The impact of technological advances on recording studio practices
Identifieur interne : 000037 ( Main/Exploration ); précédent : 000036; suivant : 000038The impact of technological advances on recording studio practices
Auteurs : Amandine Pras [Canada] ; Catherine Guastavino [Canada] ; Maryse Lavoie [Canada]Source :
- 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
Affiliations:
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context</term><term>Current situation</term><term>Different aesthetics</term><term>Different approaches</term><term>Digital</term><term>Digital equipment</term><term>Digital music</term><term>Digital music report</term><term>Digital technologies</term><term>Digital technology</term><term>Digital tools</term><term>Direct consequence</term><term>Direct impact</term><term>Economic context</term><term>Economic crisis</term><term>Economic decline</term><term>Economic evolution</term><term>Electrical recording techniques</term><term>Electrical recordings</term><term>Emergent countries</term><term>Executive producer</term><term>Further development</term><term>Genre</term><term>Glenn gould</term><term>Gould</term><term>Hennion</term><term>Home studios</term><term>Ifpi</term><term>Independent producers</term><term>Independent productions</term><term>Information science</term><term>Interdisciplinary research</term><term>International federation</term><term>Internet</term><term>Internet broadcasting</term><term>Interviewee</term><term>John culshaw</term><term>Leopold stokowski</term><term>Long tail theory</term><term>Main concepts</term><term>Major label</term><term>Major labels</term><term>Major record companies</term><term>Many hours</term><term>Media society</term><term>Multiple microphones</term><term>Music business</term><term>Music industry</term><term>Music lovers</term><term>Music media</term><term>Music production</term><term>Musical discourse</term><term>Musical genre</term><term>Musical genres</term><term>Musical ideas</term><term>Musical instrument</term><term>Musical instruments</term><term>Musical performances</term><term>Musical piece</term><term>Musical production</term><term>Musical recording</term><term>Musical recordings</term><term>Myspace music</term><term>Nancial producer</term><term>Network studios</term><term>Online</term><term>Online distribution</term><term>Other hand</term><term>Other practices</term><term>Other words</term><term>Patmore</term><term>Patmore clark</term><term>Peterson berger</term><term>Phonographic industry</term><term>Popular music</term><term>Postproduction</term><term>Pras guastavino</term><term>Previous study</term><term>Producer</term><term>Production process</term><term>Professional recording studios</term><term>Recent changes</term><term>Record companies</term><term>Record company</term><term>Record industry</term><term>Record labels</term><term>Record music</term><term>Record producer</term><term>Record producers</term><term>Record production</term><term>Record sales</term><term>Recording</term><term>Recording aesthetics</term><term>Recording approach</term><term>Recording approaches</term><term>Recording artifacts</term><term>Recording engineer</term><term>Recording engineers</term><term>Recording industry</term><term>Recording music</term><term>Recording process</term><term>Recording productions</term><term>Recording project</term><term>Recording projects</term><term>Recording session</term><term>Recording sessions</term><term>Recording studio</term><term>Recording studios</term><term>Recording techniques</term><term>Recording technologies</term><term>Recording technology</term><term>Results section</term><term>Same time</term><term>Second approach</term><term>Second world</term><term>Semistructured interviews</term><term>Sherbrooke street west</term><term>Single studio</term><term>Social studies</term><term>Sonic dimension</term><term>Sound engineer</term><term>Sound engineers</term><term>Sound quality</term><term>Sound recording</term><term>Sound reproduction</term><term>Staff producers</term><term>Studio</term><term>Studio challenges</term><term>Studio practices</term><term>Studio professionals</term><term>Studio professions</term><term>Studio work</term><term>Successful recordings</term><term>Tacit knowledge</term><term>Tape manipulation</term><term>Technical innovations</term><term>Technical team</term><term>Technological advances</term><term>Technological improvements</term><term>Tera consultants</term><term>Time constraints</term><term>Tonmeister</term><term>Tonmeister concept</term><term>Traditional business model</term><term>Traditional record companies</term><term>Traditional recording studios</term><term>Traditional studios</term><term>Transitional phase</term><term>Unusual situations</term><term>Video</term><term>Virtual worlds</term><term>Wesleyan university press</term><term>Wide range</term><term>Wider range</term><term>Wider variety</term><term>Work environment</term><term>Young producers</term><term>Young professionals</term></keywords></textClass></profileDesc></teiHeader><front><div type="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.</div></front></TEI><affiliations><list><country><li>Canada</li></country><region><li>Québec</li></region><settlement><li>Montréal</li></settlement><orgName><li>Université McGill</li></orgName></list><tree><country name="Canada"><noRegion><name sortKey="Pras, Amandine" sort="Pras, Amandine" uniqKey="Pras A" first="Amandine" last="Pras">Amandine Pras</name></noRegion><name sortKey="Guastavino, Catherine" sort="Guastavino, Catherine" uniqKey="Guastavino C" first="Catherine" last="Guastavino">Catherine Guastavino</name><name sortKey="Guastavino, Catherine" sort="Guastavino, Catherine" uniqKey="Guastavino C" first="Catherine" last="Guastavino">Catherine Guastavino</name><name sortKey="Guastavino, Catherine" sort="Guastavino, Catherine" uniqKey="Guastavino C" first="Catherine" last="Guastavino">Catherine Guastavino</name><name sortKey="Lavoie, Maryse" sort="Lavoie, Maryse" uniqKey="Lavoie M" first="Maryse" last="Lavoie">Maryse Lavoie</name><name sortKey="Lavoie, Maryse" sort="Lavoie, Maryse" uniqKey="Lavoie M" first="Maryse" last="Lavoie">Maryse Lavoie</name><name sortKey="Lavoie, Maryse" sort="Lavoie, Maryse" uniqKey="Lavoie M" first="Maryse" last="Lavoie">Maryse Lavoie</name><name sortKey="Pras, Amandine" sort="Pras, Amandine" uniqKey="Pras A" first="Amandine" last="Pras">Amandine Pras</name><name sortKey="Pras, Amandine" sort="Pras, Amandine" uniqKey="Pras A" first="Amandine" last="Pras">Amandine Pras</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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