Uploaded June 2019 | Updated September 2026, 1 hour 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
The work realities of professional studio musicians in the German popular music recording industry
Dr Jan Herbst – University of Huddersfield (UK), School of Music, Humanities and Media (MHM)
E-Mail: j.herbst@hud.ac.uk
/// ABSTRACT
Among the professional roles in the recording industry, studio musicians have perhaps received least academic attention. They are still one of the best kept secrets of popular music, a business centred around celebrity figures and recognisable characters (Williams 2010) in which the “interchangeable labourers” (Faulkner 1971) and “musical mercenaries” (MacLeod 1993) have no visible place. The present study explored the work realities of professional studio musicians in Germany, one of the largest music industries worldwide, based on interviews with six pop musicians; guitarists, bassists, keyboarders and drummers aged between 27 and 66 years. The findings show how the changes in the recording industry, most notably the dwindling budgets, the rise of project studios and virtual collaboration, have affected working practices, skill requirements and business models. Twenty years ago, Skrepek (1994: 388) predicted the decline of the profession of studio musicians, “The job (…) has become obsolete, everything is computerised. (…) We are heading towards a future where machines are entertaining us”. The findings indicate that in Germany it is hardly possible anymore to live from studio work as a professional musician, even for the leading session players. Additional occupation becomes necessary and the few jobs available are fiercely contested. Sinking fees and the lack of access to royalties pose a problem, one not tackled due to the fierce competition and the risk of damaging one’s reputation.
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
The work realities of professional studio musicians in the German popular music recording industry
Dr Jan Herbst – University of Huddersfield (UK), School of Music, Humanities and Media (MHM)
E-Mail: j.herbst@hud.ac.uk
/// ABSTRACT
Among the professional roles in the recording industry, studio musicians have perhaps received least academic attention. They are still one of the best kept secrets of popular music, a business centred around celebrity figures and recognisable characters (Williams 2010) in which the “interchangeable labourers” (Faulkner 1971) and “musical mercenaries” (MacLeod 1993) have no visible place. The present study explored the work realities of professional studio musicians in Germany, one of the largest music industries worldwide, based on interviews with six pop musicians; guitarists, bassists, keyboarders and drummers aged between 27 and 66 years. The findings show how the changes in the recording industry, most notably the dwindling budgets, the rise of project studios and virtual collaboration, have affected working practices, skill requirements and business models. Twenty years ago, Skrepek (1994: 388) predicted the decline of the profession of studio musicians, “The job (…) has become obsolete, everything is computerised. (…) We are heading towards a future where machines are entertaining us”. The findings indicate that in Germany it is hardly possible anymore to live from studio work as a professional musician, even for the leading session players. Additional occupation becomes necessary and the few jobs available are fiercely contested. Sinking fees and the lack of access to royalties pose a problem, one not tackled due to the fierce competition and the risk of damaging one’s reputation.
