Uploaded August 2019 | Updated September 2026, 1 day 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
Hit Hardware: classic gear and the music producer
Dr. Niall Coghlan - Dundalk Institute of Technology
Email: niall.coghlan@dkit.ie
/// ABSTRACT
This paper examines the appeal of ‘cult’ and ‘classic’ hardware from the perspective of the music producer. Certain technological devices and processors have gained a near-mythical reputation among sound engineers and music producers, leading to high second-hand prices and more recently ‘clones’ or 3rd party reissues of some of these devices. Brand names such as Marshall, Fender and Moog have achieved recognition even among non-musicians, but manufacturers of music production hardware such as Urei, Fairchild or the Monome have yet to realise the same level of popular recognition. However it may be argued that among the music production and sound engineering community these niche devices are even more sought-after than their more famous siblings. Through stakeholder surveys, interviews and documentary analysis, this paper explores the factors that lead to a device having ‘cult’ appeal, including affordances, supply limitations, sonic artifacts and heritage.
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
Hit Hardware: classic gear and the music producer
Dr. Niall Coghlan - Dundalk Institute of Technology
Email: niall.coghlan@dkit.ie
/// ABSTRACT
This paper examines the appeal of ‘cult’ and ‘classic’ hardware from the perspective of the music producer. Certain technological devices and processors have gained a near-mythical reputation among sound engineers and music producers, leading to high second-hand prices and more recently ‘clones’ or 3rd party reissues of some of these devices. Brand names such as Marshall, Fender and Moog have achieved recognition even among non-musicians, but manufacturers of music production hardware such as Urei, Fairchild or the Monome have yet to realise the same level of popular recognition. However it may be argued that among the music production and sound engineering community these niche devices are even more sought-after than their more famous siblings. Through stakeholder surveys, interviews and documentary analysis, this paper explores the factors that lead to a device having ‘cult’ appeal, including affordances, supply limitations, sonic artifacts and heritage.
