Creativity in the Recording Studio


Book Description

Paul Thompson offers an alternative take on the romanticized and mythologized process of record-making. Side A illustrates how creativity arises out of a system in action, and introduces the history, culture, traditions and institutions that contribute to the process of commercial record production. Side B demonstrates this system in action during the central tasks of songwriting, performing, engineering and producing. Using examples from John Lennon, David Bowie, Tupac Shakur, Björk, Marta Salogni, Sylvia Massy and Rick Rubin, each chapter takes the reader inside a different part of the commercial record production process and uncovers the interactive and interrelated multitude of factors involved in each creative task.




Creativity in the Mix: Collaboration and Contingency in Britain's Classical Music Recording Studios


Book Description

This dissertation explores the collaborative processes through which classical music records are created in the recording studio. These recording sessions depend on the contributions of a wide range of individuals--including musicians, producers, engineers, record label personnel, and studio staff--and each of these individuals has a crucial role in the creation of the recording. I focus particularly on the creative roles of the producer and the engineer, the individuals primarily responsible for translating the performances of the musicians to the recording. These recordists perform their tasks as mediators by deploying both musical and technical expertise, both of which are essential for them to work effectively in the studio. Their musical knowledge allows them to engage in interpretive discussions with musicians and to ensure that the musicians have presented their best efforts in the studio, while their technical expertise enables them to envision how the often fragmentary studio performances can be assembled into a coherent and powerful artistic work on the recording. Taken together, the work of recordists challenges the traditional ontology of the classical music "work" in which a musical composition exists independent of the circumstances of its performance.




Unlocking Creativity: A Producer's Guide to Making Music & Art


Book Description

(Music Pro Guide Books & DVDs). Here, record producer Beinhorn reveals how to deal with interpersonal issues record producers face when they work with artists one on one or in small groups. The situations and solutions are based upon the author's personal and professional experience working with a variety of different artists, such as Herbie Hancock, the Red Hot Chili Peppers, Soul Asylum, Hole, Soundgarden, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, and Mew. Beinhorn's unique methods and perspective, applied to record producing and music making in the studio, opens the door to successful collaborative efforts. The author shows you how to find what he calls your sensory connection to the creativity process, which ultimately helps you find the intent behind your creative choices. You can read dozens of articles and books that feature a hundred different people talking about what microphones they used when they recorded Record X or how they set their stereo buss compressor, but you will never find out what prompted them to make these choices. Beinhorn's focus on collaborative effort enables record producers and artists to find solutions while working as a creative team. This perspective is especially valuable as it is transdisciplinary and can be applied to many occupations and modes of creativity outside of record production.




Cultural Production in and Beyond the Recording Studio


Book Description

Recording studios are the most insulated, intimate and privileged sites of music production and creativity. Yet in a world of intensified globalisation, they are also sites which are highly connected into wider networks of music production that are increasingly spanning the globe. This book is the first comprehensive account of the new spatialties of cultural production in the recording studio sector of the musical economy, spatialities that illuminate the complexities of global cultural production. This unique text adopts a social-geographical perspective to capture the multiple spatial scales of music production: from opening the "black-box" of the insulated space of the recording studio; through the wider contexts in which music production is situated; to the far-flung global production networks of which recording studios are part. Drawing on original research, recent writing on cultural production across a variety of academic disciplines, secondary sources such as popular music biographies, and including a wide range of case studies, this lively and accessible text covers a range of issues including the role of technology in musical creativity; creative collaboration and emotional labour; networking and reputation; and contemporary economic challenges to studios. As a contribution to contemporary debates on creativity, cultural production and creative labour, Cultural Production in and Beyond the Recording Studio will appeal to academic students and researchers working across the social sciences, including human geography, cultural studies, media and communication studies, sociology, as well as those studying music production courses.




Laurel Canyon


Book Description

Michael Walker’s Laurel Canyon presents the inside story of the once hottest rock and roll neighborhood in LA. In the late sixties and early seventies, an impromptu collection of musicians colonized a eucalyptus-scented canyon deep in the Hollywood Hills of Los Angeles and melded folk, rock, and savvy American pop into a sound that conquered the world as thoroughly as the songs of the Beatles and the Rolling Stones had before them. Thirty years later, the music made in Laurel Canyon continues to pour from radios, iPods, and concert stages around the world. During the canyon's golden era, the musicians who lived and worked there scored dozens of landmark hits, from "California Dreamin'" to "Suite: Judy Blue Eyes" to "It's Too Late," selling tens of millions of records and resetting the thermostat of pop culture. In Laurel Canyon, veteran journalist Michael Walker tells the inside story of this unprecedented gathering of some of the baby boomer's leading musical lights—including Joni Mitchell; Jim Morrison; Crosby, Stills, and Nash; John Mayall; the Mamas and the Papas; Carole King; the Eagles; and Frank Zappa, to name just a few—who turned Los Angeles into the music capital of the world and forever changed the way popular music is recorded, marketed, and consumed.




