Home recording studio

Through a sequence of empirical studies, Paula Wolfe demonstrates how the patriarchal structure of our industry isolates women in music production. As an artist-producer-researcher, she spotlights the life experiences of women artists-producers who stay the course despite all the blocks. Giving a tribute to women singer-songwriters who have developed their production and promotion skills alone in their home studio, her book elaborates on the new opportunities that the digital industry offers to marginalized producers, apart from major labels. From the perspectives of an insider, researcher, and educator, I propose to also consider collective empowerment, feminist approaches of creation, and improvisation processes to preserve our inner power and stand against the status quo. Eventually, I call for 'the female gaze' inspiration that would benefit the industry at large because our globalized world needs more diversity to keep our listeners interested.

O crescimento das cidades alinhado as exigências dos usuários das edificações, assim como as normas NBR 10152 (Níveis de ruído para conforto acústico), NBR 10151 (Avaliação do ruído em áreas habitadas, visando o conforto da comunidade – procedimento) e a recente NBR 15575 (Desempenho de edificações habitacionais), fizeram com que a procura pela qualidade acústica de um ambiente se transformassem um parâmetro fundamental para o seu bom uso e desempenho. Dentro dessa perspectiva e com o avanço das novas técnicas de tratamento, processamento e isolamento do som, um usuário (músico), profissional ou amador, tem ferramentas à sua disposição para moldar o ambiente as suas necessidades, sem precisar se deslocar para um estúdio de gravação. O presente trabalho mostra as premissas para tais técnicas e faz um estudo de caso para aplicação dos conceitos estudados visando à adequação de um ambiente caseiro que se tornará um estúdio de gravação (home studio).

9 itens que você precisa conhecer para montar seu home studio Neste tutorial de um home studio você vai aprender a montar um home studio pequeno, com o preço acessível, em algum cômodo da sua casa ou no próprio quarto e com um ótimo custo-benefício. Isso é um desafio e tanto, certo? A maioria das pessoas pensa assim. Mas a verdade é que começar é mais fácil do que você imagina. Falo isso por que no início você precisa saber apenas algumas coisas básicas. E neste post eu lhe apresentarei um tutorial de um home studio a fim de você conhecer esses fatores. Comece com um home studio barato e simples Isso de fato é uma mentalidade interessante, pois você pode até começar fazer grandes investimentos no início.

The purpose of this article is to examine the creative and collaborative agency of a young, professional home-based studio producer of popular music, who identifies as a tracker/producer. The study seeks to illuminate how music production technologies and practices shape our understanding of the agency of the contemporary aspiring music producer and to provide insight into the music production studio as a socially constructed cultural space. In this article the music producer is seen to do more than just work with an artist on an existing work. Producing here means having a creative input on a song from the very beginning of the compositional process up until the point where the song is sent to the mastering engineer. By combining cultural study of music technology (Théberge 1997; Taylor 2001; Greene & Porcello 2005), which understands music technologies as cultural practices that produce and mediate musical meanings and experiences, and ethnographical methods, I approach the home-based music production studio as a cultural space (Bates 2012) where social and musical performances and interactions take place and meanings of music and its authorship are constantly in negotiation.

The nature of the recording artist and how they engage within the recording studio as a technological space is changing. The recording studio is an instrument and an artistic process, and so too, technology has enabled the musician to learn the craft of recording, embellishing their instrumental skills. With real-time audio manipulation becoming highly implementable on the live stage for a variety of instrumental situations, what creative agency is lost for the music producer when this technology enters the recording studio? This paper presents multiple perspectives on how modern musicians in jazz-based performance styles are using technology to shift the nature of audio manipulation within the recording studio, with the analysis of a recording by both the artists and the producer

The purpose of this article is to examine the creative and collaborative agency of a young Finnish pop music producer Mikke Vepsäläinen, who identifies himself as a tracker/producer (Vepsäläinen: 2015a; 2016b). [1] I will examine his agency through the idea of tracking and being a tracker, concepts that he frequently uses when describing his activities as a producer. Moreover, I aim to bring a new approach to the study of producers by exploring this new terminology, which is widely used by personnel in contemporary pop production (Vepsäläinen: 2016b), but which in earlier writing on record production has been connected to production software and interfaces (see e.g. D’Errico: 2012) and not human agents. In this article, producing in the pop context, especially when combined with the idea of tracking, means having a creative input on a song from the beginning of the compositional process up until the point in which the song is sent to mixing and mastering. I seek to achieve my goals by answering the questions: what is tracking, what does it mean to be a ‘tracker’, how does the term define the agency of the producer, and how is the creative agency of the producer/tracker constructed within a collective

Over the past decade, there has been a steady increase of scholarly output examining the multidisciplinary, creative, and theoretical aspects of sound and music production in the recording studio and beyond (Zagorski-Thomas & Bourbon, 2020; Bennett & Bates, 2019; Hepworth- Sawyer, Hodgson, & Marrington, 2019; Thompson, 2019; Zagorski-Thomas, 2014; Frith & Zagorski-Thomas, 2012). Accordingly, a broad range of literature examines sound as a widespread cultural phenomenon (Papenburg & Schulze, 2016) and an essential source for pedagogical and ethnographic modeling in music technology education (Bell, 2018). Advances in technology make the “studio,” long viewed as a site of artistic and commercial production, available to a broader group of composers, musicians, and artists. Similarly, portable digital recorders afford sound artists and fi eld recordists an expansive range of choices to conduct soundscape research and creative practice. What emerges is a hybrid “composer- producer” identity and a studio’s function in the artistic process. This growth is the rise of an independent and transient practice in soundscape production among multidisciplinary composers and musicians. This article advocates for an updated notion of soundscape composition that integrates fi eld recordings, studio production, and collaboration from musicians representing a broad range of stylistic infl uences. Positioning the studio as a site of cultural production and creativity has implications for how soundscape production is taught to young composers. The author argues for a more inclusive, process-oriented view on both creativity and the places where musicians, composers, and producers work. The article includes a case study from the author’s recent album project, narrative analysis, concluding with a discussion on the pedagogical implications of independent soundscape production in education

Revelations about a major loss of significant and archival master recordings of American music is prompting concern among musicians and artists about the preservation of older media, as well as questions about the recording industry’s controlled obsolescence of older recording mediums. The fact that this tragedy took place over a decade ago in 2008 and is only now receiving significant reportage ought to alert us that we producers of music need to take a more active role in monitoring the preservation of such older recordings, especially those created using so-called “obsolete” technologies.

The major loss I am referencing was a massive fire at Universal Music Group’s storage facility in Universal City near Los Angeles. This tragic fire, which most reports estimate destroyed over 500,000 original master recordings, some with their original tape boxes containing production notes by engineers and artists, went generally unnoticed in 2008. However, a renewed focus on the historic implications of the destruction of these master recordings has been generated this month through a New York Times feature article, “The Day the Music Burned.” According to the author Jody Rosen’s meticulous research for his piece, the musicians and artists whose recordings were immolated include Louis Armstrong, Duke Ellington, Al Jolson, Bing Crosby, Ella Fitzgerald, Judy Garland, Billie Holiday, Louis Jordan, Patsy Cline, and many more: