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 record and 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. The guest editor for the first issue was Simon Frith, and for the second, Albin Zak; both continue to contribute and guide as founding members of our advisory committee alongside many esteemed scholars from the ARP community.  JARP has  published eleven electronic issues and co-edited a book of 20 articles for issue 12.

The journal publishes double-blind peer reviewed research papers with contributions from world-renowned industry professionals. 

Editors-in-Chief: Katia Isakoff and Richard James Burgess

Guest Editors: see individual journal issues

Managing Editors: Shara Rambarran and Brandon Vaccaro



Issue 02

Published November 2007


The Art of Record Production

The title of this journal and organization asserts the notion that record production is a mode of creative expression. And indeed, turning musical utterance into electrical current requires, by the project’s very nature, an intervening aesthetic sensibility which may, in turn, impinge on the final result. Recording does not simply capture sound, it transforms it […]


A Multi-Tiered Music Industry?: intellectual property rights, open access and the audience for music

In the recorded music sector, the era of the majors is unlikely to suddenly end; rather what we may see is an enhanced pluralisation of the market for recorded music, which while not being a radical reordering, nevertheless suggests some interesting shifts in the way we enjoy music. In the past the music industry has […]

Nile Rodgers: Navigating Production Space

Nile Rodgers is one of the few black producers to achieve creative and commercial success across multiple genres and decades, but the scope of his contributions rarely attracts detailed analysis despite an enduring influence, partly evidenced by significant sampling of his work in the digital era. This paper focuses primarily on the aesthetics of Rodgers’ production style, encompassing economic realities and ways in which focused creative experimentation can produce both artistically and commercially satisfying results.

Take The Last Train From Meeksville: Joe Meeks’s Holloway Road recording studio 1963-7

Writer and record producer Irwin Chusid called Joe Meek “The Ed Wood of Lo-Fi”[1] and Andy Partridge of XTC commented, “Meek spoke to the dead and heard music from other planets, making number one hit records in his kitchen.”[2] Joe Meek made some great records although I would argue they were not always his most […]


Transcription of Producer and Engineer Wing Event

March 24, 2008 Baird Auditorium – Museum of Natural History Shannon Emamali:  Good evening, I am Shannon Emamali and I am the executive director of the Recording Academy’s Washington, DC Chapter.  Welcome to our first actual Producer and Engineers event we’ve had here for the Chapter.   We’ve had it in other cities but we actually […]

Stephen Street and the Art of Man-Management

Stephen Street began his career in music in the early 1980s at Islands Records’ Fallout Shelter Studio. From the mid 1980s onwards he worked with the Smiths, first as an engineer and later as producer. Since then his production credits have included Blur, The Cranberries and The Kaiser Chiefs.

Interview with Nile Rodgers

Nile Rodgers is a composer, arranger, guitarist and producer, and co-founding member of Chic. His production credits include Sister Sledge, David Bowie, Madonna, Diana Ross, Duran Duran and many more. In 1998, Rodgers founded the Sumthing Else Music Works label and Sumthing Distribution, focusing on the production and distribution of video game soundtracks.