The impact of technological advances on recording studio practices
Identifieur interne : 002708 ( Istex/Corpus ); précédent : 002707; suivant : 002709The impact of technological advances on recording studio practices
Auteurs : Amandine Pras ; Catherine Guastavino ; Maryse LavoieSource :
- Journal of the American Society for Information Science and Technology [ 1532-2882 ] ; 2013-03.
English descriptors
- Teeft :
- Aesthetic approaches, Aesthetics, American society, Analog, Antin earp, Artifact, Artistic control, Artistic decisions, Artistic result, Artists repertoire staff, Artwork, Audio, Audio format, Audio formats, British journal, Budget constraints, Business changes, Business model, Career path, Career paths, Chanan, Classical music, Client relationship, Collaborative, Collaborative process, Commercial success, Competency, Composite recordings, Compression formats, Concert hall, Concert industry, Concert situation, Constraint, Contemporary music, Current context, Current paradigm, Current recording context, Current situation, Different aesthetics, Different approaches, Digital, Digital equipment, Digital music, Digital music report, Digital technologies, Digital technology, Digital tools, Direct consequence, Direct impact, Economic context, Economic crisis, Economic decline, Economic evolution, Electrical recording techniques, Electrical recordings, Emergent countries, Executive producer, Further development, Genre, Glenn gould, Gould, Hennion, Home studios, Ifpi, Independent producers, Independent productions, Information science, Interdisciplinary research, International federation, Internet, Internet broadcasting, Interviewee, John culshaw, Leopold stokowski, Long tail theory, Main concepts, Major label, Major labels, Major record companies, Many hours, Media society, Multiple microphones, Music business, Music industry, Music lovers, Music media, Music production, Musical discourse, Musical genre, Musical genres, Musical ideas, Musical instrument, Musical instruments, Musical performances, Musical piece, Musical production, Musical recording, Musical recordings, Myspace music, Nancial producer, Network studios, Online, Online distribution, Other hand, Other practices, Other words, Patmore, Patmore clark, Peterson berger, Phonographic industry, Popular music, Postproduction, Pras guastavino, Previous study, Producer, Production process, Professional recording studios, Recent changes, Record companies, Record company, Record industry, Record labels, Record music, Record producer, Record producers, Record production, Record sales, Recording, Recording aesthetics, Recording approach, Recording approaches, Recording artifacts, Recording engineer, Recording engineers, Recording industry, Recording music, Recording process, Recording productions, Recording project, Recording projects, Recording session, Recording sessions, Recording studio, Recording studios, Recording techniques, Recording technologies, Recording technology, Results section, Same time, Second approach, Second world, Semistructured interviews, Sherbrooke street west, Single studio, Social studies, Sonic dimension, Sound engineer, Sound engineers, Sound quality, Sound recording, Sound reproduction, Staff producers, Studio, Studio challenges, Studio practices, Studio professionals, Studio professions, Studio work, Successful recordings, Tacit knowledge, Tape manipulation, Technical innovations, Technical team, Technological advances, Technological improvements, Tera consultants, Time constraints, Tonmeister, Tonmeister concept, Traditional business model, Traditional record companies, Traditional recording studios, Traditional studios, Transitional phase, Unusual situations, Video, Virtual worlds, Wesleyan university press, Wide range, Wider range, Wider variety, Work environment, Young producers, Young professionals.
Abstract
Since the invention of sound reproduction in the late 19th century, studio practices in musical recording evolved in parallel with technological improvements. Recently, digital technology and Internet file sharing led to the delocalization of professional recording studios and the decline of traditional record companies. A direct consequence of this new paradigm is that studio professions found themselves in a transitional phase, needing to be reinvented. To understand the scope of these recent technological advances, we first offer an overview of musical recording culture and history and show how studio recordings became a sophisticated form of musical artwork that differed from concert representations. We then trace the economic evolution of the recording industry through technological advances and present positive and negative impacts of the decline of the traditional business model on studio practices and professions. Finally, we report findings from interviews with six world‐renowned record producers reflecting on their recording approaches, the impact of recent technological advances on their careers, and the future of their profession. Interviewees appreciate working on a wider variety of projects than they have in the past, but they all discuss trade‐offs between artistic expectations and budget constraints in the current paradigm. Our investigations converge to show that studio professionals have adjusted their working settings to the new economic situation, although they still rely on the same aesthetic approaches as in the traditional business model to produce musical recordings.