Processing Creativity


Book Description

For decades, Jesse Cannon has been pushing creative ideas in music. You may know him from writing one of the most popular books on the music business, Get More Fans, or from his recording credits on records with the most varied set of bands you've ever seen, including The Cure, The Misfits, Animal Collective, Brand New, The Dillinger Escape Plan, The Menzingers, Limp Bizkit, Basement, Leftover Crack, Saves The Day, Senses Fail, Weird Al Yankovich, Lifetime, Say Anything, NOFX, Flatsound, Man Overboard, Bad Books, Transit, Somos, Cavetown, and over a thousand others. You may also know his work as the host of the podcasts Atlantic Records Inside The Album, Noise Creators, and Off The Record, his popular YouTube channel Musformation, as a producer for popular podcasts at Rolling Stone & The Daily Beast or from his writing at outlets like Alternative Press, Tape Op, & Hypebot. In Processing Creativity: How To Write Songs People Love he chronicles the lessons learned working on all those records and writing about music's most progressive ideas, taking on the subject he knows the most about; helping musicians fulfill their creative vision. The book is the culmination of four years of poring over scientific studies, books, and thoughts from top creators as well as his own experience to write a book every musician should listen to about what goes into making great music versus what bands do when they make the innumerable bad songs we hear each day. Covering the pitfalls of creating music, the book thoroughly explores the hidden reasons we actually like music, how to get along with our collaborators, and patterns that help creativity flourish. While every musician says that being creative is the most important part of their life, they barely explore what's holding them back from making music they are happy with. When trying to navigate the ways our creative endeavors fail there's no YouTube tutorial, listicle, or college course that can help navigate the countless creative pitfalls that can ruin your music but after reading this book you will have the knowledge to guide you to make songs the world loves. The essential ideas on creating music are detailed in a simple, fun language that’s littered with quotes and insight from the most innovative creators of our time including: • How to make highly emotional music that compels listeners to listen again and again. • Effectively dealing with collaborative problems like “too many chefs in the kitchen,” giving helpful criticism or dealing with stubborn collaborators. • Finding inspiration when you have writer's block. • How to draft your songs while avoiding the common pitfalls of losing perspective and giving up. • Examining the unexpected reasons we enjoy music. • Calming your thoughts so they don’t sabotage your music and other helpful tools to help execute your music as best as possible.




The Art of Record Production


Book Description

The playback of recordings is the primary means of experiencing music in contemporary society, and in recent years 'classical' musicologists and popular music theorists have begun to examine the ways in which the production of recordings affects not just the sound of the final product but also musical aesthetics more generally. Record production can, indeed, be treated as part of the creative process of composition. At the same time, training in the use of these forms of technology has moved from an apprentice-based system into university education. Musical education and music research are thus intersecting to produce a new academic field: the history and analysis of the production of recorded music. This book is designed as a general introductory reader, a text book for undergraduate degree courses studying the creative processes involved in the production of recorded music. The aim is to introduce students to the variety of approaches and methodologies that are currently being employed by scholars in this field. The book is divided into three sections covering historical approaches, theoretical approaches and case studies and practice. There are also three interludes of commentary on the academic contributions from leading record producers and other industry professionals. This collection gives students and scholars a broad overview of the way in which academics from the analytical and practice-based areas of the university system can be brought together with industry professionals to explore the ways in which this new academic field should progress.




Coproduction in the Recording Studio


Book Description

Coproduction in the Recording Studio: Perspectives from the Vocal Booth details how recording studio environments affect performance in the vocal booth. Drawing on interviews with professional session singers, this book considers sociocultural and sociotechnical theory, the modern home studio space, as well as isolation and self-recording in light of the COVID-19 pandemic. This is cutting-edge reading for advanced undergraduates, scholars and professionals working in the disciplines of recording studio production, vocal performance, audio engineering and music technology.




Collaborative Production in the Creative Industries


Book Description

"In recent years research into creative labour and cultural work has usually addressed the politics of production in these fields, but the sociotechnical and aesthetic dimensions of collaborative creative work have been somewhat overlooked. This book aims to address this gap. Through case studies that range from TV showrunning to independent publishing, from the film industry to social media platforms such as Tumblr and Wattpad, this collection develops a critical understanding of the integral role collaboration plays in contemporary media and culture. It draws attention to diverse kinds of creative collaboration afforded via the intermediation of digital platforms and networked publics. It considers how these are incorporated into emergent market paradigms and investigates the complicated forms of subjectivity that develop as a consequence. But it also acknowledges historical continuities, not least in terms of the continued exploitation of 'support personnel' and of resulting artistic conflicts but also of alternative models that resist the precarious nature of contemporary cultural work. Finally, this volume attempts to situate creative collaboration in broader social and economic contexts, where the experience and outcomes of such work have proved more problematic than the rich potential of their promise would lead us to expect