Click Below To Download The Draft Program For The 2009 Art of Record Production Conference

PDF Version of 2009 Draft Program

The conference will start at approximately 4.30 p.m. on Friday 13th November and end at approximately 5 p.m. on Sunday 15th November.

Speakers include: Pete Waterman, Hank Shocklee
Haydn Bendall, Richard Burgess, Nicholas Cooke, Ted Fletcher, Phil Harding, Mike Howlett, Allan Moore, Fran Nevrkla and more

Conference attendees are also invited to join the University of Glamorgan's launch of their Gus Dudgeon Studio at 2 p.m. on Friday 13th November to be opened by Joan Armatrading  

The current list of paper presenters is:

Aguilar, Ananay - Royal Holloway, University of London
LSO Live: Reassembling Classical Music

Prof. Mike Alleyne - Department of Recording Industry, Middle Tennessee State University
A Production Case Study of Marvin Gaye’s “Sexual Healing.”

Arthurs, Andy - Queensland University of Technology
Performance Blue Prints: Has The Recording Become The Blueprint For The Performance? Can A Recording Be In Itself A Performance?

Ashworth, Eddie - Ohio University
The Post-Millennium Diy Explosion And Its Effects On Record Production

Bennett, Sam - University of Surrey
No Way Computer! Risk Aversion As An Influence On Equipment Choice Among Record Producers Of The Late 1990s.

Richard James Burgess - Smithsonian Folkways Records
From Folkways to Smithsonian Folkways: An Entrepreneurial Journey from Individual to Institution.

Burlin, Toivo - University of Gothenburg
The Imaginary Room: Recording Practice and Production of Art Music Phonograms in Sweden 1925–1983

Butler, Jan - University of Nottingham
Authentic Independents: Myth or Reality? 

Dr Paul Carr - University of Glamorgan
The Big Note – The Ultimate Gesture: The Incorporation Of Time And Space In Performing, Composing, Arranging And Producing Frank Zappa’s Music



Per Dahl - University of Stavanger
When the microphone enhances the intimacy in a German Lied

Davis, Robert - Leeds Metropolitan University
"We Don't Write Songs. We Write Dance Tunes": Production, Performance & Dance Floor Aesthetics

Doyle, Peter - Macquarie University
‘Working For The Man’: Representing The Artist-Producer (Or Artist-Agent, Artist-Manager, Artist-Entrepreneur, Artist-Hustler) Relationship.

Field, Ambrose - University of York
Performance Beyond Recording On Being Dufay (ECM Records 2071):  A Twenty-First Century Soundworld From Fifteenth Century Materials.

Maria Hanáček  - Humboldt-Universität zu Berlin
The Making of Rock Performances: Studio Settings and Recording Realism

Howlett, Mike - Queensland University of Technology
The Producer Performing: An Investigation Of Production From The Artist’s Perspective

Hudson, Gareth - Newcastle Conservatorium of Music, Australia
The Role Of The Producer As Composer Within Diverse Recording Contexts, And The Impact Of Collaboration And Technology On These Contexts.

Jarrett, Michael - Pennsylvania State University
Against a Musicology of Record Production

Kromhout, Melle Jan - Independent Scholar, Amsterdam
As Distant And Close As Can Be. Lo-Fi Recording: Site-Specificity And (In)Authenticity

Le Guern, Philippe - Université d’Angers and Laboratoire Georges Friedmann, Paris 1-CNRS
Getting a home studio equipment : An illustration of the economic theory of uncertainty ?

Thomas MacFarlane - New York University
Revolution 1: Splitting The Definitive

Phillip McIntyre - University of Newcastle, NSW
Songwriting and Studio Practice: The Systems Model of Creativity Applied to ‘Writing Records’.

Kirk McNally - University of Victoria
New Tools For Use In The Musicology of Record Production

Professor Allan Moore - University of Surrey
Aspects Of Embodied Meaning       

Justin Morey - Leeds Metropolitan University
“Breaking the Fourth Wall” – The Effect of Acknowledging the Studio on Staging and Perception.

Mynett, , Mark (Dr Jonathan P Wakefield, Dr Rupert Till) - University of Huddersfield
The Use Of Click Tracks For The Extreme And Modern Metal Genre

Ribac, Francois - University Paul Verlaine of Metz
What’s The Social Meaning Of Recording Devices?

Luis Adam Sanchez - University of Edinburgh
“Shiny and New”: Madonna and The Bearings of Pop Practice

Paul Sanden - University of Western Ontario
Listening to Gould: Embodied Performances on Record

Savage, Steve - San Francisco State University
The Scrubber Tool: Analog Antecedents in the DAW

Simonsen, Tore - Norwegian Academy of Music
The Classical Recording as a Work of Phonography

Stobart, Henry - Royal Holloway, University of London
Constructing Community In The Home Studio: Indigenous VCD (DVD) Production In The Bolivian Andes

Subramaniam, Divakar - University of Glamorgan
Producing Kollywood Songs: Digital Technology And Creative Practice

Supper, Alexandra - Maastricht University
“Tape Hiss and Other Imperfections”

Thorley, Mark - Coventry University
Performance And Recording In Uganda

Toulson , Rob ( & William Campbell) - Anglia Ruskin University, UK
The Life And Death Of Dynamic Range: Who Decides How Loud?

Dan Turner - University of Glamorgan
Outlining The Fundamental Production Aesthetics Of Commercial Heavy Metal Music Utilising Systematic Empirical Analysis

Walther-Hansen, Mads - University of Copenhagen
vk.lhThe Influence of Music Technology on the Perception of the Performer in Phonographic Space

Alan Williams - University of Massachusetts Lowell
Charged Encounters: The Mercurial Nature of Role Formation in the Recording Studio

Williams, Justin - University of Nottingham
Music Production and the Automotive Environment: Dr. Dre’s ‘G-Funk’

Woolfe, Paula - Liverpool University
"Face It Guys, She's A Genius" (Kitty Empire The Observer Review 2007) Production, Gender And The Independent Music Industry

Zagorski-Thomas, Simon - London College of Music, TVU.
Recording Technology and the Conceptualisation of Music