Url:
DOI: 10.1002/asi.22840
Links to Exploration step
ISTEX:68A7B44341CC848E8D3019D0E8CD0B29F4FF3F04Le document en format XML
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Recently, digital technology and Internet file sharing led to the delocalization of professional recording studios and the decline of traditional record companies. A direct consequence of this new paradigm is that studio professions found themselves in a transitional phase, needing to be reinvented. To understand the scope of these recent technological advances, we first offer an overview of musical recording culture and history and show how studio recordings became a sophisticated form of musical artwork that differed from concert representations. We then trace the economic evolution of the recording industry through technological advances and present positive and negative impacts of the decline of the traditional business model on studio practices and professions. Finally, we report findings from interviews with six world‐renowned record producers reflecting on their recording approaches, the impact of recent technological advances on their careers, and the future of their profession. Interviewees appreciate working on a wider variety of projects than they have in the past, but they all discuss trade‐offs between artistic expectations and budget constraints in the current paradigm. Our investigations converge to show that studio professionals have adjusted their working settings to the new economic situation, although they still rely on the same aesthetic approaches as in the traditional business model to produce musical recordings.</div></front></TEI><istex><corpusName>wiley</corpusName><keywords><teeft><json:string>recording industry</json:string><json:string>studio professionals</json:string><json:string>musical recordings</json:string><json:string>internet</json:string><json:string>chanan</json:string><json:string>record producers</json:string><json:string>information science</json:string><json:string>american society</json:string><json:string>studio practices</json:string><json:string>postproduction</json:string><json:string>traditional business model</json:string><json:string>record companies</json:string><json:string>record labels</json:string><json:string>ifpi</json:string><json:string>digital technologies</json:string><json:string>musical 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productions</json:string><json:string>musical discourse</json:string><json:string>sherbrooke street west</json:string><json:string>nancial producer</json:string><json:string>client relationship</json:string><json:string>digital equipment</json:string><json:string>music lovers</json:string><json:string>traditional studios</json:string><json:string>internet broadcasting</json:string><json:string>studio work</json:string><json:string>current context</json:string><json:string>music business</json:string><json:string>economic crisis</json:string><json:string>concert industry</json:string><json:string>music industry</json:string><json:string>media society</json:string><json:string>wide range</json:string><json:string>gould</json:string><json:string>video</json:string><json:string>constraint</json:string><json:string>studio</json:string></teeft></keywords><author><json:item><name>Amandine Pras</name><affiliations><json:string>E-mail: amandine.pras@mail.mcgill.ca</json:string><json:string>Multimodal Interaction Laboratory, School of Information Studies, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University, 527 Sherbrooke Street West, QC, H3A 1E3, Montreal, Canada</json:string><json:string>E-mail: amandine.pras@mail.mcgill.ca</json:string></affiliations></json:item><json:item><name>Catherine Guastavino</name><affiliations><json:string>E-mail: catherine.guastavino@mcgill.ca</json:string><json:string>Multimodal Interaction Laboratory, School of Information Studies, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University, 527 Sherbrooke Street West, QC, H3A 1E3, Montreal, Canada</json:string><json:string>E-mail: catherine.guastavino@mcgill.ca</json:string></affiliations></json:item><json:item><name>Maryse Lavoie</name><affiliations><json:string>E-mail: maryse.lavoie@umontreal.ca</json:string><json:string>Laboratoire d'informatique, acoustique et musique, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), Faculté de Musique de l'Université de Montréal, 527 Sherbrooke Street West, QC, H3A 1E3, Montreal, Canada</json:string><json:string>E-mail: maryse.lavoie@umontreal.ca</json:string></affiliations></json:item></author><subject><json:item><lang><json:string>eng</json:string></lang><value>music</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>recording</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>skills</value></json:item></subject><articleId><json:string>ASI22840</json:string></articleId><arkIstex>ark:/67375/WNG-ZQ1H55JV-9</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>article</json:string></originalGenre><abstract>Since the invention of sound reproduction in the late 19th century, studio practices in musical recording evolved in parallel with technological improvements. Recently, digital technology and Internet file sharing led to the delocalization of professional recording studios and the decline of traditional record companies. A direct consequence of this new paradigm is that studio professions found themselves in a transitional phase, needing to be reinvented. To understand the scope of these recent technological advances, we first offer an overview of musical recording culture and history and show how studio recordings became a sophisticated form of musical artwork that differed from concert representations. We then trace the economic evolution of the recording industry through technological advances and present positive and negative impacts of the decline of the traditional business model on studio practices and professions. Finally, we report findings from interviews with six world‐renowned record producers reflecting on their recording approaches, the impact of recent technological advances on their careers, and the future of their profession. Interviewees appreciate working on a wider variety of projects than they have in the past, but they all discuss trade‐offs between artistic expectations and budget constraints in the current paradigm. Our investigations converge to show that studio professionals have adjusted their working settings to the new economic situation, although they still rely on the same aesthetic approaches as in the traditional business model to produce musical recordings.</abstract><qualityIndicators><score>9.784</score><pdfWordCount>12180</pdfWordCount><pdfCharCount>76356</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>15</pdfPageCount><pdfPageSize>610.651 x 790.254 pts</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>232</abstractWordCount><abstractCharCount>1617</abstractCharCount><keywordCount>3</keywordCount></qualityIndicators><title>The impact of technological advances on recording studio practices</title><genre><json:string>article</json:string></genre><host><title>Journal of the American Society for Information Science and Technology</title><language><json:string>unknown</json:string></language><doi><json:string>10.1002/(ISSN)1532-2890</json:string></doi><issn><json:string>1532-2882</json:string></issn><eissn><json:string>1532-2890</json:string></eissn><publisherId><json:string>ASI</json:string></publisherId><volume>64</volume><issue>3</issue><pages><first>612</first><last>626</last><total>15</total></pages><genre><json:string>journal</json:string></genre><subject><json:item><value>music</value></json:item><json:item><value>audio recordings</value></json:item><json:item><value>information technology</value></json:item><json:item><value>technology impact</value></json:item><json:item><value>trends</value></json:item><json:item><value>RESEARCH ARTICLE</value></json:item></subject></host><namedEntities><unitex><date></date><geogName></geogName><orgName></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName></persName><placeName></placeName><ref_url></ref_url><ref_bibl></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/WNG-ZQ1H55JV-9</json:string></ark><categories><wos><json:string>1 - 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Recently, digital technology and Internet file sharing led to the delocalization of professional recording studios and the decline of traditional record companies. A direct consequence of this new paradigm is that studio professions found themselves in a transitional phase, needing to be reinvented. To understand the scope of these recent technological advances, we first offer an overview of musical recording culture and history and show how studio recordings became a sophisticated form of musical artwork that differed from concert representations. We then trace the economic evolution of the recording industry through technological advances and present positive and negative impacts of the decline of the traditional business model on studio practices and professions. Finally, we report findings from interviews with six world‐renowned record producers reflecting on their recording approaches, the impact of recent technological advances on their careers, and the future of their profession. Interviewees appreciate working on a wider variety of projects than they have in the past, but they all discuss trade‐offs between artistic expectations and budget constraints in the current paradigm. Our investigations converge to show that studio professionals have adjusted their working settings to the new economic situation, although they still rely on the same aesthetic approaches as in the traditional business model to produce musical recordings.