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ABSTRACT
In this paper, the author analyzes the original recording of Simon and Garfunkel’s “The Sound of Silence” (1964, 1965) before comparing it to the re-recording and reinterpretation in 2015 by Disturbed. The emphasis is on the musical/audio techniques and the production tools available to the musicians and producers at the time of recording.
Acknowledgments
Special thanks to Khloe Churko, manager of producer Kevin Churko, for information on the recording/production of Disturbed’s “The Sound of Silence.” Special thanks to Leigh Simons who inspired the idea for me to tackle this project. Special thanks to my wife and soul mate, Sue Miller, for her undying inspiration, understanding and support of my creative pursuits.
Disclosure statement
No potential conflict of interest was reported by the author.