Timothy Taylor wrote of a “scientific imaginary” (Taylor, 2001), a period in mid 20th century culture seemingly obsessed with futurism, as the world rebuilt itself following the second world war. For Taylor and others, the utopian and dystopian visions of the era’s literature, films, and music say more about their time than the futures they portended. But this reflection of the contemporary in dreams of the future was inadvertent, an unconscious residue of the past clinging to the bright shiny objects of the science fiction age. The science fiction of current pop culture now looks to the past with a sad, longing eye – a tacit acknowledgement that the best is not yet to come; it is already come and gone. Note the overt nostalgia at the core of Christopher Nolan’s recent film, Interstellar, a movie whose central conceit is that only the past can save the future.
Introduction The aim of my research is to identify whether the use of DAWs in home studios has influenced the way Greek artists produce music and if so, in which ways this medium can influence creativity. The nature of the topic dictates the full understanding of how musicians and producers in Greece work, what are […]
Abstract Intricate tuning of acoustic drums can have a significant impact on the quality and contextuality of the instrument when played live or in the recording studio. Indeed, many musicians and producers will spend a number of hours achieving a preferred drum sound prior to a performance. Drum tuning, however, is a rather subjective matter, […]
Although the question of women’s minority status in music production has been raised in scholarship, it has not been accompanied by a detailed study of women working in the field. This article hopes to address this by examining the self-production practices of a study group of female artist-producers. The study is placed within a feminist framework and draws parallels between a feminist response, in the early part of the twentieth century to the woman novelist, who accesses available tools within a domestic environment to create literature, and a feminist reading today of the woman artist-producer, who accesses available technological tools in a domestic environment, to create and produce music.
Endless Analogue: Situating Vintage Technologies in the Contemporary Recording & Production Workplace
This paper illustrates a range of contemporary contexts where technological precursors are regularly applied in recording sessions by renowned practitioners and/ or studios. Such applications are commonly attributed to nostalgia, fashion or ‘retro’ aesthetics; these issues are critically deconstructed. Implementing a largely critical ethnographic methodology to incorporate interview material with UK practitioners in 3 case study examples, the main investigative foci concern issues of source, practicality, iconicity, context, sonic quality and authenticity.
Examining the Impact of Multiple Technological, Legal, Social and Cultural Factors on the Creative Practice of Sampling Record Producers in Britain.
This paper presents evidence to suggest that, despite the obvious emphasis on the impact of the technologies of sampling and their influence on music producer’s cultural output, there is not one single causal mechanism which can be isolated as the major determining factor in sampling producers’ creative output. Instead, the interplay between a number of factors both constrains and enables their creative practice. These include not only important technological factors but also social, cultural, economic, legal, historical and geographical ones. Sampling producers bring to this complex world their own idiosyncratic social and cultural trajectories and act as agents predisposed to choose what they do within the constraints and possibilities afforded them.
This article proposes a critical analysis of the discourse of home recording. Driven by enunciations regarding home recording’s accessibility and democratization, it examines the power/knowledge relations that have been produced and legitimized within the discourse. This work shows that the government in home recording seems to be exerted by recording professionals and home recording “pros”. It suggests that the enunciation of democratization legitimizes the discourse’s elitist and excluding aspects. This notion functions as a tool for the exercise of power within the discourse of home recording, one that is intrinsically connected to the norms of the professional studio.
From LA to Lisbon: the “LA Sound” as a referential production sound in Rui Veloso’s recording career
In the 1980s, a distinctive production sound came to be associated with musicians, producers and sound engineers working in Los Angeles, including, notably, Donald Fagen and Walter Becker of Steely Dan. The “LA Sound” became a reference for musicians and sound technicians around the world. Rui Veloso, a Portuguese singer/song-writer, tried to emulate it in his records over three decades, facing several difficulties because of the lack of studio technology and professional experience. This article regards performance in the studio and the relations involved in the construction of distinctive conceptualizations of production sound in popular music when displaced.