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Written by Simon Zagorski-Thomas
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Tuesday, 06 October 2009 |
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JARP Issue 4: Supplement to ARP08
The Peer - Reviewed Proceedings of the 2008 Art of Record Production Conference at the University of Massachusetts Lowell
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Eliot Bates University of California Berkeley Abstract PDF Version
Ron's right arm: tactility, visualization, and the synesthesia of audio engineering
Samantha Bennett Surrey University Abstract PDF Version
Revolution sacrilege! Examining the technological divide among record producers in the late 1980s
Robert Davis Leeds Metropolitan University Abstract PDF Version
Creative ownership and the case of the sonic signature or, I’m listening to this record and wondering whodunit?
Andrew Gwilliam University of Glamorgan Abstract PDF Version
The “Perfect” Performance
Paul Harkins Edinburgh / Napier University Abstract PDF Version
The Sampler as Compositional Tool
Jay Hodgson Abstract PDF Version
The Time-Lag Accumulator As A Technical Basis For Brian Eno's Large-Scale Ambient Repertoire, 1973-1978
Philippe Le Guern Universitee d'Angers Abstract PDF Version
Marc Touché Centre Nationale de la Recherche Scientifique
British sound vs French sound? A recording engineer linking two traditions : Dominique Blanc Francart
Thomas MacFarlane New York University Abstract PDF Version
Magical Mystery Tour: Mono Or Stereo?
Phillip McIntyre University of Newcastle, Australia Abstract PDF Version
The Systems Model of Creativity: Analysing the Distribution of Creative Power in the Studio.
Justin Morey Leeds Metropolitan University Abstract PDF Version
Arctic Monkeys - The Demos vs. The Album
William Moylan University of Massachusetts Lowell Abstract PDF Version
Considering Space in Music
Pete O'Hare University of Abertay, Dundee Abstract PDF Version
Undervalued Stock: Britain’s most successful chart producer and his economy of production.
Justin Paterson London College of Music Abstract
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Cutting Tracks, Making CDs: A comparative study of audio time-correction techniques in the desktop age
Rob Toulson Anglia Ruskin University Abstract PDF Version
The Perception And Importance Of Drum Tuning In Live Performance And Music Production
Alan Williams University of Massachusetts Lowell Abstract PDF Version
“I’m Not Hearing What You’re Hearing”: The Conflict and Connection of Headphone Mixes and Multiple Audioscapes
Alexa Woloshyn University of Toronto Abstract PDF Version
Imogen Heap as Musical Cyborg: Renegotiations of Power, Gender and Sound
Simon Zagorski-Thomas London College of Music Abstract PDF Version
The Medium In The Message: Phonographic Staging Techniques That Utilise The Sonic Characteristics Of Reproduction Media.
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Last Updated ( Wednesday, 28 October 2009 )
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