Mac For Recording Studio

The Audio Production and Recording category contains programs developed to let users edit, record, mix, tweak, encode, and compose digital audio files, including applications that convert MP3 files. Want to know the easiest way to piss-off a recording geek? Here’s what you do: If he uses a PC in his studio, tell him Macs are better. If he uses a Mac, tell him PC’s are better. Because for some strange reason, this topic incites violent debatesthat last forever, and result in no real conclusions.

1. Best Mac For Recording Studio
2. Mac Laptop For Recording Studio
3. Mac Computer For Recording Studio
4. Computers For Home Recording Studio

[Author: Jason Moss *]
Setting up a home recording studio can be overwhelming.

How do you know what equipment to buy? Which software is best? How can you make sure everything will work together?
Take a breath. This guide will walk you through the process, step by step. It contains everything you need to know, including equipment recommendations. Make your way to the bottom of this page, and you’ll have your home recording studio up and running in no time. This way, you can get on to the good stuff—making great recordings!

Table Of Contents:

How To Find The Ultimate Home Studio Computer

Your computer is the command center of your home recording studio. It’s the brains and brawn behind the entire operation.

Build up your Match Momentum gauge over the course of a match and revel in your form as your player grows in confidence, allowing them to play shots mere mortals can only dream about. Virtua tennis xbox one. A true online hub for our community – The new online centre will offer the world’s first engaging online tennis experience. Designed using the popular Virtua Fighter 5 technology, the matchmaking system promises more competitive games, and online tournaments will seek to find the ultimate Virtua Tennis champion. Experience the drama - A brand new on-court feature making for more dramatic matches.

This is one area where you don’t want to skimp.

Recording will place high demands on your computer, and you’ll need a machine that can keep up. If you plan on tackling projects with lots of tracks or producing electronic music, this is even more important. The last thing you want is your computer to slow you down. There’s no faster way to kill a moment of musical inspiration.

Laptop Or Desktop?

If you absolutely need to record on the go, a laptop may be your only choice. But be prepared to pay more and walk away with a less capable machine.

Go for a desktop whenever possible. Dollar for dollar, they’re faster, more powerful, and offer more storage. They also last longer and fail less, because their internal components don’t overheat as easily. And since a desktop doesn’t sit in front of your face, the noise from its fans will be less of an issue. (Microphones are super sensitive, so a noisy room will lead to noisy recordings. I worked on a laptop for years, and fan noise was a constant problem.)

PC Or Mac?

While my first computers were PCs, I’m now a Mac guy through and through. Macs crash less. They’re also the computer of choice for music-makers (you’ll find them in most home recording studios). Because of this, updates and bug fixes for recording software will often be released for Mac users first.

With that being said, most recording software and hardware is compatible with both platforms. Macs are also more expensive, so this may influence your decision. If you’re more comfortable using a PC, you can make it work. Just make sure your audio interface and software is compatible with whatever you choose.

4 Computer Specs That Really Matter

When you’re trying to find the right computer for your home recording studio, it’s easy to get lost in techno-speak. The following 4 specs are what count. Hit the guidelines below, and your computer will handle nearly any recording session with ease.

CPU (Clock Speed & Number Of Cores)

If a computer was a car, the CPU would be its engine. Clock speed is like the number of cylinders an engine has. The higher the number, the faster the CPU. A fast CPU will handle large recording sessions gracefully.

If the CPU has multiple cores, this is even better. Multiple cores will allow it to multitask more effectively.

It can be difficult to compare CPUs (especially those with a different number of cores). To make this easier, you can use sites like CPUBoss or CPU Benchmark.

Recommendations:

• Good: 2.6 GHz dual-core
• Better: 2.8 GHz dual-core
• Best: 3+ GHz quad-core

RAM

RAM is your computer’s short-term memory. More RAM will make your computer run faster, particularly when working with large, complex projects.

Recommendations:

• Good: 8 GB
• Better: 12 GB
• Best: 16+ GB

Hard Drive (Space & Type)

A computer’s hard drive is its long-term memory. This is where your recordings will be stored. Recorded audio takes up lots of space, so you’ll want plenty to spare. If you end up filling your hard drive, you can always buy an external one. However, it’s always better to start with more space.

But when it comes to hard drives, space isn’t all that matters. In fact, speed is even more important.

The best hard drives are solid-state. While they typically offer less storage space, they’re worth every penny. Solid-state drives use flash memory (the same technology you’ll find in a USB thumb drive) and have no moving parts. They’re much faster than their mechanical predecessors. If your computer has a solid-state drive, it will be much snappier when playing back and recording projects with large track counts.

If you can’t avoid a mechanical drive, opt for one that spins at 7,200 RPM. It will deliver data about 33% faster than a 5,400 RPM drive. This really matters if you plan on tackling projects with 30+ tracks.

Recommendations:

• Good: 500 GB 7,200 RPM mechanical drive
• Better: 1 TB 7,200 RPM mechanical drive
• Best: 500+ GB solid-state drive

Ports

Your audio interface (see below) will connect to your computer using USB, Thunderbolt, or FireWire. Make sure there’s a port available on your computer for it. If you plan on using a MIDI keyboard or other accessories, make sure you’ve got enough free ports to accommodate them too.

Computer Recommendations

Best Bang For Your Buck: Mac Mini

The Mac Mini is seriously underrated. This is what I use in my home recording studio, and it’s more than enough. Opt for a solid-state drive and maxed-out memory for even more power. And don’t forget—you’ll need a keyboard, mouse, and monitor too.

For Mobile Music-Makers: MacBook Pro

If you need to be mobile, the MacBook Pro is a great choice. Just be prepared for fan noise.

For Those Who Want The Best: Mac Pro

It isn’t cheap, but you’ll find the Mac Pro in most professional recording studios. Even the baseline unit is more than enough.

Pinnacle studio 16 ultimate download mac. Pinnacle Studio Ultimate is the easy-to-use power tool for creating professional-looking HD and 3D videos and multimedia. You get all the features and trusted technology from Pinnacle Studio Plus and more—advanced stereoscopic 3D, precision editing, enhanced media tagging, Scorefitter soundtracks, and Blu-ray™ authoring. Energize your videos with 2000+ 2D/3D transitions, effects and templates—plus the awesome Red Giant Filmmaker’s Toolkit and Motion Graphics Toolkit. Easily superimpose people over different backgrounds with the included green screen. Edit anywhere on an unlimited number of tracks with integral cloud access and Pinnacle Studio for iPad project importing.

Additional Resources

• 12 Home Studio Necessities #1: Computer
• The Best Computers/Laptops for Music Production

Back To Table Of Contents

How To Choose The Ideal Audio Interface

Your audio interface is the heart of your home recording studio. While it may look intimidating, it’s nothing more than a fancy routing box. This is where you’ll plug in microphones, speakers, and headphones. It’s also where the signal from your microphones gets converted into ones and zeros, so your computer can make use of it.

Interfaces vary widely in features. Some have knobs to adjust the volume of your speakers and microphones. Others accomplish this through a software control panel. However, all great interfaces are transparent—they don’t add any noise or distortion to the sound. This is where high-end interfaces often differ from cheaper ones.

Here are some things to keep in mind when choosing an interface:

Number Of Mic Preamps

The more preamps, the more microphones you can record at once. If you’re only recording vocals, one may be all you need. To record instruments with multiple mics (such as acoustic guitar in stereo), you’ll need at least 2. To record drums or people playing together, go for 4 or more.

Quality Of Mic Preamps

When it comes to mic preamps, people get distracted by quantity. They think more is better, so they buy cheap interfaces with 8 preamps.

This is a rookie mistake.

Cheap preamps will add noise and distortion to your recordings. This will become a permanent part of your tracks, and it can add a harsh, brittle quality to your music.

Quality is more important than quantity. Avoid cheap interfaces with 8 preamps. Instead, go for an interface with 4 or 2. You’ll walk away with a higher-quality interface, often at the same price.

1/4″ Input

With a 1/4″ input, you can record electric guitar or bass without an amp. You can then use software to shape the tone. This isn’t an essential feature, but it’s handy (especially if you’re a guitarist or bassist).

Pro Tip: If your interface doesn’t have a 1/4″ input, a direct box will do the same thing.

Speaker Outputs

Make sure your interface has the same type of outputs your speakers use (either XLR, 1/4″, or RCA). If there’s a mismatch, you’ll have to use an adapter or special cable to connect them. While this isn’t a huge deal, it’s best avoided.

Headphone Jack

With a headphone jack, you’ll be able to plug in a pair of headphones and listen back while recording. This is an essential feature, and almost all interfaces have one.

Pro Tip: Most interfaces have a 1/4″ headphone jack. This is larger than the 1/8″ plug on most consumer headphones. To use consumer headphones with your interface, you’ll need an 1/8″ to 1/4″ adapter.

Compatibility

Most interfaces will connect to your computer using USB, FireWire, or Thunderbolt. Make sure your computer has a free port of that type available.

You’ll also want to make sure your interface is compatible with your recording software. You can find this information on the interface manufacturer’s website.

Interface Recommendations

1 Mic Preamp

2 Mic Preamps

4 Mic Preamps

8 Mic Preamps

Additional Resources

• Sweetwater’s Audio Interface Buying Guide
• Choosing An Audio Interface – Sound On Sound

Back To Table Of Contents

How To Find A Mic That Makes You Sound Radio-Ready

Microphones are the ears of your home recording studio. They convert sound into electricity (which gets sent to your interface).

