Proceedings

The 2008 Art of Record Production Conference was hosted by

Professor William Moylan and the University of Massachusetts Lowell

on Fri 14th - Sun 16th November 2008

 Click here to download a PDF copy of the abstracts accepted for the conference

Eliot Bates    University of California Berkeley    Abstract
Ron's right arm: tactility, visualization, and the synesthesia of audio engineering

Samantha Bennett        Surrey University     Abstract
Revolution sacrilege! Examining the technological divide among record producers in the late 1980s

Ragnhild Brøvig-Andersen        University of Oslo    Abstract
Opaque Mediation: the use of the cut and paste tool.

Mark Butler        University of Pensylvania     Abstract
Playing with “Something that Runs”:
Listener Orientation in Performances of Electronic Dance Music

David Carter            Griffith University     Abstract
Paper Proposal: Bor Pen Nyang - 12 Months in the Lao Music Industry

Alexander Case    University of Massachusetts Lowell     Abstract
Studio timbre – sound fx and close microphones.

Anne Danielsen        University of Oslo     Abstract
Beats and bytes – the role of digital media for the rhythmic design of contemporary popular music

Bob Davis    Leeds Metropolitan University     Abstract
Creative ownership and the case of the sonic signature or, I’m listening to this record and wondering whodunit?

Paul Draper        Griffith University     Abstract
On disintermediated culture, education, and craft

Joshua Duchan    Kalamazoo College     Abstract
Whose Voice?: Discourse and Practice in Collegiate A Cappella Recording

Kirstin Ek        University of Virginia     Abstract
The Cowboy Bluesman: Voice and the Expression of Musical Identity in Leadbelly’s Recorded Music

Rob Finder            Sydney     Abstract
NOISICIAN

Shana Goldin-Perschbacher    University of Yale     Abstract
“For Today I am a Boy”: Antony’s Negotiations of Whiteness, Transgender, Gay Sexuality, and Cross-Nationality via “Black” Vocality

Eliot Grasso        University of Oregon     Abstract
Paradox in the Clash of Traditional Music and Consumer Expectations: Recording the Uilleann Pipes

Andrew Gwilliam        University of Glamorgan     Abstract
The “Perfect” Performance

Thomas Haines    University of Cincinnati     Abstract
Opening Your Ears: A Creative Listening Skills Web Site

Paul Harkins        Edinburgh / Napier University     Abstract
The Sampler as Compositional Tool

Jay Hodgson     Abstract
The Time-Lag Accumulator As A Technical Basis For Brian Eno's Large-Scale Ambient Repertoire, 1973-1978

Dennis Howard        University of the West Indies     Abstract
From Ghetto Laboratory to the Technosphere: The influence of Jamaican studio techniques on popular music.
 
Katia Isakoff            London College of Music     Abstract
What’s my Motivation? Song Catchers to Song Manufacturers….and everything in the middle.

Mike Howlett        London College of Music / Glamorgan     Abstract
Making Music the Business – the Creative Entrepreneur as Producer.

Sean Keegan    University of Limerick     Abstract
The influence of Music Technology in the Development of Traditional Irish Music

Julian Knowles        Queensland University of Technology     Abstract
Sonic Experimentation and Improvisation in Record Production: Some Case Studies

Justin Kurtz        University of Hartford     Abstract
Incorporating Recording Production Techniques within Traditional Musical Analysis 

Philippe Le Guern        Universitee d'Angers     Abstract
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
Magical Mystery Tour: Mono Or Stereo?

Doug McDonald        University of Chicago     Abstract
Prophets of Rage: Recordings of a Sonic Dystopia in the American Post-Industrial City

Doug McDonald        University of Chicago     Abstract
The Internet and the Recording: Or the Loss of Materiality

Phillip McIntyre        University of Newcastle, Australia     Abstract
The Systems Model of Creativity: Analysing the Distribution of Creative Power in the Studio.

Alexei Michailowsky    Universidade Federal de Minas Gerais, Brasil     Abstract
‘ Who’s Film is it Anyway?’ or ‘Hearing the Picture, Seeing the Sound’.

Justin Morey        Leeds Metropolitan University     Abstract
Arctic Monkeys - The Demos vs. The Album

William Moylan    University of Massachusetts Lowell     Abstract
Considering Space in Music

Pete O'Hare        University of Abertay, Dundee     Abstract
Undervalued Stock: Britain’s most successful chart producer and his economy of production.

Justin Paterson    London College of Music     Abstract
Cutting Tracks, Making CDs: A comparative study of audio time-correction techniques in the desktop age

Hannu Puttonen    University of Lapland     Abstract
Amen Break:  remix as a form of folk culture

Chris Russell        University of Wisconsin - Madison     Abstract
OCremix - a video game remixing community

Steve Savage    San Francisco State University     Abstract
“It could have happened” – the evolution of music construction .

Susan Schmidt Horning    St. John's University, New York     Abstract
“When High Fidelity Was New: How the Recording Studio Became a Musical Instrument”

Christopher Tabron        New York University     Abstract
Crosstalk: Meta-Temporality in TV on the Radio’s Young Liars EP

Paul Theberge    Carleton University, Ottowa     Abstract
"The End of the World as We Know It:  The Changing Role of the Studio in the Age of the Internet"   

Mark Thorley        Coventry University     Abstract
The gatekeeper’s dead – should we dance on the grave?

Robert Toft        University of Western Ontario     Abstract
Hits and Misses: Crafting a Pop Single for the Adult Contemporary Market in the 1960s

Rob Toulson, Charles Cuny-Crigny, Philip Robinson and Phillip Richardson    
Anglia Ruskin University     Abstract
The perception and importance of drum tuning in live performance and music production.

Zachary Wallmark     Abstract
The MP3 Revolution and Its Effects on Consumption and Listening Patterns

Alan Williams    University of Massachusetts Lowell     Abstract
“I’m Not Hearing What You’re Hearing”: The Conflict and Connection of Headphone Mixes and Multiple Audioscapes

Paula Wolfe        Sib Records / Liverpool University    Abstract
Self Producing and the Home Studio

Alexa Woloshyn    University of Toronto     Abstract
Imogen Heap as Musical Cyborg: Renegotiations of Power, Gender and Sound

Simon Zagorski-Thomas        London College of Music     Abstract
The Medium In The Message: Phonographic Staging Techniques That Utilise The Sonic Characteristics Of Reproduction Media.
 
Albin Zak    State University of New York at Albany     Abstract
“Mitch the Goose Man”