</p></abstract><textClass><keywords><term xml:id="asi22840-kwd-0001">music</term><term xml:id="asi22840-kwd-0002">recording</term><term xml:id="asi22840-kwd-0003">skills</term></keywords><keywords rend="tocHeading1"><term>RESEARCH ARTICLES</term></keywords><keywords rend="articleCategory"><term>RESEARCH ARTICLE</term></keywords></textClass><textClass><keywords ana="subject"><term ref="http://psi.asis.org/digital/music">music</term><term ref="http://psi.asis.org/digital/audio+recordings">audio recordings</term><term ref="http://psi.asis.org/digital/information+technology">information technology</term><term ref="http://psi.asis.org/digital/technology+impact">technology impact</term><term 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xml:id="asi22840-aff-0002"><orgDiv>Laboratoire d'informatique, acoustique et musique</orgDiv><orgName>Faculté de Musique de l'Université de Montréal</orgName><orgDiv>Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT)</orgDiv><address><street>527 Sherbrooke Street West</street><city>Montreal</city><countryPart>QC</countryPart><postCode>H3A 1E3</postCode><country>Canada</country></address></affiliation></affiliationGroup><keywordGroup type="author"><keyword xml:id="asi22840-kwd-0001">music</keyword><keyword xml:id="asi22840-kwd-0002">recording</keyword><keyword xml:id="asi22840-kwd-0003">skills</keyword></keywordGroup><fundingInfo><fundingAgency>Fonds Québécois pour la Recherche sur la Société et la Culture (FQRSC)</fundingAgency></fundingInfo><fundingInfo><fundingAgency>Centre for Interdisciplinary Research on Music Media and Technology (CIRMMT)</fundingAgency></fundingInfo><abstractGroup> <abstract type="main"><p>Since the invention of sound reproduction in the late 19th century, studio practices in musical recording evolved in parallel with technological improvements. Recently, digital technology and Internet file sharing led to the delocalization of professional recording studios and the decline of traditional record companies. A direct consequence of this new paradigm is that studio professions found themselves in a transitional phase, needing to be reinvented. To understand the scope of these recent technological advances, we first offer an overview of musical recording culture and history and show how studio recordings became a sophisticated form of musical artwork that differed from concert representations. We then trace the economic evolution of the recording industry through technological advances and present positive and negative impacts of the decline of the traditional business model on studio practices and professions. Finally, we report findings from interviews with six world‐renowned record producers reflecting on their recording approaches, the impact of recent technological advances on their careers, and the future of their profession. Interviewees appreciate working on a wider variety of projects than they have in the past, but they all discuss trade‐offs between artistic expectations and budget constraints in the current paradigm. Our investigations converge to show that studio professionals have adjusted their working settings to the new economic situation, although they still rely on the same aesthetic approaches as in the traditional business model to produce musical recordings.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The impact of technological advances on recording studio practices</title></titleInfo><titleInfo type="abbreviated" lang="en"><title>The Impact of Technological Advances on Recording Studio Practices</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>The impact of technological advances on recording studio practices</title></titleInfo><name type="personal"><namePart type="given">Amandine</namePart><namePart type="family">Pras</namePart><affiliation>E-mail: amandine.pras@mail.mcgill.ca</affiliation><affiliation>Multimodal Interaction Laboratory, School of Information Studies, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University, 527 Sherbrooke Street West, QC, H3A 1E3, Montreal, Canada</affiliation><affiliation>E-mail: amandine.pras@mail.mcgill.ca</affiliation><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Catherine</namePart><namePart type="family">Guastavino</namePart><affiliation>E-mail: catherine.guastavino@mcgill.ca</affiliation><affiliation>Multimodal Interaction Laboratory, School of Information