If you’re a guitarist, you know that every guitar sounds different. You might reach for a Tele over a Strat, depending on the part you’re playing. Microphones work the same way. One might sound better than another in a specific situation. But if you’re starting out, you don’t need a dozen mics to cover your bases…

This Type Of Mic Will Always Get The Job Done

There’s one type of microphone that sounds great on just about anything (including vocals).

It’s called a large-diaphragm, cardioid condenser.

If you’re only going to get one for your home recording studio, this should be it. Here’s why:

• Large diaphragm: The diaphragm is the part of the mic that picks up sound. A large diaphragm makes the mic better at picking up low frequencies (like the body and warmth of your voice). This means it will faithfully capture the full tonal range of sounds.
• Cardioid: This is the microphone’s polar pattern. It dictates what the mic will pick up, and more importantly, what it won’t. A cardioid mic will pick up what’s in front of it, but almost nothing to the sides or behind it. You can use this feature to reduce the level of unwanted noise in your recordings (like air conditioning rumble, noisy neighbors, or chirping birds). Just position the back of the mic towards the source of the noise!
• Condenser: Refers to the technology the mic uses to capture sound. Condenser mics do a better job at picking up high frequencies (like the sizzle of cymbals or the crispness of a voice) than any other type of mic.

What About USB Mics?

Avoid them. While you won’t need an interface to use one, they are of lower quality than most traditional mics. They also aren’t future-proof; if USB ports become obsolete, you’ll need to buy a new mic.

Recommendations For Large-Diaphragm Cardioid Condenser Mics

Under $100

Under $250

Under $500

An Electric Guitarist’s Dream Mic For Under $100

If you plan on recording lots of guitar amps, you may want to invest in an additional microphone.

Why? Activepresenter download mac os x.

Because condenser mics don’t sound that great on amps.

But don’t worry—there’s a go-to mic that’s used to record guitar amps in multi-million dollar studios every day. And it costs less than $100.

Which one is it?

The Shure SM-57.

If you’re just getting started, this isn’t a necessity. But if you’ll be recording lots of guitar amps, you may want to consider it.

(You can use the SM-57 to record other things too, but it shines on guitar amps!)

Additional Resources

• The Beginner’s Guide to Recording Studio Microphones
• Studio Microphone Buying Guide

Back To Table Of Contents

How To Choose Studio Monitors That Supercharge Your Tracks

Studio monitors are speakers designed for use in home recording studios. You’ll need these to play back and mix your recordings.

These are different than the speakers you might buy for your living room. Whereas consumer speakers often flatter and enhance the sound, studio monitors are neutral and uncolored. They won’t sound as pretty as typical speakers—in fact, they may even sound dull.

Listen on speakers like these, and you’ll hear what’s really going on in your music. Great studio monitors will force you to work harder to craft a mix that sounds good. This will lead to tracks that sound great on a variety of different speakers, not just ones that sweeten or hype up the sound.

Can’t I Just Use Headphones?

Headphones are notoriously difficult to mix on, and tracks mixed on headphones often don’t hold up on speakers. (There are, however, other uses for headphones. You’ll learn more about this below.) If you’re doing basic voiceover work, you may be able to forgo studio monitors. But if you’re recording music, it’s crucial to invest in them.

4 Studio Monitor Specs That Really Matter

When choosing studio monitors for your home recording studio, it’s easy to get distracted by frequency plots and technical jargon. Here’s what really counts:

Active Vs. Passive

Speakers need an amplifier to produce sound. If a speaker is active, it means the amplifier is built-in. This makes active speakers completely self-contained—you just need to plug them into the wall and your interface. On the other hand, passive speakers need a separate power amp to function. I would avoid them, as they add another piece of equipment to your home recording studio.

Near-Field Vs. Mid/Far-Field

Near-field monitors are built to be used in close quarters, like a home studio. Mid-field and far-field monitors are built to be placed farther away from your ears, and are more suitable for larger spaces. Go for a pair of near-fields (unless you live in a castle).

Frequency Response

Most studio monitors have a fairly flat frequency response. This means they sound neutral—the bass isn’t louder than the treble, and everything is well-balanced. However, even the flattest studio monitors will sound different in your home recording studio (room acoustics affect speakers dramatically). For this reason, I wouldn’t obsess over the frequency response of your speakers. You can always use software like Sonarworks Reference 3 to flatten things out later on.

Pay attention to how far the speakers extend down the frequency spectrum. This will often be quoted as the bottom number in a range (from 40 Hz to 20 kHz, for example). Smaller speakers won’t extend down as far. This will make it harder to hear what’s going on in your recordings. Try to find speakers that extend to 40 Hz or below.

Connectivity

Your studio monitors will have XLR, 1/4″, or RCA inputs. Make sure these are the same type of connectors your interface uses. If the two don’t match up, you’ll need a special adapter or cable to connect them. This isn’t a big deal, but it’s best avoided.

Studio Monitor Recommendations

Under $300 (Pair)

Under $600 (Pair)

Back To Table Of Contents

How To Pick The Perfect Pair Of Headphones

Headphones are an invaluable studio ally. You can use them while overdubbing, mixing, or to avoid disturbing your neighbors.

Like studio monitors, studio headphones are designed to be tonally neutral. While I don’t recommend mixing on them exclusively, headphones like these will offer you an accurate, unbiased perspective on your recordings.

When trying to find the right pair, here are some things to keep in mind:

Open-Back Vs. Closed-Back

Open-back headphones have perforations on the outside of each cup which allow sound to pass through easily. They typically sound better than closed-back headphones, and are the preferred choice for mixing. However, since sound leaks out of them so easily, they’re not ideal for recording (mics pick them up).

On the other hand, closed-back headphones have a hard enclosure that prevents sound from escaping. This makes them a better choice for recording, when maximum isolation is needed.

If you’re only going to buy a single pair for your home recording studio, go for closed-back. They’re more versatile.

Connectivity

Most pro studio headphones use a 1/4″ plug. This is thicker than the 1/8″ plug you’ll find on most consumer headphones. If you want to plug your studio headphones into an iPhone or laptop, you’ll need a 1/4″ to 1/8″ adapter.

Comfort And Fit

You’ll be wearing these for hours on end, so you want them to be comfortable. Cushy foam padding makes a big difference. Also, look for headphones that rest over, not on your ears. And if possible, try them on before you purchase!

Recommendations For Headphones

Under $100

• Sennheiser HD 280 (closed-back)
• Shure SRH440 (closed-back)

Under $250

• Sennheiser HD 380 (closed-back)
• Beyerdynamic DT 990 (closed-back)

Under $500

• Sennheiser HD 650 (open-back)

Additional Resources

Back To Table Of Contents

Best Mac For Recording Studio

How To Find A DAW That Makes Recording Easy

Ever seen one of these?

While they may look cool, consoles like these are now collecting dust in top-tier studios across the globe.

Why?

You don’t need them anymore. In many cases, they’ve been replaced by digital audio workstations.

A digital audio workstation, or DAW, is the software that will power your home recording studio. It’s what you’ll use to record, play back, and manipulate audio inside your computer. Arm yourself with a great DAW, and you’ll be able to do everything you can do on that hunk of junk above (and more).

What’s The Best-Sounding DAW?

Visit any online audio forum and you’ll find people that claim one DAW (usually the one they use) sounds better than the rest.

This isn’t true. In fact, all DAWs sound exactly the same. The differences between them have more to do with workflow than anything else.

My 3 Favorite DAWs

When choosing a DAW, there are tons of great options. Here are my favorites:

Pro Tools

As a mixer, Pro Tools is my DAW of choice. I’ve been using it for nearly a decade.

You’ll find Pro Tools in most recording studios. This is helpful if you ever end up recording in a commercial studio, because you’ll be able to open the projects you save on your own rig. This means you’ll be able to record drums in a professional studio, for example, and then edit them later in your home recording studio.

Pro Tools excels as a recording platform. Its audio-editing features are second-to-none. However, beatmakers or EDM producers may be better off with one of the DAWs below.

Logic

Logic is the preferred choice for many producers. It features a fantastic library of sounds and plugins—one of the most comprehensive packages available. When I’m not mixing, it’s my favorite DAW.

Unfortunately, Logic is Mac-only.

Ableton Live

Ableton Live is great for loop and sample-based producers. In fact, many EDM producers swear by it. Its audio manipulation tools are flexible and innovative, and it can be easily integrated into a live performance. If I was an electronic music producer, Ableton Live would be my choice.

Other DAWs Worth Exploring

Your search shouldn’t stop here. Here are some other DAWs worth exploring:

• Cubase
• Studio One
• Digital Performer
• Adobe Audition
• SONAR

How To Choose The Perfect DAW For You

Choosing a DAW is like dating. Download a few trial versions and take them for a spin. Explore your options and make sure things fit before committing. While all major DAWs have similar features, some do certain things better than others.

If you’ll be collaborating, check out what DAW your collaborators use. It’s much easier to work together if you’re both using the same software. But in the end, the choice is yours.

