This article describes some common equalisation techniques which are regularly employed and discusses their impact on the overall reproduced sound. Sample waveform studies and published recommendations are used to highlight ways to avoid the incorrect and over-use of both analogue and digital equalisation. This article extends further to give scientific explanations as to what effects can be heard and seen at the waveform level when equalisation is incorrectly implemented.
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 03
Published November 2008
Articles
‘You’re Not A Real Dj Unless You Play Vinyl’ – Technology And Formats – The Progression Of Dance Music And Dj Culture
Introduction Drawing on ethnographic research I conducted into the Sydney commercial house music scene between 2002 and 2007, this article explores some of the issues that have arisen in recent years in regard to the changes in technology that have brought about shifts not only in the way DJs play music while performing, but also […]
The Systems Model of Creativity: Analyzing the Distribution of Power in the Studio
It has been proposed that creativity comes about as result of a system in operation rather than, as a Romantic ethos would have it, being the result of the action of single individuals alone. Furthermore, Pierre Bourdieu has argued that the field in which cultural production occurs can be described as an arena of social contestation. Mihaly Csikszentmihalyi suggests, as well, that conflict within a field may also have an effect on that creative field’s output. If these statements are true then questions of power relationships become important in any analysis of creativity. In particular, analyzing Csikszentmihalyi’s systems approach to creativity and Bourdieu’s understanding of cultural production and what these conceptions have to say about the distribution of creative power in the studio may reveal important truths about creativity itself. It may also shed some light on the nature of the collaboration that occurs within creative groups; in this case those that consist of musicians, producers, record companies and technicians.
Waveform Pirates: Sampling, Piracy and Musical Creativity
“Thou shalt not steal” – the (uncited) admonishment from Exodus 20:15 opened Judge Kevin Duffy’s judgment in Grand Upright Music Ltd. v. Warner Bros. Records, Inc. 780 F. Supp. 182 (S.D.N.Y. 1991); a case concerned with two words that have become very familiar in the post-Napster world: music and piracy. But Grand Upright was neither […]
Producer Compensation: Challenges and Options in the New Music Business
The music business is in a transitional phase as the emphasis moves from physical to virtual distribution. There is increased competition for consumer entertainment dollars from many sources including video games and inexpensive DVDs and most music is still available online for free. The industry continues to experience a serious downturn in revenues with US […]
Industry Perspective
Remuneration in the Age of Downloads
Much of Richard Burgess’ excellent and well-researched observations apply to the UK music industry as well. Many of the larger producer-managers are adopting the production company model: signing the artist directly and funding at least the initial recordings before raising further finance through licensing on to either a major or, increasingly, independents. Individual tracks can also be licensed in this way—this has been standard practice in the dance world for some years. The key point to aim for is retention of the recording copyright with 2-3 year terms. The advantage of licensing to a larger label, as well as their greater marketing and promotion muscle, is that they tend to be more reliable in royalty accounting—and bigger companies are subject to auditing regulations that allow access to records.