Sound stage

In common usage, a sound stage is a soundproof, hangar-like structure, building, or room, used for the production of theatrical filmmaking and television productions, usually located on a secured movie or television studio property.

"Soundstage" of an acoustic recording

The term soundstage refers to the depth and richness of an audio recording and usually relates to the playback process. According to audiophiles, the quality of the playback is very much dependent upon how one is able to pick out different instruments, voices, vocal parts, and such exactly where they are located on an imaginary 2-dimensional or 3-dimensional field. The quality of this soundstage can enhance not only the listener's involvement in the recording, but also their overall perception of the stage.

See also

References

Sound Stage 7

Sound Stage 7 was an American, Nashville, Tennessee based record label of the 1960s and 1970s, noted mainly for its soul music releases. The label's biggest star was Joe Simon, who placed numerous singles on the US R&B and pop charts during his 1965–1970 tenure.

History

Early era (1963–65)

The label was founded in 1963 by Fred Foster, who had already achieved a measure of success as the founder of Monument Records. Monument was known primarily as a country and pop label. Sound Stage 7 was founded specifically to house artists who were more oriented towards R&B, although in its very early years the label was also home to several pop acts.

Despite releasing singles by dozens of artists, for the first two years that the company was in operation, the only Sound Stage 7 musicians to reach the U.S. Top 40 were The Dixie Belles, who had a #9 U.S. pop hit in 1963 with "(Down At) Papa Joe's", and also scored a #15 pop hit with follow-up single "Southtown, USA." The Dixie Belles were produced by Bill Justis. The group broke up after their third single failed to hit the Billboard Hot 100. Their only other artist to chart during this period were The Monarchs, who had a minor hit with "Look Homeward Angel" (#47) in early 1964.