Don’t get too hung up here. Remember, The Beatles recorded Sgt. Pepper on a 4-track tape machine. Even the most basic DAW has infinitely more power. Go with your gut and move on.

Save Hundreds By Avoiding Unnecessary Plugins

As you start to explore the world of home recording, you’re going to run across plugins.

These are pieces of third-party software that extend the functionality of your DAW. They allow you to manipulate sound in different ways.
Most people invest in plugins too early. If you’re just getting started, your DAW’s stock tools are more than enough to make great recordings. Master what you have first — more plugins won’t necessarily lead to better-sounding tracks.

Back To Table Of Contents

The Extra Stuff Most People Forget

We’ve covered the basics, but there are a couple of extras you’ll probably need too…

Cables

You’ll need an XLR cable to connect your mic to your audio interface.

You’ll also need a pair of cables to connect your speakers to your interface. These will be either 1/4″, XLR, or RCA—depending on which connectors your speakers and interface use.

Mic Stand

Go for quality here. Cheap, flimsy stands will be the bane of your existence. I prefer ones with three legs over those with a circular, weighted base. They tend to be more stable and don’t fall over as much.

What I Recommend: On-Stage Stands MS7701B

Pop Filter

A mesh screen that sits between your microphone and vocalist. It helps diffuse the blasts of air that accompany certain consonants (like “p” and “b” sounds). Left alone, these blasts will overload your microphone’s diaphragm, leading to boomy, muddy recordings. This essential accessory will significantly improve the quality of your tracks.

Pro Tip: For a pop filter to work well, there needs to be a few inches between the filter and the mic, as well as the filter and the singer. If you push the filter right up against the mic or put your mouth on it, it won’t be able to do its job.

What I Recommend: On-Stage Stands ASFSS6GB

Speaker Stands

As you’ll learn below, it’s best to get your speakers off a desk and onto stands. This is an easy move that will lead to a significant improvement in sound quality.

What I Recommend: On-Stage Stands SMS6000

MIDI Keyboard

With a MIDI keyboard, you’ll be able to “play” any instrument imaginable. You can use it to fill out and orchestrate your recordings. If you’ll only be recording real instruments or vocalists, you won’t need one. But if you’re a beatmaker or electronic music producer, it’s almost essential.

What I Recommend: Akai MPK249 (don’t forget the sustain pedal)

Desk

You may have a desk that works already. If not, I’m a big fan of the On-Stage Stands WS7500. This is what I use in my home recording studio now. It’s a great way to get started!

Comfortable Chair

https://alpinehigh-power.weebly.com/divx-plus-player-mac-free-download.html. If you’re going to be logging some serious hours in your home recording studio, it makes sense to be comfortable, right?

Invest in a comfy chair with good support. You and your back will thank me later.

What I Recommend: Alera Elusion Mesh Mid-Back Office Chair

Back To Table Of Contents

How To Set Up Your Room For Studio-Quality Sound

Every decision you make while recording will be based on what you hear. If what you’re hearing isn’t accurate, you won’t make the right decisions. This will lead to recordings that sound good in your studio, but fall apart on other speakers.

You can avoid this by setting up your home recording studio properly. Don’t overlook this crucial step! If you follow the guidelines in the video below, you’ll be well ahead of most home studio owners. Your recordings will sound better too!

Taking Your Room To The Next Level With Acoustic Treatment

After your home recording studio is up and running, you’ll want to invest in acoustic treatment panels. These will improve the sound of your room by evening out acoustic problems. While acoustic treatment is beyond the scope of this article, I’ve put together a PDF with resources that will help you get started.

It’s Time To Build The Home Recording Studio Of Your Dreams

There will be nothing more satisfying than hearing your own recordings play over the speakers in your new home studio. You now have everything you need to make this happen.

The next step is for you to take action. Order the equipment you need, set up your room using the guidelines above, and start recording! Remember, once you get all this out of the way, you can get on to the good stuff—making great music!

But before you go, leave a comment below and tell me—what will you use your home recording studio for?

I wish you the best of luck on your home recording journey!

*[Editors Note: This is a guest blog written by Jason Moss. Jason is an LA-based mixer, producer and engineer. His clients include Sabrina Carpenter, Madilyn Bailey, GIVERS and Dylan Owen. Check out his mixing tips at Behind The Speakers.]

Tags:

Rumours
Studio album by
Released	4 February 1977
Recorded	February–August 1976
Studio	Criteria Studios, Miami Record Plant Studios, Sausalito and Los Angeles Zellerbach Auditorium, Berkeley Wally Heider Studios, San Francisco Davlen Recording Studio, North Hollywood
Genre
Length	39:43
Label	Warner Bros.
Producer	Fleetwood Mac
Fleetwood Mac chronology
Fleetwood Mac (1975) Rumours (1977) Tusk (1979)
Singles from Rumours
'Go Your Own Way' Released: December 1976 'Dreams' Released: 24 March 1977 'Don't Stop' Released: April 1977 'You Make Loving Fun' Released: September 1977

Rumours is the eleventh studio album by British-American rock band Fleetwood Mac, released on 4 February 1977 by Warner Bros. Records. Largely recorded in California in 1976, it was produced by the band with Ken Caillat and Richard Dashut. The band wanted to expand on the commercial success of their eponymous 1975 album, but struggled with relationship breakups before recording started. The Rumours studio sessions were marked by hedonism and strife among band members that shaped the album's lyrics.

Recorded with the intention of making 'a pop album', the album's music featured a pop rock and soft rock sound characterized by accented rhythms and electric keyboards such as the Fender Rhodes or Hammond B3 organ. The members partied and used cocaine for much of the recording sessions, and its completion was delayed by its mixing process, but was finished by the end of 1976. Following the album's release, Fleetwood Mac undertook worldwide promotional tours. Rumours reached the top of both the US Billboard 200 and the United Kingdom Albums Chart, and became the band's most successful release. The songs 'Go Your Own Way', 'Dreams', 'Don't Stop', and 'You Make Loving Fun' were released as singles, all of which reached the US top 10.

Having won the Grammy Award for Album of the Year in 1978, Rumours has since sold over 40 million copies worldwide, making it one of the best-selling albums of all time, and has received diamond certifications in several countries, including the United States, Canada, and Australia. The album garnered widespread acclaim from critics, with praise centred on its production quality and harmonies, which frequently relied on the interplay among three vocalists and has inspired the work of musical acts in different genres.

Often considered Fleetwood Mac's best release, it has featured in several publications' lists of the best albums of the 1970s and of all time. In 2004, Rumours was remastered and reissued with the addition of 'Silver Springs', which had been excluded from the original due to tension within the band, and a bonus CD of outtakes from the recording sessions. In 2018, the album was selected for preservation in the National Recording Registry, being deemed 'culturally, historically, or artistically significant' by the Library of Congress.^[1]

https://abadcida.tistory.com/8. These default profiles, with odd names, such as sRGB IEC61966-2.1, are specially designed for specific displays; you can safely ignore them.If you select one of the profiles and press the up-arrow or down-arrow keys to scroll through them, you’ll see how different your display will look.

• 4Composition

Background[edit]

In July 1975, Fleetwood Mac's eponymous tenth album was released to great commercial success, reaching No. 1 in the U.S. in 1976. The record's biggest hit single, 'Rhiannon', gave the band extensive radio exposure. At the time, Fleetwood Mac's line-up consisted of guitarist and vocalist Lindsey Buckingham, drummer Mick Fleetwood, keyboard player and vocalist Christine McVie, bass guitarist John McVie, and vocalist Stevie Nicks. After six months of non-stop touring, the McVies divorced, ending eight years of marriage.^[2][3] The couple stopped talking to each other socially and discussed only musical matters.^[4] Buckingham and Nicks—who had joined the band before 1975's Fleetwood Mac after guitarist Bob Welch had left^[5]—were having an on/off relationship that led them to fight often. The duo's arguments stopped only when they worked on songs together.^[6] Fleetwood faced domestic problems of his own after discovering that his wife Jenny, mother of his two children, had an affair with his best friend.^[7]

Currently, there is no way to utilize a product key to enable Professional or Enterprise entitlements for Visual Studio for Mac. To use Visual Studio Enterprise for Mac or Visual Studio Professional for Mac you must have a relevant subscription and be signed in to the IDE. Feb 12, 2018  Visual Studio For Mac preview contains advanced technologies that are not available in other programs. The application comes with a code editor application that supports IntelliSense. The application comes with a code editor application that supports IntelliSense. Click the button to download the latest version of Visual Studio 2017 for Mac. For instructions on setup and install, see the Setup and Install Visual Studio for Mac documentation. To learn more about Visual Studio 2017 for Mac, see Mac System Requirements and Mac Platform Targeting. Not able to use enterprise license on Visual Studio for Mac. Visual studio for mac. Sachin Patel reported Aug 23 at 08:43 AM. I had installed Visual Studio For Mac community edition. I had signed in using my MSDN linked account. I then wanted to use a subscription linked to. Apr 26, 2018  If you have purchased a Visual Studio Professional or Enterprise Subscription (Standard or Cloud), the license applies to Visual Studio for Mac as well. Standalone Licenses for Visual Studio Professional 2017 do not apply to Visual Studio for Mac. Visual studio for mac not finding license.

