he declares. As he and Lance sip a beer on the porch he says,“All I need is for someone to come in and book time, and if they don’t, I’m out a lot of cash.” Part of the target of this particular parody is the nostalgia for vintage gear asthe engineer in the sketch attempts torecreate what some have seen as the dying industry of the high-end recording studio where top quality gear brought artists who would pay a premium. Truly, obsessing over the perfect gear is probably not necessary for communication centers, but being able to record sound of a fairly high quality with minimal background noise should be a  \npriority and can be done at much cheaper prices than it could even a decade ago. For this reason, it makes sense to embrace digital technologies that can move beyond limited audio editors that have largely been embraced only because they are free. The moment has come to increase the amount of familiarity with recording software, beginning with our centers and employees.  \nIt has become common to blame the democratization of the DAW for the demise of many of the great recording studios. Why pay high prices by the hour when you could tinker on your own, coming remarkably close to professional sounds with minimal gear in the privacy of your own basement? Despite the potential validity of this argument, debates over whether old techniques or new are better should also r","cbCaih33sU52bRiW","https://ap.wps.com/l/cbCaih33sU52bRiW","pdf",186527,13,"English","# Introduction\n## Microphones and Recording Technology in the Quarterly Journal of Speech","[{\"question\":\"What two pitfalls does the author identify when discussing sound technologies for communication centers?\",\"answer\":\"The author warns against technological determinism and against incorrectly assuming that everything required by the latest technology is entirely new.\"},{\"question\":\"Why does the author argue communication centers should adopt DAW software?\",\"answer\":\"The argument supports using more professional DAW software to improve the ability to record sound with minimal background noise and to increase familiarity among centers and employees.\"},{\"question\":\"How does the text use the Quarterly Journal of Speech in its analysis?\",\"answer\":\"It examines historical discussions of microphones and recording processes by analyzing articles from the Quarterly Journal of Speech, then connects that review to a survey of current DAW options and teaching experience.\"}]","Beyond Audacity - Supporting Sonic Futures through the Digital Audio Workstation | PDF",33]