Delocalization of Sound Recording and Development of Transnational Networks: Music Production in the Post-COVID Era

Marco Antonio Juan de Dios Cuartas

Abstract


The recording studio traditionally constitutes a part of a network which helps to define the concept of the music scene. The digital revolution has caused the definitive uprooting of the physical device, providing a concept of space in which new creative scenarios are generated within a virtual community. The global pandemic has forced people to work “in the box” a term we associate with performing the mixing and mastering processes inside the computer and without the use of any external processing device, using network connections, even among the most sceptical professionals. This fact poses a paradigm shift in the relationships (both in a professional and human level) between producer, sound engineer and artist, definitively modifying the traditional methods of music production. The main objective of this research is to analyse, using a non-experimental descriptive methodology based on non-participant systematic observation, the influence of digital development of music production and the resignification of the recording studio and the concept of scene, from the new reality that is generated in the professional environment of music production by the impact of COVID-19.

Keywords


music production, recording studio, music scene, virtual communities, Remote Music Collaboration Software, post-COVID era

Full Text:

PDF

References


Bibliography

Bakhtin, M.M. 1982. Dialogic Imagination: Four Essays. Austin, TX: University of Texas Press.

Becker, H.S. 1982. Art Worlds. London: University of California Press.

Bennett, A. --

Subcultures or Neo-Tribes? Rethinking the Relationship Between Youth,

Style and Musical Taste. Sociology 33 (3): 599–617.

Consolidating the Music Scenes Perspective. Poetics 32: 223–234.

Cascone, K. 2004. The Aesthetics of Failure: "Post-Digital" Tendencies in Contemporary Computer Music. In C. Cox and D. Warner Eds. Audio Culture: Readings in Modern Music. New York: Bloomsbury Publishing: 392-398.

Castells, M. 2008. Communication Power. New York, NY: Oxford University Press.

Cohen, S. 1991. Rock Culture in Liverpool: Popular Music in the Making. Oxford: Clarendon Press.

Connell, J. and Gibson, C. 2003. Sound Tracks: Popular Music, Identity and Place. London; New York: Routledge.

dB The Sound Engineering Magazine, 1969. People, Places, Happenings. (3 (2), Feb.), p.36.

Droumeva, M. 2005. Understanding Immersive Audio: A Historical and Socio-Cultural Exploration of Auditory Displays. ICAD 05-Eleventh Meeting of the International Conference on Auditory Display, Limerick, Ireland: 162-168.

Frith, S. —

“The Magic that can Set you Free”: The Ideology of Folk and the Myth of Rock. Popular Music 1: 159–168.

Art versus Technology: The Strange Case of Popular Music. Media, Culture and Society, Vol. 8. London: 263-279

Gibson, C. 2005. Recording Studios: Relational Spaces of Creativity in the City. Built Environment 31 (3): 192-207.

Gottsegen, G. 2020. Music Production Software Company Output Announces $45M Series A. [online] Built In Los Angeles. Available at: https://www.builtinla.com/2020/10/21/output-raises-45m-series-a [Accessed 20 December 2020].

Hall, E.T. 1966. The Hidden Dimension. London: Doubleday.

Hennion, A. 1983. The Production of Success: An Anti-Musicology of the Pop Song. Popular Music 3: 159-193.

Hesmondhalgh, D. 1997. Post–Punk’s Attempt to Democratise the Music Industry: The Success and Failure of Rough Trade. Popular Music 16 (3): 255–274.

Jenkins, H. 2006. Convergence Culture: Where Old and New Media Collide. New York, NY: New York University Press.

Lewis G. H. 1992. Who Do You Love?: The Dimensions of Musical Taste. In J. Lull Ed. Sage Focus Editions: Vol. 89. Popular Music and Communication. London: Sage: 134-151.

Leyshon, A. 2001. Time-Space (and Digital) Compression: Software Formats, Music Networks, and the Reorganisation of the Music Industry. Environment and Planning A: Economy and Space 33 (1): 49-77.

Moorfield, V. 2005. The Producer as Composer: Shaping the Sounds of Popular Music. Cambridge, MA: MIT Press.

Owsinski, B. 2014. The Mixing Engineer's Handbook. Boston: Thomson Course Technology.

Pinch, T., and Reinecke, D. 2009. Technostalgia: How Old Gear Lives on in New Music. In Bijsterveld, K. and van Dijck, J. Eds. Sound Souvenirs: Audio Technologies, Memory and Cultural Practices. Amsterdam University Press: 152-166.

Prior, N. 2018. Popular Music, Digital Technology and Society. London: Sage Publications Ltd.

Rumsey, F. 2010. Digital Audio Effects and Simulations. Journal of Audio Engineering Society Vol. 58, No. 5: 420-427.

Straw, W. 1991. Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music. Cultural Studies 5 (3): 368–388.

van der Heijden, T. 2015. Technostalgia of the Present: From Technologies of Memory to a Memory of Technologies. NECSUS. European Journal of Media

Studies 4 (2): 103–121.

Watson, A. 2015. Cultural Production in and Beyond the Recording Studio. New York: Routledge.

Williams, A. 2015. Technostalgia and the Cry of the Lonely Recordist. Journal on the Art of Record Production 9. Available at: https://www.arpjournal.com/asarpwp/technostalgia-and-the-cry-of-the-lonely-recordist/ Accessed 6 August 2021.

Zagorski-Thomas, S. 2012. The US vs the UK Sound: Meaning in Music Production in the 1970s. In Zagorski-Thomas, S. and Frith, S. Eds. The Art of Record Production: An Introductory Reader to a New Academic Field. Farnham: Ashgate Publishing Limited: 57–76.

Videography

SonoLAB-UCM, 2020. Mesa Audioforo «Paradigmas de la producción musical

actual». [video] Available at: https://youtu.be/Vnocsr0qNQs [Accessed 19 December 2020].

Waves, --

a. Introducing the Waves Abbey Road Studio 3 Plugin. [video] Available at: https://youtu.be/r7uEcub9QfY [Accessed 18 December 2020].

b. Alan Parsons – First Reaction to the Abbey Road Studio 3 Plugin. [video] Available at: https://youtu.be/qaw-lKqXv0E [Accessed 18 December 2020].

Web Sources

Mixonline. 2019. Waves Audio and Abbey Road Studios Introduce the Abbey Road Studio 3 Plugin, Powered by Waves Nx Technology. [online] Available at: https://www.mixonline.com/the-wire/waves-abbey-road-studio-3 [Accessed 21 December 2020].




Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.