The first issue of a new academic journal is if nothing else an exciting moment in the sociology of knowledge! Why this particular set of interests now? Why can’t they be expressed in existing publications? Is this the first map of a new field or just another subplot on an existing disciplinary site? What does this journal mean for the development of new concepts and methodologies?
The Journal on the Art of Record Production (JARP) is an international double-blind peer reviewed open access online journal promoting the interdisciplinary study of music production. The term ‘record production’ is to be interpreted in the broadest sense as the production of recorded music.
JARP was founded in 2006 by Simon Zagorski-Thomas and Katia Isakoff. JARP has published eleven open access electronic issues, and a twelfth in book form. Interviews with GRAMMY nominated and award winning musicians and record producers can be found on our website and published in our books.
Editors-in-Chief: Katia Isakoff (Founding Editor) and Richard James Burgess MBE
Editors: Shara Rambarran and Brandon Vaccaro
Guest Editors: Please see individual journal issues.
Peer Reviewers: Please see here
Issue 01
Published February 2007
Editorial
Provocations
Recording Studio as Space/Place
The most significant and far-reaching change in musical culture worldwide over the past twenty years has been the emergence and rapid evolution of the project studio. Along with their offer of independence from the music industry establishment, project studios have brought about new modes of composition and production, and an upending of all manner of […]
The Record Producer and the Law (DJ Danger Mouse)
Having been the subject of cyber activism himself, it is still a sore subject for Brian Burton, also known as DJ Danger Mouse—one of the successful producers of today. Three years ago, he was in the news for an artwork that was roundly condemned by a certain record company. Well, if you had the extraordinary […]
Articles
From the Scientific Revolution to Rock: Toward a Sociology of Feedback
For many people, rock’s primal scene is set in a recording studio, in Memphis, in 1954. There, three musicians (Scotty Moore, Bill Black and Elvis Presley), a producer/engineer (Sam Phillips) and a tape recorder (Ampex) create a song (‘All Right Mama’) that durably transforms the physiognomy of music. In this article, I examine the technological, political and intellectual circumstances that made this event possible. One word holds pride of place in my discussion: feedback, a mode of organisation that originated in British scientific laboratories of the eighteenth century.
Divide and Conquer: Power, Role Formation, and Conflict in Recording Studio Architecture
Throughout the history of recording studios, divisions of space have exerted a tremendous influence over the recording process, and have helped to shape the experiences of every recording participant, from the technicians behind the control room window, engineers and producers, to the musicians on the performance space floor. This article combines historical research with ethnographic inquiry in an attempt to analyze how power is enacted in the studio, and how studio design facilitates and maintains recording studio hierarchy.
Phase Experiments in Multi-Microphone Recordings: A Practical Exploration.
This article presents an audio-visual exploration of various phenomena observed whilst investigating time domain shifts on individual signals in multi microphone recordings. In particular, it demonstrates aurally for the first time, the effect of the author’s: “Set Phasors to Stun”: An algorithm to improve phase coherence on transients in multi microphone recordings, [1] presented at the ICA2007 in Madrid.
Interviews
Music Producers Guild Round Table
Haydn Bendall, Mick Glossop, Mike Howlett and Tony Platt, members of the UK Music Producers Guild, reflect on issues identified by Simon Frith in his editorial piece A Journal on the Art of Record Production.
Interview with Joe Boyd
Interview with legendary producer Joe Boyd.
Industry Perspective
Striking the wrong note
“I’m only human.” It’s what we say when we make a mistake. Without mistakes, I’d be out of a job. When asked to explain what I do, I tend to describe classical music editing as “joining up the good bits and taking out the wrong notes.” This is, however, at best disingenuous and at worst a lie. Whilst it is a fair description of why the profession exists, it is not, as it turns out, actually what I do. So, what does the job really entail?