Press intrusions into the band members' lives led to inaccurate stories. Christine McVie was reported to be in the hospital with a serious illness, while Buckingham and Nicks were declared the parents of Fleetwood's daughter Lucy after being photographed with her. The press also wrote about a rumoured return of original Fleetwood Mac members Peter Green, Danny Kirwan, and Jeremy Spencer for a 10th anniversary tour.^[8] Despite false reports, the band did not change its line-up, although its members had no time to come to terms with the separations before recording for a new album began.^[4] Fleetwood has noted the 'tremendous emotional sacrifices' made by everyone just to attend studio work.^[9] In early 1976, Fleetwood Mac crafted some new tracks in Florida.^[10] Founding members Fleetwood and John McVie chose to dispense with the services of their previous producer, Keith Olsen, because he favoured a lower emphasis on the rhythm section. The duo formed a company called Seedy Management to represent the band's interests.^[11]

Recording[edit]

Rumours was largely recorded in Sausalito's Record Plant, a wooden structure with few windows, located at 2200 Marinship Way.

Fleetwood Mac's female members lived in two of Sausalito's seafront properties, while the men resided at the Record Plant's hillside accommodation.

In February 1976, Fleetwood Mac convened at the Record Plant in Sausalito, California, with hired engineers Ken Caillat and Richard Dashut. Production duties were shared by the three parties, while the more technically adept Caillat was responsible for most of the engineering; he took a leave of absence from Wally Heider Studios in Los Angeles on the premise that Fleetwood Mac would eventually use their facilities.^[12] The set-up in Sausalito included a number of small recording rooms in a large, windowless, wooden building. Most band members complained about the studio and wanted to record at their homes, but Fleetwood did not allow any moves.^[13] Christine McVie and Nicks decided to live in two condominiums near the city's harbour, while the male contingent stayed at the studio's lodge in the adjacent hills.^[14] Recording occurred in a six-by-nine-metre room which included a 3M24-track tape machine, a range of high-quality microphones, and an APImixing console with 550A equalisers; the latter were used to control frequency differences or a track's timbre. Although Caillat was impressed with the set-up, he felt that the room lacked ambience because of its 'very dead speakers' and large amounts of soundproofing.^[12]

The record's working title in Sausalito was Yesterday's Gone.^[15] Buckingham took charge of the studio sessions to make 'a pop album'.^[16] According to Dashut, while Fleetwood and the McVies came from an improvisational blues-rock background, the guitarist understood 'the craft of record making'.^[17] During the formative stages of compositions, Buckingham and Christine McVie played guitar and piano together to create the album's basic structures. The latter was the only classically trained musician in Fleetwood Mac, but both shared a similar sense of musicality.^[18] When the band jammed, Fleetwood often played his drum kit outside the studio's partition screen to better gauge Caillat's and Dashut's reactions to the music's groove.^[19]Baffles were placed around the drums and around John McVie, who played his bass guitar facing Fleetwood. Buckingham performed close to the rhythm section, while Christine McVie's keyboards were kept away from the drum kit. Caillat and Dashut spent about nine days working with a range of microphones and amplifiers to get a larger sound, before discovering they could adjust the sound effectively on the API mixing console.^[12]

As the studio sessions progressed, the band members' new intimate relationships that formed after various separations started to have a negative effect on Fleetwood Mac.^[20][21] The musicians did not meet or socialise after their daily work at the Record Plant. At the time, the hippie movement still affected Sausalito's culture and drugs were readily available. Open-ended budgets enabled the band and the engineers to become self-indulgent;^[13][22] sleepless nights and the extensive use of cocaine marked much of the album's production.^[9]Chris Stone, one of the Record Plant's owners, indicated in 1997 that Fleetwood Mac brought 'excess at its most excessive' by taking over the studio for long and extremely expensive sessions; he stated, 'The band would come in at 7 at night, have a big feast, party till 1 or 2 in the morning, and then when they were so whacked-out they couldn't do anything, they'd start recording'.^[23]

After installation, you become able to start work on the Software just by providing its Product keys. Windows 7 ultimate keygen 32-bit. Windows 7 activator The product Key is like a password for the software. This key is provided at the time of purchasing the software, and the users can use this one only for the specific software.

'Trauma, Trau-ma. The sessions were like a cocktail party every night—people everywhere. We ended up staying in these weird hospital rooms . and of course John and me were not exactly the best of friends.'^[2]

—Christine McVie, on the emotional strain when making Rumours in Sausalito

Nicks has suggested that Fleetwood Mac created the best music when in the worst shape,^[22] while, according to Buckingham, the tensions between band members informed the recording process and led to 'the whole being more than the sum of the parts'.^[21] The couple's work became 'bittersweet' after their final split, although Buckingham still had a skill for taking Nicks' tracks and 'making them beautiful'.^[24] The vocal harmonies between the duo and Christine McVie worked well and were captured using the best microphones available.^[12] Nicks' lyrical focus allowed the instrumentals in the songs that she wrote to be looser and more abstract.^[25] According to Dashut, all the recordings captured 'emotion and feeling without a middle man . or tempering'.^[7] John McVie tended to clash with Buckingham about the make-up of songs, but both admit to achieving good outcomes.^[26] Christine McVie's 'Songbird', which Caillat felt needed a concert hall's ambience, was recorded during an all-night session at Zellerbach Auditorium, across San Francisco Bay in Berkeley.^[27]

Following over two months in Sausalito, Fleetwood arranged a ten-day tour to give the band a break and fan feedback. After the concerts, recording resumed at venues in Los Angeles,^[11] including Wally Heider Studios. Christine McVie and Nicks did not attend most of the sessions and took time off until they were needed to record any remaining vocals. The rest of Fleetwood Mac, with Caillat and Dashut, struggled to finalise the overdubbing and mixing of Rumours after the Sausalito tapes were damaged by repeated use during recording; the kick and snare drum audio tracks sounded 'lifeless'.^[12] A sell-out autumn tour of the US was cancelled to allow the completion of the album,^[2] whose scheduled release date of September 1976 was pushed back.^[28] A specialist was hired to rectify the Sausalito tapes using a vari-speed oscillator. Through a pair of headphones which played the damaged tapes in his left ear and the safety master recordings in his right, he converged their respective speeds aided by the timings provided by the snare and hi-hat audio tracks.^[12] Fleetwood Mac and their co-producers wanted a 'no-filler' final product, in which every track seemed a potential single. After the final mastering stage and hearing the songs back-to-back, the band members sensed they had recorded something 'pretty powerful'.^[29]

Promotion and release[edit]

Nicks and Buckingham, here photographed in 2003, were integral to Fleetwood Mac's songwriting on Fleetwood Mac and Rumours.

In autumn 1976, while still recording, Fleetwood Mac showcased tracks from Rumours at the Universal Amphitheatre in Los Angeles.^[2] John McVie suggested the album title to the band because he felt the members were writing 'journals and diaries' about each other through music.^[30] Warner Bros. confirmed the release details to the press in December and chose 'Go Your Own Way' as a December 1976 promotional single.^[31][32] The label's aggressive marketing of 1975's Fleetwood Mac, in which links with dozens of FM and AM radio stations were formed across America, aided the promotion of Rumours.^[33] At the time, the album's advance order of 800,000 copies was the largest in Warner Bros.' history.^[34]

Rumours was released on 4 February 1977 in the US and a week later in the UK.^[35][36] The front cover features a stylised shot of Fleetwood and Nicks dressed in her 'Rhiannon' stage persona, while the back has a montage of band portraits; all the photographs were taken by Herbert Worthington.^[19] On 28 February 1977, after rehearsing at SIR Studios in Los Angeles, Fleetwood Mac started a seven-month-long promotional tour of America.^[35] Nicks has noted that, after performing mostly Rumours songs during gigs, the band initially encountered poor receptions from fans who were not accustomed to the new material.^[37] A one-off March performance at a benefit concert for United States SenatorBirch Bayh in Indiana was followed by a short European tour of the UK, the Netherlands, France, and Germany in April.^[2][38] Nigel Williamson of Uncut called Fleetwood Mac's performances 'rock's greatest soap opera'.^[39] 'Dreams', released in March 1977, became the band's only number one on the US Billboard Hot 100 in June.^[40]

Composition[edit]

Lyrics[edit]

Fleetwood Mac's main writers — Buckingham, Christine McVie and Nicks — worked individually on songs but sometimes shared lyrics with each other. 'The Chain' is the only track on which all members, including Fleetwood and John McVie, collaborated. All songs on Rumours concern personal, often troubled relationships.^[19] According to Christine McVie, the fact that the lyricists were focusing on the various separations became apparent to the band only in hindsight.^[30] 'You Make Loving Fun' is about her boyfriend, Fleetwood Mac's lighting director, whom she dated after splitting from John.^[20] Nicks' 'Dreams' details a breakup and has a hopeful message, while Buckingham's similar effort in 'Go Your Own Way' is more pessimistic.^[41] After a short fling with a New England woman, he was inspired to write 'Never Going Back Again', a song about the illusion of thinking that sadness will never occur again once content with life. The lines 'Been down one time/Been down two times' refer to the lyricist's efforts when persuading the woman to give him a chance.^[19]

The lyrics of 'Don't Stop' are about having an optimistic outlook on life. Inspired by the triple step, the song contains music from both normal and prepared pianos.[19]

Problems playing this file? See media help.

