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Information
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.
Submission Guidelines
Peer reviewed submissions:
Full article: 5 – 7,000 words, Position paper: 3 – 5,000 words, Provocation (what's this) : up to 1000 words
Submit .doc or .rtf files to simonzt [at] artofrecordproduction.com or kji [at] artofrecordproduction.com
General website submissions:
• Interviews
• Reminiscences
• Biography
• Contributions from industry professionals
• Forum discussions
• Links to other sites
General Information
The Journal on the Art of Record Production is a biennial publication that includes both peer reviewed academic articles and interviews, panel discussions, articles and other research material on the subject. Each issue will involve dynamic content and open and closed (but viewable) discussions. A guest editor provides themes for each issue and the issue will be evolving throughout its six month lifespan.
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Editorial Staff
Editors: Simon Zagorski-Thomas. London College of Music, TVU and Katia Isakoff
JARP Issue 1 Guest Editor: Simon Frith. University of Edinburgh
JARP Associate Editors
This is a list of academics who have and will be peer reviewing articles for inclusion in the journal.
Andy Arthurs. Queensland University of Technology
Rob Bowman. York University, Toronto
Anne Danielsen. University of Oslo
John Dougan. Mid Tennessee State University
Peter Doyle. Macquarie University, Sydney
Simon Frith. University of Edinburgh
Thomas Harrison. University of Central Florida
Stan Hawkins. University of Oslo
Thomas Porcello. Vassar College, NY
Paul Theberge. Carleton University, Ottowa
Simon Zagorski-Thomas. London College of Music, TVU
Albin Zak. Albany University, NY
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Issue 1: Guest Editor – Simon Frith
Deadline for further peer reviewed content: 31st March 2007 (NB Provocations are not peer reviewed)
Deadline for other content: 1st May 2007
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
Issue 2: Guest Editor – Albin Zak
Deadline for inclusion at launch of issue 2: 10th April 2007
Themes:
• Recording figures mostly missing from the historiographic record.
Alongside producers this could include engineers, session players, arrangers, etc. We also welcome research on recording scenes in particular cities or regions. Interviews in preparation for this issue so far include Nile Rodgers, Stephen Street and Ted Fletcher (who worked with Joe Meek).
• 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.
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