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The 11th Art of Record Production Conference

The Spaces in Between

December 2 - 4, 2016

Hosted by the Music and Sound Knowledge group (MaSK), Aalborg University, Denmark

Friday 2nd December

08:30-09:00 Registration: ground floor, Rendsburggade 14, Aalborg 9000

09:00-09:10 Welcome

09:10-10:00 (Aud. 3.107) Keynote #1: Susan Schmidt Horning: Recording in the 1960s: Analog Boomers and the New Cult(ure) of the Studio

10:00-10:30 Coffee break  
10:30-12:00 Papers  
Stream A (Aud. 3.107) Chair: Martin Stream B (4.105) Chair: Simon Stream C (6.235) Chair: Susan
Real Instruments, Real Sounds: Discourses of Fidelity and Authenticity in the Design and Use of Digital Technologies Paul Harkins Listen to the sound of this room (emulation) Toby Seay ‘When the screen disappears, and even though you’re looking at it you’re only hearing and listening to music, only then I know that I may have something good’ (Juana Molina, 2016): music production, creativity, genre and gender Paula Wolfe
Examining the Creation of ‘Paperback Writer’: The Flow of Ideas and Knowledge Between Contributing Creative Systems Phillip McIntyre & Paul Thompson Bruce Springsteen and the Wave Model of Musical Development Nick Braae Three studies on creativity in record production Jan-Olof Gullö, Mika Pohjola, Mattias Viklund & Haukur Hannes
An investigation into the motivation behind the use of Dynamic Range Compression (DRC) in Popular Music Production Austin Moore, Rupert Till & Jonathan Wakefield Around the world in eighty mixers: The influence of background on practices and perception in music production Brecht De Man & Josh Reiss Producing the liminal: record production as research in contemporary listening Iain Findlay-Walsh

12:00-13:00 Lunch Rendsburggade – Main Foyer


13:00-14:30 PANEL #1 (Aud. 3.107)

(Katia Isakoff, Helen Reddington, Susan Schmidt Horning, Paula Wolfe: Documenting the History and Activities of Women in Music and Production)  
Stream A (Aud. 3.107) Chair: Stream B (4.105) Chair: Stream C (6.235) Chair:
Industrial Sound Design that Tells Stories About Data Nyssim Lefford Making music for an imaginary film using found sound as the only audio source Jose Manuel Cubides Gutierrez Jamming in The 3rd Room: Experiences of remote ‘virtual’ real-time performance and recording Zack Moir, Paul Ferguson & Gareth Dylan Smith
More unheard sounds – technique, creativity and application of transposed ultrasound Andreas Bergsland & Trond Engum Historical Sound Reconstruction: the listener’s perspective Zaida Hernández-Úrculo & Javier Suárez Quirós Gamifying Sonic Interfaces: an Interactive Music Engine as a Music Production Tool Maria Kallionpää & Hans-Peter Gasselseder

14:30-15:30 Papers

15:30-16:00 Coffee Break  

16:00-17:30 Papers

Stream A (Aud. 3.107) Chair: Stream B (4.105) Chair: Stream C (6.235) Chair:
Between “Beauty and the Beast”: the unique case of Cantigas do Maio in the sphere of Portuguese recording industry in the 1970s Isabel Campelo Jarrett vs Molvær: Developments in jazz music production Jon Marius Aareskjold Questioning progress narratives in contemporary studio production Joe Watson
Innovation and Professional Practice by Female Audio Practitioners in the Current UK Commercial Music Industry Helen Reddington The Eco Hybrid Model: An analysis of contemporary recording studio practice Alex Stevenson Black Magic: Shaping Audience Conceptions of Recording Practice Alan Williams
Culture, artistic practice and the making of self-produced metal and dub music Doug Heath

Saturday 3rd December

09:00-10:00 (Aud. 3.107) Keynote #2: Crossing Fields: An Interview with Valgeir Sigurðsson

10:00-10:30 Coffee break
10.30-12:00 Papers
Stream A (Aud. 3.107) Chair: Stream B (4.105) Chair: Stream C (5.125) Chair:
Spaces and agents of the Spanish record production process in the 60s: identifying features of "Torrelaguna Sound" Marco Antonio Juan de Dios Cuartas Why Innovate When You Can Emulate? Exploring Contemporary Plugin Development And Potential Innovation Andrew Bourbon Making "Progress" in The Art of (Hyper-embodied) Record Production Aaron Liu-Rosenbaum
Under The Influence: How craft union practice affected 1960s record production Anthony Meynell Record Production and Narrative Meaning: Two Recordings of Camel’s The Snow Goose (1975, 2013) Ryan Blakeley Listening to Recordings: Ecological Constraints and the Tuning of the Ear Ragnhild Brøvig-Hanssen & Anne Danielsen
The complexity of formal and informal learning in art and in music production Jan-Olof Gullö, & Per-Henrik Holgersson MOOCs, online learning and the disruption of traditional education Hans T. Zeiner-Henriksen Make it yourself: new models in the production and consumption of audio recording equipment Daniel Pratt and Gavin Carfoot