'Don't Stop', written by Christine McVie, is a song about optimism. She noted that Buckingham helped her craft the verses because their personal sensibilities overlapped.^[19] McVie's next track, 'Songbird', features more introspective lyrics about 'nobody and everybody' in the form of 'a little prayer'.^[42] 'Oh Daddy', the last McVie song on the album, was written about Fleetwood and his wife Jenny Boyd, who had just got back together.^[43][44][45] The band's nickname for Fleetwood was 'the Big Daddy'.^[19] McVie commented that the writing is slightly sarcastic and focuses on the drummer's direction for Fleetwood Mac, which always turned out to be right. Nicks provided the final lines 'And I can't walk away from you, baby/If I tried'. Her own song 'Gold Dust Woman' is inspired by Los Angeles and the hardship encountered in such a city.^[19] After struggling with the rock lifestyle, Nicks became addicted to cocaine and the lyrics address her belief in 'keeping going'.^[46]

Music[edit]

Featuring a soft rock and pop rock sound,^[47][48]Rumours is built around a mix of acoustic and electric instrumentation. Buckingham's guitar work and Christine McVie's use of FenderRhodes piano or Hammond B-3 organ are present on all but two tracks. The record often includes stressed drum sounds and distinctive percussion such as congas and maracas. It opens with 'Second Hand News', originally an acoustic demo titled 'Strummer'. After hearing Bee Gees' 'Jive Talkin', Buckingham and co-producer Dashut built up the song with four audio tracks of electric guitar and the use of chair percussion to evoke Celtic rock. 'Dreams' includes 'ethereal spaces' and a recurring two note pattern on the bass guitar.^[19] Nicks wrote the song in an afternoon and led the vocals, while the band played around her. The third track on Rumours, 'Never Going Back Again', began as 'Brushes', a simple acoustic guitar tune played by Buckingham, with snare rolls by Fleetwood using brushes; the band added vocals and further instrumental audio tracks to make it more layered.^[49][50] Inspired by triple step dancing patterns, 'Don't Stop' includes both conventional acoustic and tack piano. In the latter instrument, nails are placed on the points where the hammers hit the strings, producing a more percussive sound. 'Go Your Own Way' is more guitar-oriented and has a four-to-the-floor dance beat influenced by The Rolling Stones' 'Street Fighting Man'. The album's pace slows down with 'Songbird', conceived solely by Christine McVie using a nine-foot Steinway piano.^[19]

'Gold Dust Woman' is influenced by jazz and features a dobro.[19] The song's lyrics focus on Nicks' struggle with cocaine addiction.[46]

Side two of Rumours begins with 'The Chain', one of the record's most complicated compositions. A Christine McVie demo, 'Keep Me There',^[19] and a Nicks song were re-cut in the studio and were heavily edited to form parts of the track.^[51] The whole of the band crafted the rest using an approach akin to creating a film score; John McVie provided a prominent solo using a fretless bass guitar, which marked a speeding up in tempo and the start of the song's final third. Inspired by R&B, 'You Make Loving Fun' has a simpler composition and features a clavinet, a special type of keyboard instrument, while the rhythm section plays interlocking notes and beats. The ninth track on Rumours, 'I Don't Want to Know', makes use of a twelve string guitar and harmonising vocals. Influenced by the music of Buddy Holly, Buckingham and Nicks created it in 1974 before they were in Fleetwood Mac. 'Oh Daddy' was crafted spontaneously and includes improvised bass guitar patterns from John McVie and keyboard blips from Christine McVie. The album ends with 'Gold Dust Woman', a song inspired by free jazz, which has music from a harpsichord, a Fender Stratocaster guitar, and a dobro, an acoustic guitar whose sound is produced by one or more metal cones.^[19]

Critical reception[edit]

Professional ratings
Review scores
Source	Rating
AllMusic	[52]
American Songwriter	[53]
Blender	[54]
Christgau's Record Guide	A[55]
The Independent	[56]
Mojo	[57]
Pitchfork	10/10[58]
Rolling Stone	[59]
The Rolling Stone Album Guide	[60]
Uncut	[61]

Rumours has been acclaimed by music critics since its release. Robert Christgau, reviewing in The Village Voice, gave the album an 'A' and described it as 'more consistent and more eccentric' than its predecessor. He added that it 'jumps right out of the speakers at you'.^[62]Rolling Stone magazine's John Swenson believed the interplay among the three vocalists was one of the album's most pleasing elements; he stated, 'Despite the interminable delay in finishing the record, Rumours proves that the success of Fleetwood Mac was no fluke.'^[63] In a review for The New York Times, John Rockwell said the album is 'a delightful disk, and one hopes the public thinks so, too',^[64] while Dave Marsh of the St. Petersburg Times claimed the songs are 'as grandly glossy as anything right now'.^[65]Robert Hilburn was less receptive and called Rumours a 'frustratingly uneven' record in his review for the Los Angeles Times,^[66] while Juan Rodriguez of The Gazette suggested that, while the music is 'crisper and clearer', Fleetwood Mac's ideas are 'slightly more muddled'.^[67] The album finished fourth in The Village Voice's 1977 Pazz & Jop critics' poll, which aggregated the votes of hundreds of prominent reviewers.^[68]

In a retrospective review, AllMusic editor Stephen Thomas Erlewine gave Rumours five stars and noted that, regardless of the voyeuristic element, the record was 'an unparalleled blockbuster' because of the music's quality; he concluded, 'Each tune, each phrase regains its raw, immediate emotional power—which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time.'^[69] According to Slant Magazine's Barry Walsh, Fleetwood Mac drew on romantic dysfunction and personal turmoil to create a timeless, five-star record,^[70] while Andy Gill of The Independent claimed it 'represents, along with The Eagles Greatest Hits, the high-water mark of America's Seventies rock-culture expansion, the quintessence of a counter-cultural mindset lured into coke-fuelled hedonism'.^[71] In 2007, BBC's Daryl Easlea labelled the sonic results as 'near perfect', 'like a thousand angels kissing you sweetly on the forehead',^[72] while Patrick McKay of Stylus Magazine wrote, 'What distinguishes Rumours—what makes it art—is the contradiction between its cheerful surface and its anguished heart. Here is a radio-friendly record about anger, recrimination, and loss.'^[73]

Commercial performance[edit]

Rumours was a huge commercial success and became Fleetwood Mac's second US number one record, following the 1975 eponymous release.^[40] It stayed at the top of the Billboard 200 for 31 non-consecutive weeks,^[15] while also reaching number one in the United Kingdom, Australia, Canada,^[38] and New Zealand.^[74] In May 2011 it re-entered Billboard 200 chart at number 11, and the Australian ARIA chart at number 2, due to several songs from the album being used for the 'Rumours' episode of the American TV series Glee.^[75][76] The album was certified platinum in America and the UK within months of release after one million units and 300,000 units were shipped respectively.^[77][78] All three major US trade publications—Billboard, Cash Box, and Record World—named it Album of the Year for 1977.^[79] After a debut at number seven, Rumours peaked at the top of the UK Albums Chart in January 1978, becoming Fleetwood Mac's first number one album in the country.^[80] In February, the band and co-producers Caillat and Dashut won the 1978 Grammy Award for Album of the Year.^[40] By March, the album had sold over 10 million copies worldwide, including over eight million in the US alone.^[79]

By 1980, 13 million copies of Rumours had been sold worldwide.^[81] As of 2013, sales were over 40 million copies.^[43] As of May 2016, Rumours has spent 630 weeks in the UK Top 75 album chart and is the 11th best-selling album in UK history and is certified 13× platinum by the British Phonographic Industry, the equivalent of 3.9 million units shipped.^[78] The record has received a Diamond Award from the Recording Industry Association of America for a 20× platinum certification or 20 million copies shipped, making it, as of 2012, the joint fifth best-selling album in US history (by number of copies shipped).^[82]

Legacy[edit]

Mick Fleetwood has called Rumours 'the most important album we ever made', because its success allowed the group to continue recording for years to come.^[83]Pop culture journalist Chuck Klosterman links the record's sales figures to its 'really likable songs', but suggests that 'no justification for greatness' is intrinsically provided by them.^[84]The Guardian collated worldwide data in 1997 from a range of renowned critics, artists, and radio DJs, who placed the record at number 78 in the list of the 100 Best Albums Ever.^[85] In 1998, Legacy: A Tribute to Fleetwood Mac's Rumours was produced by Fleetwood and released. The record contained each song of the original Rumourscovered by a different act influenced by it. Among the musicians involved were alternative rock bands Tonic, Matchbox 20, and Goo Goo Dolls, Celtic rock groups The Corrs and The Cranberries, and singer-songwriters Elton John, Duncan Sheik, and Jewel.^[86] Other diverse acts influenced by Rumours include baroque pop artist Tori Amos,^[87]hard rock group Saliva,^[88]indie rock band Death Cab for Cutie.^[89] and art pop singer Lorde, who called it a 'perfect record'.^[90]

'There was a time when Fleetwood Mac's Rumours was just seen as an album that sold incredibly well; over the past five years, though, it's become more acceptable to classify Rumours as great in and of itself.'^[84]

