A Final Guiding Hand: A Practice-Based Study into the Evolving Role of Third Party Mixers.
Keywords:Popular Music Record Production, Mixing
AbstractAs a mixing professional, I have noticed that the role of the third-party mixer is evolving. There is often the opportunity for the mixer to have a strong influence on the song’s production. The recent delocalization of the recording studio has made professional production increasingly available to all popular musicians, and the mixer’s tacit knowledge of production is valuable to artist-produced material. This project explores within a practice–based study the influence on production a mixing professional can have on a recording by an artist. The song was produced by the artist and then mixed by myself; the mixes presented here should be considered as the research in action and are intended as an aural representation of my impact on the song’s production. The artist participated in an interview to help illuminate many perceptions of the adapted mixing process and its related artistic outcomes.
Burgess, R. J. —
Producer Compensation: Challenges and Options in the New Music Business. Journal on the Art of Record Production (3). Retrieved from http://arpjournal.com/producer-compensation-challenges-and-options-in-the-new-music-business/
The History of Music Production. New York, NY: Oxford University Press.
Draper, P. 2016. Thinking through Sound: Musicianship, Record Production, and Critical Listening. In S. Frith & S. Zagorski-Thomas, Eds. The Art of Record Production (Vol. 2). London: Ashgate.
Full Sail University. 2012. GRAMMY-Winning Mixer/Audio Engineer Chris Lord-Alge at Full Sail University. [Online] Available at http://www.youtube.com/watch?v=BGUcBhbyoF4
Horning, S. S. 2004. Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound. Social Studies of Science 34 (5): 703-731. doi:10.1177/0306312704047536
Howlett, M. —
Fixing the volatile studio: Studio vocal performance techniques. Third Art of Record Production Conference, Queensland University of Technology, Brisbane. http://eprints.qut.edu.au/33275/
The record producer as nexus: Creative inspiration, technology and the recording industry. PhD. University Of Glamorgan.
Izhaki, R. 2008. Mixing Audio: Concepts, Practices and Tools. Oxford: Focal Press.
Kealy, E. 1979. From craft to art: "The case of sound mixers and popular music".
Sociology of Work and Occupations 6 (1): 3–29.
King, A. 2016. Studio pedagogy: Perspectives from record producers. In A. King & E. Himonides Eds.Music, technology, and education: Critical perspectives. New York, NY: Routledge: 45-66.
Lauzon, D. 2016. Pre-production in mixing: Mixing in pre-production. In R. Hepworth- Saywer & J. Hodgson Eds. Mixing Music. New York, NY: Routledge: 114.
Lefford, M. N. 2015. The Sound of Coordinated Efforts: Music Producers, Boundary Objects and Trading Zones. Journal on the Art of Record Production (10).
Marton, F. 1986. Phenomenography: A research approach investigating different understandings of reality. Journal of Thought 21 (2): 28–49.
Massey, H. 2000. Behind the Glass: Top Record Producers tell how they Craft the Hits. Berkeley, CA: Miller Freeman Books.
Moylan, W. 2002. The art of recording: Understanding and crafting the mix. Boston, MA: Focal press.
Pras, A., Guastavino, C., & Lavoie, M. 2013. The Impact of Technological Advances on Recording Studio Practices. Journal of the American Society for Information Science and Technology 64 (3): 612–626.
Théberge, P. —
Any Sound you can Imagine: Making Music/Consuming Technology. Hanover, NH: University Press of New England for Wesleyan University Press.
The Network Studio: Historical and Technological Paths to a new ideal in Music Making. Social Studies of Science 34 (5): 759–781.
The end of the World as we know it: The Changing Role of the Studio in the Age of the Internet. In S. Frith & S. Zagorski-Thomas Eds. The Art of Record Production: An Introductory Reader for a new Academic Field. Burlington, VT: Ashgate: 77–90.
Authors retain copyright, while licensing their work under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.