12:00-13:00 Lunch Rendsburggade – Main Foyer

13:00-14:30 PANEL #2 (Aud. 3.107) (Shara Rambarran, Paul Draper, Ragnhild Brøvig-Hanssen, Benjamin O’Brien, Frank Millward: The Oxford Handbook of Music and Virtuality)

14:30-15:30 Coffee + Poster Session/Book presentation:

The Creative Facilitator: Creativity Techniques – An Insight in a Music Producer’s Creative Process (Adam Sundqvist & Nyssim Lefford)

Turning the Tables: Engineering the Vinyl Revival (Shane Hoose)

Digital Signatures: (Anne Danielsen & Ragnhild Brøvig-Hanssen)

15:30-18:00 Papers

Stream A (Aud. 3.107) Chair: Stream B (4.105) Chair: Stream C (5.125) Chair:

Between isolation and integration:

Creating the Jazz Aesthetic in Acoustic-Electronica recordings Brendan Williams

Cultivating a Sound:

The Local Culture of Content Mediators Toby Seay

Phonographic Worldmaking and Transportation in Recorded Popular Song Alexander Harden

Aiming for (Im)Perfection?: Approaches to recording jazz and improvised performance, and measures of success and failure Jonathan Stockdale

The “Resort” Studio: Negotiating Work, Leisure, and Capitalism at the Residential Recording Studio Gabrielle Kielich

Sonic Cartoons: re-drawing ‘reality’ in live sound Simon Zagorski-Thomas

“If two record producers are in the same room, one of them must be the wrong place” Stephen Johns So Empty Without Me? Heritage and Memory in Tupac Shakur’s Posthumous Records Alessandro Bratus Borrowed Space and (Re)Construction in #Blues-Hop: Capturing the Blues in pursuit of vintage spatial signatures in sample-based Hip-Hop Michail Exarchos
Let the Track Mix itself: Creativity and Intuition inside the Recording Studio Paul Thompson & Ryan Schwabe Subjectivities of Realism and the Representation of Performance Phil Begg Finding Originality Through Reference Mixes Wellington Gordon
Tangible Mix as a Learning Tool for Music Production Steve Gelineck & Mads Walther-Hansen The Sound In and Out Your Head. The Implications of Virtualising Studio Acoustics on Headphones for Producer and Consumer Markets Hans-Peter Gasselseder Introducing the Phonographic Format of the 21st Century Martin Knakkergaard

19:00 Conference Dinner (Princess Juliana)

Sunday 4th December

09:00-10:00 (Aud. 3.107) Keynote #3: Thomas Bärtschi: Immersed in Opportunities - Music & Sound Design for Games/VR/AR


10:00-10:30 Coffee Break

10:30-12:00 PANEL #3 (Aud. 3.107) (Greg Weinstein, Amy Blier-Carruthers, Simon Zagorski-Thomas, David Gleeson, Andrew Lang, Andrew Bourbon: Looking Forward, Looking Back: Realism, Hyper-Production, History, and the Stakes of Classical Music Recording)  

12:00-13:00 Lunch Rendsburggade – Main Foyer


13:00-15:00 Papers

Stream A (Aud.) 3.107) Chair: Stream B (4.105) Chair: Stream C (5.125) Chair:
You Should Be Dancing – Analyzing Elements of Black Music Performance in the Bee Gees' Disco Gittit Pearlmutter Agencies in the Production of a Classical Record: A Case Study on the Finnish Producer Seppo Siirala and the Orchestra Tapiola Sinfonietta recording Erkki-Sven Tüür's 8th Symphony Tuomas Auvinen I Hate These Blurred Lines: The Intrinsic Test In Music Copyright Disputes Joe Bennett & Wendy Gordon
Deciding How to Decide: The Record Producer’s Creative Decisions in the Recording Studio Nyssim Lefford and Paul Thompson
Gennett Records: A Case Study of Early Recording Techniques Shane Hoose Amateur Recordings and The Ghost Producer: Beyond the Technical Interventions of the Sound Engineer Florian Marzin
Talking space - Towards a more detailed discourse on spatiality Claus Sohn Andersen
  Artificial Reverberation in Music Mixing: The good, the bad and the ugly

Kirk McNally

A new interactive music format for enhancing listener engagement with recorded music Rob Toulson & Justin Paterson

CLOSE OF CONFERENCE (Aud. 3.107 - 15.00-15.15)