The Journal on the Art of Record Production (JARP) is an international online peer-reviewed journal promoting the interdisciplinary study of record production.  The journal commissions and publishes peer reviewed research papers, conference papers, interviews and reviews with contributions from world-renowned industry professionals.


Dr. Richard James Burgess (CEO, A2IM) and Katia Isakoff (Founder of Women Produce Music).

Conference Proceedings Managing Editors:

Dr. Shara Rambarran (UK/EUR) and Dr. Brandon Vaccaro (USA/ROW).

Issue 12

Special Issue
Published: June, 2021


The 12th Art of Record Production Conference Mono: Stereo: Multi

The 12th Art of Record Production Conference (ARP2017) – Mono: Stereo:Multi was held at the Royal College of Music, Stockholm, Sweden, December1 – 3, 2017. ARP2017 was organized in co-operation between the Association for the Study of the Art of Record Production and the Royal College of Music. But why Mono: Stereo: Multi? Drawing on […]


The cultural politics of using technology to support the aesthetic in jazz record production

This paper discusses the attitudes some contemporary jazz musicians have toward the use of technology and the thresholds of studio ‘intervention’ they are willing to cross in order to achieve their preferred studio recording aes- thetic. The discussion draws upon personal experiences of mainly free jazz production, and also the returns of a pilot survey […]

Differences and Similarities in the Role and Creative Agency of Producers in Pop, Rock and Classical

Differences and similarities in the creative agency of the producerin the production process of urban pop music produced in a home studio,rock music produced in a conventional studio facility and classical concerthall music produced in a concert hall setting is explore in this paper. Startingfrom the premise of record production being a collaborative effort, I […]

Surround Sound Auteurs and the Fragmenting of Genre

Multi-channel sonic experience is derived from a myriad of technological processes, shaped by market forces, configured by creative decision makers and translated through audience taste preferences. From the failed launch of quadrophonic sound in the 1970s, through the currently limited, yet sustained niche market for 5.1 music releases, a select number of mix engineers and […]