Uploaded July 2019 | Updated September 2026, 3 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Life In Between Phase Part 2: Reflexive Microphone Manipulation
Presenter: Daniel Pratt – Queensland University of Technology
With contribution from Dr Andrew Bourbon – University of West London
/// ABSTRACT
In the 2017 Art of Record Production conference, we presented a paper that examined the phase analytical tool Auto-Align and its application in both recording and mixing environments. This research revealed new approaches to recording multi-microphone drum recordings as well as detailed methodologies to mixing complicated multi-microphone big band recordings. Our use of Auto-Align in post-production revealed a more considered approach to correcting phase issues. However, it is the use of Auto-Align as an analytical tool that shows real promise for creative manipulation of microphone phase relationships in physical space. This use of analytical phase tools potentially opens up a range of new approaches to recording practice and creative live microphone manipulation.
In this paper, we take our established phase analysis concept for interpreting multi-microphone relationships and apply it to different recording scenarios. We implement and test these recording techniques in three multi-microphone recordings. The first two are elaborate acoustic and electric guitar setups. The Third is an orchestral recording using a Deca Tree microphone array combined with an elaborate spot microphone network. During these experiments, we question whether different scenarios require different approaches. We video document our experience for later use as a pedagogical tool. Using these documentaries, we aim to demystify phase phenomena for early recording practitioners and continue our exploration of an exciting new frontier in microphone manipulation and spaciality.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Life In Between Phase Part 2: Reflexive Microphone Manipulation
Presenter: Daniel Pratt – Queensland University of Technology
With contribution from Dr Andrew Bourbon – University of West London
/// ABSTRACT
In the 2017 Art of Record Production conference, we presented a paper that examined the phase analytical tool Auto-Align and its application in both recording and mixing environments. This research revealed new approaches to recording multi-microphone drum recordings as well as detailed methodologies to mixing complicated multi-microphone big band recordings. Our use of Auto-Align in post-production revealed a more considered approach to correcting phase issues. However, it is the use of Auto-Align as an analytical tool that shows real promise for creative manipulation of microphone phase relationships in physical space. This use of analytical phase tools potentially opens up a range of new approaches to recording practice and creative live microphone manipulation.
In this paper, we take our established phase analysis concept for interpreting multi-microphone relationships and apply it to different recording scenarios. We implement and test these recording techniques in three multi-microphone recordings. The first two are elaborate acoustic and electric guitar setups. The Third is an orchestral recording using a Deca Tree microphone array combined with an elaborate spot microphone network. During these experiments, we question whether different scenarios require different approaches. We video document our experience for later use as a pedagogical tool. Using these documentaries, we aim to demystify phase phenomena for early recording practitioners and continue our exploration of an exciting new frontier in microphone manipulation and spaciality.
