IMPROVED Fe-BASED PRE-HYDROLYZED COAGULANTS

Journal of Urban Culture Research, 2022

This research stems from the assumption that knowing how sound technology works, as well as its features and limitations, can help us better understand the mainstream music styles and genres of the last decades. Consequently, the evolution of music recording is explored through a grounded analysis based on both published documents and on interviews with currently active music producers who are specialists in urban pop music, with the aim to collect enough data to support the need to increase the presence of sound technology in the teaching plans of Compulsory Secondary Education. After the data analysis, several didactic proposals are presented involving the introduction of these technologies in secondary education. Thus, the aim is to update formal music education for teenagers and facilitate their informed and critical point of view so they can apply it to their own music consumption.

Science, Technology & Human Values, 1989

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

Popular Music

possibly in that, that my biggest compliment lies. I would feel comfortable recommending this text to students, colleagues and non-academics who are interested in the recording studio, but who are completely new to the area. However, I would also feel comfortable recommending the book to people who have worked extensively in a studio environment. The text offers entry points and critical analyses that are relevant, and exciting, irrespective of your previous experience. Thompson's main premise is to combine ways of understanding creativity with ways of understanding how a popular music recording is made. What distinguishes Creativity in the Recording Studio: Alternative Takes is its application of Csikszentmihalyi's systems model of creativity to the process of studio recording. For some, this systems model is somewhat 'static', and we could potentially run the risk of homogenising complex practices. However, Thompson's application demonstrates a flexibility. For instance, when considering David Bowie's 'Heroes', he notes that the knowledge of microphones and their placement couldand should be considered within 'the domain field of [studio] engineering' (p. 163). Through this process, Thompson is also successful in demonstrating that popular music, and the process of recording (popular, classical, or anything in between or outside of that music) is a collaborative effort, and that if we want to fullyunderstand how and/or why listeners are responding to a particular release, we consider isolated components and individual efforts at our own peril. As such, Thompson is also able to address various notions and myths surrounding romanticism and the lone, creative genius in terms of sound recording specifically, but also popular music more generally. Considerations of the recording studio and record production from a popular music studies perspective are relatively new, and while there is some great academic work available for those who are interested in the field, I would argue that Creativity in the Recording Studio marks a maturity, a 'coming of age', that is both exciting and responsive. Since reading the book, I have already recommended it several times to colleagues and students, and imagine I will continue to do so for the foreseeable future. It is an enjoyable, and educational book, and I would recommend it to you too.

This paper reflects upon the studio educational needs of musicians who want to learn how to record their own projects. It builds on a mixed-method investigation of studio professional's contributions to musical recordings in the digital era, which is synthesized in a chapter of Music, Technology & Education: Critical Perspectives edited by King and Himonides (2016). We will extend the outcomes of this investigation with recent audio examples and a case study involving young musician-engineers in New York who use audio technology in symbiosis with their music creation. Eventually, a claim will be made regarding the necessity of teaching in music programs the listening and artistic skills required to work in the studio.

Musicae Scientiae, 2011

Abstract As a result of recent technological advances, musicians tend to produce their music themselves in home studios, without necessarily collaborating with a professional producer or a sound engineer. To understand how this new paradigm affects musical recordings, ...

Coursework for MSc in Music Information Technology, 1996

The primary aim of this project is to give a broad definition of the record producer and explain his working practices along with the aspects he/she can bring to a pop/rock record during production. The structure of the project is built first by giving a brief history how the sound recording techniques have changed since the availability of commercial music and what these techniques are. Secondly, I have tried to explain what factors have given rise to the need for the production of commercial music and how record producers have become more important and essential than the recording engineers. The main part of the project consists of an outline of what a record producer does, how he/she does it, what techniques and methods he uses to achieve it and what the results of his/her work would be. The final part is a less technical and more music-based part, where I have tried to give examples from the works of different record producers, how their techniques can be varied, and what results can be achieved as a final musical product. The enclosed DAT includes recordings made by some of the producers mentioned in the project and hopefully will be helpful for the better understanding of some of the aspects.

Twentieth Century Music in the West, 2022

3.1 Recording and production 'The first thing about recording' ambient music composer Brian Eno has written, 'is that it makes repeatable what was otherwise transient and ephemeral' (Eno 2004, 127). Some of the biggest changes to musical culture in the twentieth century were the result of newly emerging recording technologies. As Brian Eno (1948-) suggests, sounds that once had to be performed live could now be captured, packaged, collected and distributed in ways unimaginable in the previous century. This effected both the creation and consumption of music. When used as an instrument to manipulate or make music-a process known as 'phonography' (Eisenberg 1987)-the tools for sound reproduction generated textures and structures difficult to replicate in live performance. In fact, audio engineering technologies saw the advent of reverb, echo, overdubbing, splicing and digital processing, techniques essential to genres as diverse as musique concrète, acousmatic sound art, dub, electronica, hip-hop and turntablism.

Journal of Australian Studies, 2007