Studies, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University, 527 Sherbrooke Street West, QC, H3A 1E3, Montreal, Canada</affiliation><affiliation>E-mail: catherine.guastavino@mcgill.ca</affiliation><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Maryse</namePart><namePart type="family">Lavoie</namePart><affiliation>E-mail: maryse.lavoie@umontreal.ca</affiliation><affiliation>Laboratoire d'informatique, acoustique et musique, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), Faculté de Musique de l'Université de Montréal, 527 Sherbrooke Street West, QC, H3A 1E3, Montreal, Canada</affiliation><affiliation>E-mail: maryse.lavoie@umontreal.ca</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><dateIssued encoding="w3cdtf">2013-03</dateIssued><dateCreated encoding="w3cdtf">2012-11-20</dateCreated><dateCaptured encoding="w3cdtf">2012-02-28</dateCaptured><dateValid encoding="w3cdtf">2012-09-13</dateValid><copyrightDate encoding="w3cdtf">2013</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><abstract>Since the invention of sound reproduction in the late 19th century, studio practices in musical recording evolved in parallel with technological improvements. Recently, digital technology and Internet file sharing led to the delocalization of professional recording studios and the decline of traditional record companies. A direct consequence of this new paradigm is that studio professions found themselves in a transitional phase, needing to be reinvented. To understand the scope of these recent technological advances, we first offer an overview of musical recording culture and history and show how studio recordings became a sophisticated form of musical artwork that differed from concert representations. We then trace the economic evolution of the recording industry through technological advances and present positive and negative impacts of the decline of the traditional business model on studio practices and professions. Finally, we report findings from interviews with six world‐renowned record producers reflecting on their recording approaches, the impact of recent technological advances on their careers, and the future of their profession. Interviewees appreciate working on a wider variety of projects than they have in the past, but they all discuss trade‐offs between artistic expectations and budget constraints in the current paradigm. Our investigations converge to show that studio professionals have adjusted their working settings to the new economic situation, although they still rely on the same aesthetic approaches as in the traditional business model to produce musical recordings.</abstract><note type="funding">Fonds Québécois pour la Recherche sur la Société et la Culture (FQRSC)</note><note type="funding">Centre for Interdisciplinary Research on Music Media and Technology (CIRMMT)</note><subject><genre>keywords</genre><topic>music</topic><topic>recording</topic><topic>skills</topic></subject><relatedItem type="host"><titleInfo><title>Journal of the American Society for Information Science and Technology</title></titleInfo><titleInfo type="abbreviated"><title>J Am Soc Inf Sci Tec</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><subject><genre>index-terms</genre><topic authorityURI="http://psi.asis.org/digital/music">music</topic><topic authorityURI="http://psi.asis.org/digital/audio+recordings">audio recordings</topic><topic authorityURI="http://psi.asis.org/digital/information+technology">information technology</topic><topic authorityURI="http://psi.asis.org/digital/technology+impact">technology impact</topic><topic authorityURI="http://psi.asis.org/digital/trends">trends</topic></subject><subject><genre>article-category</genre><topic>RESEARCH ARTICLE</topic></subject><identifier type="ISSN">1532-2882</identifier><identifier type="eISSN">1532-2890</identifier><identifier type="DOI">10.1002/(ISSN)1532-2890</identifier><identifier type="PublisherID">ASI</identifier><part><date>2013</date><detail type="volume"><caption>vol.</caption><number>64</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>612</start><end>626</end><total>15</total></extent></part></relatedItem><identifier type="istex">68A7B44341CC848E8D3019D0E8CD0B29F4FF3F04</identifier><identifier type="ark">ark:/67375/WNG-ZQ1H55JV-9</identifier><identifier type="DOI">10.1002/asi.22840</identifier><identifier type="ArticleID">ASI22840</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © 2013 ASIS&T© 2013 ASIS&T</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-L0C46X92-X">wiley</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/68A7B44341CC848E8D3019D0E8CD0B29F4FF3F04/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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