—Chuck Klosterman in 2004, on recognition for the record

In 1998, Q placed Rumours at number three—behind The Clash's London Calling and Pink Floyd's The Dark Side of the Moon—in its list of 50 Best Albums of the 70s.^[91] In 1999, Vibe featured it as one of 100 Essential Albums of the 20th Century.^[92] In 2001, VH1 ranked the record at number 16 during its 100 Greatest Albums countdown,^[84] while Slant included it as one of 50 Essential Pop Albums.^[93] The same year, USA Today placed Rumours at number 23 in its Top 40 Albums list,^[94] while Rolling Stone ranked it at number 25 in its special issue of 'The 500 Greatest Albums of All Time', the highest Fleetwood Mac record.^[95] In 2006, Time named it in its All-TIME 100 Albums shortlist,^[96] while Mojo featured it in its unnumbered list of 70 from the 1970s: Decade's Greatest Albums.^[97] The record is included in both The Guardian's '1000 Albums to Hear Before You Die' and the book 1001 Albums You Must Hear Before You Die.^[98][99] For the 2013 reissue of the album, Pitchfork's Jessica Hopper gave the album a rare 10 out of 10, earning it best new reissue.^[100]

Track listing[edit]

Side one
No.	Title	Writer(s)	Lead vocals	Length
1.	'Second Hand News'	Lindsey Buckingham	Buckingham	2:56
2.	'Dreams'	Stevie Nicks	Nicks	4:14
3.	'Never Going Back Again'	Buckingham	Buckingham	2:14
4.	'Don't Stop'	Christine McVie	Buckingham with C. McVie	3:13
5.	'Go Your Own Way'	Buckingham	Buckingham	3:43
6.	'Songbird'	C. McVie	C. McVie	3:20

Side two
No.	Title	Writer(s)	Lead vocals	Length
1.	'The Chain'	Buckingham with C. McVie and Nicks	4:30
2.	'You Make Loving Fun'	C. McVie	C. McVie	3:31
3.	'I Don't Want to Know'	Nicks	Nicks with Buckingham	3:15
4.	'Oh Daddy'	C. McVie	C. McVie	3:56
5.	'Gold Dust Woman'	Nicks	Nicks	4:56

Cassette edition
No.	Title	Length
1.	'I Don't Want to Know'
2.	'Dreams'
3.	'Never Going Back Again'
4.	'Don't Stop'
5.	'Go Your Own Way'
6.	'Songbird'
7.	'The Chain'
8.	'You Make Loving Fun'
9.	'Second Hand News'
10.	'Oh Daddy'
11.	'Gold Dust Woman'

DVD-Audio and SACD editions (SACD: WPCR-14171, Japanese release)
No.	Title	Length
6.	'Silver Springs'
7.	'The Chain'
8.	'You Make Loving Fun'
9.	'I Don't Want to Know'
10.	'Oh Daddy'
11.	'Gold Dust Woman'
12.	'Songbird'

2004 remastered edition – disc one
No.	Title	Writer(s)	Lead vocals	Length
7.	'Silver Springs'	Nicks	Nicks	4:48
8.	'The Chain'	Buckingham Fleetwood C. McVie J. McVie Nicks	Buckingham with C. McVie and Nicks	4:30
9.	'You Make Loving Fun'	C. McVie	C. McVie	3:31
10.	'I Don't Want to Know'	Nicks	Nicks with Buckingham	3:15
11.	'Oh Daddy'	C. McVie	C. McVie	3:56
12.	'Gold Dust Woman'	Nicks	Nicks	4:56

2004 remastered edition – disc two: Roughs & Outtakes, Early Demos, and Jam Sessions
No.	Title	Writer(s)	Length
1.	'Second Hand News'	Buckingham	2:55
2.	'Dreams'	Nicks	4:32
3.	'Brushes (Never Going Back Again)'	Buckingham	2:52
4.	'Don't Stop'	C. McVie	3:33
5.	'Go Your Own Way'	Buckingham	3:16
6.	'Songbird'	C. McVie	3:11
7.	'Silver Springs'	Nicks	6:08
8.	'You Make Loving Fun'	C. McVie	4:55
9.	'Gold Dust Woman #1'	Nicks	5:02
10.	'Oh Daddy'	C. McVie	4:03
11.	'Think About It'	C. McVie	3:01
12.	'Never Going Back Again'	Buckingham	1:55
13.	'Planets of the Universe'	Nicks	3:30
14.	'Butter Cookie (Keep Me There)'	C. McVie	2:47
15.	'Gold Dust Woman'	Nicks	5:00
16.	'Doesn't Anything Last'	Buckingham	1:06
17.	'Mic The Screecher'	Fleetwood	0:53
18.	'For Duster (The Blues)'	4:47

35th anniversary edition – disc one
No.	Title	Length
12.	'Silver Springs'

35th anniversary edition – disc two: Live, 1977 Rumours World Tour
No.	Title	Writer(s)	Length
1.	'Intro'	0:48
2.	'Monday Morning'	Buckingham	2:38
3.	'Dreams'	Nicks	4:07
4.	'Don't Stop'	C. McVie	3:51
5.	'The Chain'	Buckingham	5:40
6.	'Oh Daddy'	C. McVie	4:47
7.	'Rhiannon'	Nicks	7:55
8.	'Never Going Back Again'	Buckingham	2:19
9.	'Gold Dust Woman'	Nicks	7:03
10.	'World Turning'	C. McVie Buckingham	4:03
11.	'Go Your Own Way'	Buckingham	4:54
12.	'Songbird'	C. McVie	4:00

35th anniversary edition – disc three: The Rosebud Film (DVD)
No.	Title	Length
1.	'World Turning'
2.	'Rhiannon'
3.	'Say You Love Me'
4.	'Go Your Own Way'
5.	'You Make Loving Fun'
6.	'I'm So Afraid'

35th anniversary edition – disc four: More from the Recording Sessions
No.	Title	Writer(s)	Length
1.	'Second Hand News' (early take)	Buckingham	2:26
2.	'Dreams' (take 2)	Nicks	5:35
3.	'Never Going Back Again' (acoustic duet)	Buckingham	2:19
4.	'Go Your Own Way' (early take)	Buckingham	4:04
5.	'Songbird' (demo)	C. McVie	4:33
6.	'Songbird' (instrumental take 10)	C. McVie	4:23
7.	'I Don't Want To Know' (early take)	Nicks	3:42
8.	'Keep Me There' (instrumental)	C. McVie	5:14
9.	'The Chain' (demo)	5:29
10.	'Keep Me There' (with vocal)	C. McVie	4:18
11.	'Gold Dust Woman' (early take)	Nicks	5:25
12.	'Oh Daddy' (early take)	McVie	3:48
13.	'Silver Springs' (early take)	Nicks	5:31
14.	'Planets of the Universe' (demo)	Nicks	4:27
15.	'Doesn't Anything Last' (acoustic duet)	Buckingham	1:03
16.	'Never Going Back Again' (instrumental)	Buckingham	2:36

35th anniversary edition – disc five: Roughs & Outtakes, Early Demos, and Jam Sessions
No.	Title	Writer(s)	Length
1.	'Second Hand News'	Buckingham	2:55
2.	'Dreams'	Nicks	4:32
3.	'Brushes (Never Going Back Again)'	Buckingham	2:52
4.	'Don't Stop'	C. McVie	3:33
5.	'Go Your Own Way'	Buckingham	3:16
6.	'Songbird'	C. McVie	3:11
7.	'Silver Springs'	Nicks	6:08
8.	'You Make Loving Fun'	C. McVie	4:55
9.	'Gold Dust Woman #1'	Nicks	5:02
10.	'Oh Daddy'	C. McVie	4:03
11.	'Think About It'	C. McVie	3:01
12.	'Never Going Back Again'	Buckingham	1:55
13.	'Planets of the Universe'	Nicks	3:30
14.	'Butter Cookie (Keep Me There)'	C. McVie	2:47
15.	'Gold Dust Woman'	Nicks	5:00
16.	'Doesn't Anything Last'	Buckingham	1:06
17.	'Mic The Screecher'	Fleetwood	0:53
18.	'For Duster (The Blues)'	C. McVie J. McVie Buckingham Fleetwood	4:47

Personnel[edit]

Adapted from the album's credits and AllMusic.^[19][69]

Fleetwood Mac

• Lindsey Buckingham – guitars, dobro, percussion, vocals
• Stevie Nicks – vocals
• Christine McVie – keyboards, synthesizer, vocals
• John McVie – bass guitar
• Mick Fleetwood – drums, percussion, harpsichord^[101]

Production Ken Caillat – producer, engineer Richard Dashut – producer, engineer Fleetwood Mac – producers Chris Morris – assistant engineer Ken Perry – mastering Charlie Watts – mastering

Artwork Desmond Strobel – design Larry Vigon – calligraphy Herbert W. Worthington – photography

Charts[edit]

Chart (1977–78)	Position
Australian Kent Music Report[38]	1
Austrian Albums Chart[102]	25
Canadian RPM Albums Chart[103]	1
Dutch Albums Chart[104]	1
French SNEP Albums Chart[105]	13
Japanese Oricon LPs Chart[106]	33
New Zealand Albums Chart[74]	1
Norwegian VG-lista Albums Chart[107]	17
South African Albums Chart[79]	1
Swedish Albums Chart[108]	19
UK Albums Chart[80]	1
US Billboard 200[40][109]	1
US Billboard Catalog Albums[40]	1
West German Media Control Albums Chart[110]	9

