Uploaded July 2019 | Updated September 2026, 7 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
Recording with No Regrets – Music Production without Undoing
Erik Petersson - Royal College of Music, Stockholm.
E-mail: erik.petersson@student.kmh.se
/// ABSTRACT
In the digital era of music production an increasing amount of time and effort is often being put into the post-production phase. This has created new idioms and sounds that have been previously impossible to achieve due to technical limitations. However, these idioms can also be perceived as unhealthy perfectionism, or even a “de-humanization” of the music. Performing artists, musicians, producers and technicians, could therefore be asked about how their initial performance is affected by the awareness of what can be done in the post-production phase, such as auto-tuning or choosing between multiple takes. Since extensive post-production could be seen as normative nowadays, we might have a chance of answering such questions by doing recordings exactly the opposite way.
This study explores how performing musicians and producers experience music production without extensive post-production. For this purpose, an album was recorded with limitations in time and amount of takes, without the possibility for overdubs, editing and destructive sound design afterwards. The main research question is how the participants evaluated their performance, both as individuals and as a group, being aware of these limitations. The participants filled in a form after the recording session, answering questions about their perceived performance, what kind of emotional states they experienced throughout the session and how they compared this particular session to their previous recording experiences. The results from this study may shed light on some common problems related to decision-making and efficiency in modern music production.
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
Recording with No Regrets – Music Production without Undoing
Erik Petersson - Royal College of Music, Stockholm.
E-mail: erik.petersson@student.kmh.se
/// ABSTRACT
In the digital era of music production an increasing amount of time and effort is often being put into the post-production phase. This has created new idioms and sounds that have been previously impossible to achieve due to technical limitations. However, these idioms can also be perceived as unhealthy perfectionism, or even a “de-humanization” of the music. Performing artists, musicians, producers and technicians, could therefore be asked about how their initial performance is affected by the awareness of what can be done in the post-production phase, such as auto-tuning or choosing between multiple takes. Since extensive post-production could be seen as normative nowadays, we might have a chance of answering such questions by doing recordings exactly the opposite way.
This study explores how performing musicians and producers experience music production without extensive post-production. For this purpose, an album was recorded with limitations in time and amount of takes, without the possibility for overdubs, editing and destructive sound design afterwards. The main research question is how the participants evaluated their performance, both as individuals and as a group, being aware of these limitations. The participants filled in a form after the recording session, answering questions about their perceived performance, what kind of emotional states they experienced throughout the session and how they compared this particular session to their previous recording experiences. The results from this study may shed light on some common problems related to decision-making and efficiency in modern music production.
