Issue 3: Editor - Simon Zagorski-Thomas
    Deadline: 30th May 2008

Themes:

•   Business Models and The Production Process
This would involve articles on issues such how changing production techniques on the question of authorship, copyright and even the ontology of music. It could also include articles on how artists and producers are developing new business models in the face of the rapidly changing industry.

•    Recording and Mix Techniques
This would involve articles on the various ways that producers and engineers shape the sound of a recording through the use of microphone selection and placement, the use of room ambience, equalisation, dynamic processing, effects, editing techniques, stereo or surround mixing techniques etc. They might describe techniques used / developed / made famous by particular individuals or more general treatises on common practice, the psychoacoustics of particular techniques etc.

Peer reviewed submissions:
    Full article:        5 – 7,000 words
    Position paper:    3 – 5,000 words
    Provocations:    up to 1,000 words (pieces by industry professionals or academics designed to stimulate debate)

General website submissions:
•    Interviews
•    Reminiscences
•    Biography
•    Contributions from industry professionals
•    Forum discussion topics
•    Links to other sites

Issue 1: Guest Editor – Simon Frith
    Deadline: 23rd June 2006

Themes:

•    The recording studio as a space/place
This would involve articles on particular recording studios, on issues of studio design, on the history—and philosophy - of the studio, on the relationship of the recording studio to other musical spaces—concert hall, sound stage, rehearsal room, etc.

•    The record producer and the law
This would involve articles on the various ways producers are contracted, the nature of authorship and copyright as they affect producers, the notion of the ‘independent’ producer, etc

•    Record production and sound design
This could involve articles not just on the role of sound engineering in the music recording process but also on how record producers fit in the wider world of sound designers—for film, television, theatre, live concerts, etc.  How have the latter worked with/been influenced by the former and vice versa?

Issue 2: Guest Editor – Albin Zak
    Deadline 20th October 2006

Themes:

•    Recording figures jostly missing from the historiographic record.
Alongside producers this could include engineers, session players, arrangers, etc. Another aspect of this could be research on recording scenes in particular towns.

•    Alternatives to the established mainstream entertainment production and delivery system.
Everyone knows that major labels and big-time studios are having trouble coping with the new realities of project studio production and internet distribution. But it’s far from clear how significant a shift is being generated at the grass roots. We welcome case studies from various parts of the world detailing music production and distribution scenarios operating outside the corporate models that dominated the past century.