Certifications[edit]

Region	Certification	Certified units/sales
Australia (ARIA)[111]	13× Platinum	910,000^
Belgium (BEA)[112]	Gold	25,000*
Canada (Music Canada)[113]	2× Diamond	2,000,000^
France (SNEP)[116]	Platinum	380,700[115][114]
Germany (BVMI)[117]	5× Gold	1,250,000^
Hong Kong (IFPI Hong Kong)[118]	Platinum	15,000*
Japan (RIAJ)[112]	Gold	100,000^
Netherlands (NVPI)[119]	Platinum	100,000^
New Zealand (RMNZ)[120]	13× Platinum	195,000^
South Africa (RiSA)[121]	2× Gold	50,000*[112]
United Kingdom (BPI)[123]	13× Platinum	4,090,000[122]
United States (RIAA)[124]	2× Diamond	20,000,000^
*sales figures based on certification alone ^shipments figures based on certification alone

References[edit]

Mac Laptop For Recording Studio

1. ^'National Recording Registry Reaches 500'. Library of Congress. 21 March 2018. Retrieved 21 March 2018.
2. ^ ^abcdeCrowe, Cameron (24 March 1977). 'The True Life Confessions of Fleetwood Mac'. Rolling Stone. No. 235.
3. ^Adelson, Martin E. 'Christine McVie'. www.fleetwoodmac.net. Archived from the original on 9 May 2008. Retrieved 14 April 2017.Cite uses deprecated parameter |dead-url= (help)
4. ^ ^abClassic Albums 2004, 09:15–11:50
5. ^Classic Albums 2004, 01:25–02:35
6. ^Classic Albums 2004, 05:20–05:30
7. ^ ^abClassic Albums 2004, 22:20–23:45
8. ^Brunning 2004, p. 108
9. ^ ^abRooksby 2005, p. 59
10. ^Brackett 2007, p. 118.
11. ^ ^abBrunning 2004, p. 111
12. ^ ^abcdefBuskin, Richard (August 2007). 'Classic Tracks: Fleetwood Mac 'Go Your Own Way''. Sound on Sound. Retrieved 30 December 2009.
13. ^ ^abClassic Albums 2004, 11:50–12:30
14. ^Classic Albums 2004, 31:30–32:55
15. ^ ^abRooksby 2005, p. 60
16. ^Classic Albums 2004, 20:10–21:05
17. ^Classic Albums 2004, 04:40–05:00
18. ^Classic Albums 2004, 07:00–07:35
19. ^ ^{abcdefghijklmn}Fleetwood Mac (2001). Making of Rumours (DVD-Audio (Rumours)). Warner Bros.
20. ^ ^abClassic Albums 2004, 07:45–08:55
21. ^ ^abClassic Albums 2004, 12:45–13:40
22. ^ ^abClassic Albums 2004, 32:55–34:45
23. ^Verna, Paul (8 November 1997). 'Bay Area's Plant Marks 25 Years'. Billboard. p. 45.
24. ^Classic Albums 2004, 16:00–17:15
25. ^Classic Albums 2004, 29:20–29:30
26. ^Classic Albums 2004, 19:10–20:10
27. ^Classic Albums 2004, 41:20–41:45
28. ^Brunning 2004, p. 110
29. ^Classic Albums 2004, 50:30–51:50
30. ^ ^abClassic Albums 2004, 06:00–06:30
31. ^Hunt, Dennis (19 December 1976). 'Melanie—Just Trying to Change Her Image'. Los Angeles Times. p. V97.
32. ^'Billboard's Top Single Picks: Pop'. Billboard. 8 January 1977. p. 56.
33. ^Gurza, Agustin (14 May 1977). 'Number One With a Star: The Inside Of Making a Hit Record'. Billboard. p. 40.
34. ^Brackett 2007, p. 125.
35. ^ ^abRees, Dafydd; Crampton, Luke (1991). Rock Movers & Shakers. Billboard Books. p. 192. ISBN0-8230-7609-1.
36. ^Warwick, Neil; Kutner, Jon; Brown, Tony, eds. (2004). The Complete Book of the British Charts: Singles & Albums. Omnibus Press. p. 414. ISBN1-84449-058-0.
37. ^Flick, Larry (17 February 2001). 'Reprise's Nicks Returns With Crow in Tow'. Billboard. pp. 1, 13.
38. ^ ^abc'3 Times 2 For Warner's'. Billboard. 30 April 1977. p. 95.
39. ^Brackett 2007, p. 123.
40. ^ ^abcde'Fleetwood Mac: Charts & Awards'. AllMusic. Retrieved 28 December 2009.
41. ^Classic Albums 2004, 27:50–28:10
42. ^Classic Albums 2004, 42:20–42:35
43. ^ ^abKen Caillat; Steve Stiefel (5 March 2012). Making Rumours: The Inside Story of the Classic Fleetwood Mac Album. John Wiley & Sons. p. xiv, 74. ISBN9781118282366. Retrieved 19 March 2013.
44. ^Martin Adelson; Lisa Adelson. 'Jenny Boyd'. fleetwoodmac.net. Archived from the original on 12 March 2013. Retrieved 19 March 2013.Cite uses deprecated parameter |dead-url= (help)
45. ^Jenny Boyd; Holly George-Warren (1 May 1992). Musicians in Tune. Simon & Schuster. ISBN9780671734404. Retrieved 19 March 2013.
46. ^ ^abClassic Albums 2004, 28:25–28:55
47. ^Lachno, James (27 January 2013). 'Fleetwood Mac's Rumours: Why the under-30s still love it'. The Daily Telegraph. Retrieved 25 February 2016.
48. ^Boyd, Brian (1 February 2013). ''Rumours' – pop-rock perfection'. The Irish Times. Retrieved 25 February 2016.
49. ^Caillat 2012, pp. 144–145.Archived 3 January 2014 at the Wayback Machine
50. ^Walsh, Christopher (23 December 2000). 'Surround-Sound Demonstrations Impress Confab Attendees'. Billboard. p. 44.
51. ^Classic Albums 2004, 54:10–55:40
52. ^Erlewine, Stephen Thomas. 'Rumours – Fleetwood Mac'. AllMusic. Retrieved 13 July 2015.
53. ^Rosen, Steven (21 February 2013). 'Fleetwood Mac: Rumours (Deluxe Edition)'. American Songwriter. Retrieved 9 December 2017.
54. ^Collis, Clark. 'Fleetwood Mac: Rumours'. Blender. Archived from the original on 19 October 2006. Retrieved 9 December 2017.
55. ^Christgau, Robert (1981). 'Fleetwood Mac: Rumours'. Christgau's Record Guide: Rock Albums of the '70s. Ticknor and Fields. ISBN0-89919-026-X. Retrieved 13 July 2015.
56. ^Gill, Andy (25 January 2013). 'Album review: Fleetwood Mac, Rumours: Super Deluxe Remastered Version (Rhino)'. The Independent. Archived from the original on 29 January 2013. Retrieved 9 December 2017.Cite uses deprecated parameter |deadurl= (help)
57. ^'Fleetwood Mac: Rumours'. Mojo. No. 232. March 2013. p. 100.
58. ^Hopper, Jessica (8 February 2013). 'Fleetwood Mac: Rumours'. Pitchfork. Retrieved 14 July 2015.
59. ^Rosen, Jody (13 February 2013). 'Fleetwood Mac: Rumours: Deluxe Edition'. Rolling Stone. Retrieved 9 December 2017.
60. ^Coleman, Mark; Kemp, Mark (2004). 'Fleetwood Mac'. In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 303–04. ISBN0-7432-0169-8.
61. ^'Fleetwood Mac: Rumours'. Uncut. No. 83. April 2004. p. 112.
62. ^Christgau, Robert. 'Fleetwood Mac: Consumer Guide Reviews'. The Village Voice. Retrieved 28 December 2009.
63. ^Swenson, John (21 April 1977). 'Fleetwood Mac: Rumours'. Rolling Stone. Archived from the original on 20 June 2008. Retrieved 28 December 2009.
64. ^Rockwell, John (4 February 1977). 'Pop Life; New Fleetwood Mac Album, Leo Sayer Makes It on His Own'. The New York Times. p. 53.
65. ^Marsh, Dave (16 March 1977). 'Fleetwood Mac gloss just hides more gloss'. St. Petersburg Times. p. 3D.
66. ^Hilburn, Robert (27 March 1977). 'Petty & the Heartbreakers Merit a Second Hearing'. Los Angeles Times. p. W74.
67. ^Rodriguez, Juan (19 March 1977). 'Spin Off: The perils of success'. The Gazette. p. 41.
68. ^'The 1977 Pazz & Jop Critics Poll'. The Village Voice. Retrieved 28 December 2009.
69. ^ ^abErlewine, Stephen Thomas. 'Rumours: Fleetwood Mac'. AllMusic. Retrieved 28 December 2009.
70. ^Walsh, Barry (19 April 2004). 'Fleetwood Mac: Rumours'. Slant. Retrieved 28 December 2009.
71. ^Gill, Andy (25 January 2013). 'Album review: Fleetwood Mac, Rumours: Super Deluxe Remastered Version (Rhino)'. The Independent. Retrieved 24 March 2013.
72. ^Easlea, Daryl (14 December 2007). 'Fleetwood Mac: Rumours—Review'. BBC. Retrieved 28 December 2009.
73. ^McKay, Patrick (14 August 2007). 'The Diamond: Fleetwood Mac—Rumours'. Stylus. Retrieved 28 December 2009.
74. ^ ^ab'charts.nz Fleetwood Mac – Rumours'(ASP). Hung Medien. Recording Industry Association of New Zealand. Retrieved 1 July 2013.
75. ^Caulfield, Keith (14 May 2011). ''Rumours' Has It'. Billboard. p. 35.
76. ^Padilla, Florida (23 May 2011). 'Fleetwood Mac's Rumours surprise comeback tops ARIA charts'. International Business Times.
77. ^'RIAA: Gold & Platinum'. Recording Industry Association of America. Archived from the original on 26 June 2007. Retrieved 18 May 2009.Cite uses deprecated parameter |deadurl= (help)Note: User search required.
78. ^ ^ab'Certified Awards Search'. British Phonographic Industry. Archived from the original on 11 May 2011. Retrieved 23 April 2012.Cite uses deprecated parameter |deadurl= (help)Note: User search required.
79. ^ ^abcWarner Bros. Records (25 February 1978). 'Rumours [Data]'. Billboard. p. SW-15.
80. ^ ^ab'Fleetwood Mac > Artists > Official Charts'. UK Albums Chart. Retrieved 6 May 2013.
81. ^Rourke, Mary (16 March 1980). 'Despite Rumours of a Split, Fleetwood Mac Is Rockin' High'. The Ledger. p. 6F.
82. ^'Top 100 Albums'. Recording Industry Association of America. Retrieved 20 March 2012..
83. ^Classic Albums 2004, 56:05–56:25
84. ^ ^abcKlosterman, Chuck (2004). Weisbard, Eric (ed.). This Is Pop: In Search of the Elusive at Experience Music Project [The Carly Simon Principle: Sincerity and Pop Greatness]. Harvard University Press. pp. 261–262. ISBN0-674-01321-2.
85. ^'100 Best Albums Ever'. The Guardian. 19 September 1997. Features insert.
86. ^'Rumours Tribute Available Now'. Rolling Stone. 28 March 1998. Retrieved 28 December 2009.^{[dead link]}
87. ^Brown, Mark (4 December 2002). 'America at Her Gait'. Rocky Mountain News. p. 7E.
88. ^Keyes, Bob (30 January 2003). 'To Drool For'. Portland Press Herald. p. 3D.
89. ^Brown, Mark (7 October 2005). 'Death Cab Hails Wide Range of Musical Fare As Influences'. Rocky Mountain News. p. 9E.
90. ^Lorde (2 October 2013). 'Influences (VEVO LIFT): Brought to You by McDonald's' (Interview). Interviewed by VEVO. VEVO.
91. ^'50 Best Albums of the '70s'. Q. April 1998. pull-out section.
92. ^'100 Essential Albums of the 20th Century'. Vibe. December 1999. p. 162.
93. ^'Vitalpop!'. Slant. 2003. Retrieved 15 December 2009.
94. ^Gundersen, Edna (5 December 2003). 'Top 40 albums—the USA Today way'. USA Today. Retrieved 15 December 2009.
95. ^'The 500 Greatest Albums of All Time'. Rolling Stone. 12 November 2003. p. 104.
96. ^Tyrangiel, Josh (13 November 2006). 'The All-TIME 100 Albums'. Time. Retrieved 15 December 2009.
97. ^'70 from the 1970s: Decade's Greatest Albums'. Mojo. June 2006. pull-out section.
98. ^'Artists beginning with F (1000 Albums to Hear Before You Die)'. The Guardian. 19 November 2007. Retrieved 15 December 2009.
99. ^Dimery, Richard, ed. (2008). 1001 Albums You Must Hear Before You Die. Cassell Illustrated. ISBN1-84403-624-3.
100. ^Hopper, Jessica (8 February 2013). 'Fleetwood Mac: Rumours – Album Reviews'. Pitchfork Media. Retrieved 8 February 2013.
101. ^Bosso, Joe. 'Fleetwood Mac's classic album Rumours track-by-track'. MusicRadar. Retrieved 20 March 2015.
102. ^'austriancharts.at Fleetwood Mac – Rumours'(ASP). Hung Medien (in German). Retrieved 1 July 2013.
103. ^'Top Albums/CDs – Volume 32, No. 12'. RPM. 15 December 1979. Archived from the original(PHP) on 24 February 2014. Retrieved 31 January 2014.Cite uses deprecated parameter |deadurl= (help)
104. ^'dutchcharts.nl Fleetwood Mac – Rumours'(ASP). Hung Medien (in Dutch). MegaCharts. Retrieved 1 July 2013.
105. ^'InfoDisc : Tous les Albums classés par Artiste > Choisir Un Artiste Dans la Liste' (in French). infodisc.fr. Archived from the original on 5 October 2013. Retrieved 1 July 2013.Cite uses deprecated parameter |deadurl= (help)
106. ^Oricon Album Chart Book: Complete Edition 1970–2005. Roppongi, Tokyo: Oricon Entertainment. 2006. ISBN4-87131-077-9.
107. ^'norwegiancharts.com Fleetwood Mac – Rumours'(ASP). Hung Medien. VG-lista. Retrieved 1 July 2013.
108. ^'swedishcharts.com Fleetwood Mac – Rumours'(ASP) (in Swedish). Retrieved 6 May 2013.
109. ^Rutherford, Kevin (4 March 2018). 'A Meme Pushes Fleetwood Mac's 'Dreams' Onto Hot Rock Songs Chart'. Billboard. Retrieved 5 January 2019.
110. ^'Album Search: Fleetwood Mac – Rumours' (in German). Media Control. Retrieved 10 December 2018.
111. ^'ARIA Charts – Accreditations – 2011 Albums'. Australian Recording Industry Association. Retrieved 9 May 2014.
112. ^ ^abc'Fleetwood Mac - Rumours'. Billboard. 25 February 1978. Retrieved 19 April 2019.
113. ^'Canadian album certifications – Fleetwood Mac – Rumours'. Music Canada. Retrieved 9 May 2014.
114. ^'Les Albums Platine :' (in French). Infodisc.fr. Archived from the original on 1 February 2014. Retrieved 17 May 2012.Cite uses deprecated parameter |deadurl= (help)
115. ^Durand, Dominic; Lesueur, Daniel. 'Bestsellers of CDs / Albums 'All Time''. InfoDisc. Retrieved 3 April 2018.
116. ^'French album certifications – Fleetwood Mac – Rumours' (in French). Syndicat National de l'Édition Phonographique.
117. ^'Gold-/Platin-Datenbank (Fleetwood Mac; 'Rumours')' (in German). Bundesverband Musikindustrie. Retrieved 9 May 2014.
118. ^'IFPIHK Gold Disc Award − 1979'. IFPI Hong Kong.
119. ^'Dutch album certifications – Rumours' (in Dutch). Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers. Retrieved 5 August 2018.Enter Rumours in the 'Artiest of titel' box.
120. ^'New Zealand album certifications – Fleetwood Mac – Rumours'. Recorded Music NZ. Retrieved 11 March 2017.
121. ^'South African album certifications – Rumours – Fleetwood Mac'. RiSA. Archived from the original on 29 September 2015. Retrieved 29 September 2015.Cite uses deprecated parameter |deadurl= (help)
122. ^Copsey, Rob (13 October 2018). 'The UK's biggest studio albums of all time'. Official Charts Company. Retrieved 13 October 2018.
123. ^'British album certifications – Fleetwood Mac – Rumours'. British Phonographic Industry. Retrieved 13 October 2018.Select albums in the Format field.Select Platinum in the Certification field.Type Rumours in the 'Search BPI Awards' field and then press Enter.
124. ^'American album certifications – Fleetwood Mac – Rumours'. Recording Industry Association of America. Retrieved 9 May 2014.If necessary, click Advanced, then click Format, then select Album, then click SEARCH.

Bibliography[edit]

• Brackett, Donald (2007). Fleetwood Mac: 40 Years of Creative Chaos. Greenwood Publishing Group. ISBN0-275-99338-8.
• Brunning, Bob (2004). The Fleetwood Mac Story: Rumours and Lies. Omnibus Press. ISBN1-84449-011-4.
• Caillat, Ken & Stiefel, Steven (2012). Making Rumours: The Inside Story of the Classic Fleetwood Mac Album. John Wiley & Sons, Inc.ISBN978-1-118-21808-2.
• Fleetwood Mac; Ken Caillat; Richard Dashut (2004). Classic Albums – Fleetwood Mac: Rumours (DVD). Eagle Rock Entertainment.
• Rooksby, Rikky (2005). Fleetwood Mac: The Complete Guide to Their Music. Omnibus Press. ISBN1-84449-427-6.

External links[edit]

Mac Computer For Recording Studio

• Rumours lyrics at Rhapsody
• Rumours promotion at the 12 February 1977 [Vol. 89, No. 6] issue of Billboard via Google Books

Computers For Home Recording Studio

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Rumours_(album)&oldid=913348486'