Uploaded June 2019 | Updated September 2026, 5 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
Creating a Mastered Recording: Using Experiments, Ethnography and Practice Based Enquiry to Integrate a Common Interdisciplinary Research Framework.
Phillip McIntyre - University of Newcastle (Australia)
Email: phillip.mcintyre@newcastle.edu.au
/// ABSTRACT
No matter whether you are engaged in recording EDM, metal, pop, rock, country, world music or any of the other myriad genres that tend to proliferate in the world of popular music, at some point in your record production you will encounter the process of mastering. Bob Katz (2002) has asserted that mastering is the last creative step in record production. In attempting to understand how this process works, as both a practitioner and a researcher, the author has undertaken three different methodological approaches to researching mastering. He conducted, in conjunction with a colleague from psychology, an experiment on audience reactions to mastering (Paton & McIntyre 2009), undertook an ethnographic approach to examining an in-depth case of mastering (McIntyre 2008). He then engaged in practice based enquiry (PBE) from the point of view of a DIY musician and record producer in an attempt to learn, use and understand the skills and techniques necessary to apply the mastering process (McIntyre 2017). The current paper, the fourth in this series, will directly examine these supposedly ontologically disparate methodological approaches and attempt to expose and integrate a common research framework that binds them together. In presenting this evidence, and the arguments that surround it, this paper will address an interdisciplinary approach to researching the inter-professional processes necessary to the creation of popular recorded music.
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
Creating a Mastered Recording: Using Experiments, Ethnography and Practice Based Enquiry to Integrate a Common Interdisciplinary Research Framework.
Phillip McIntyre - University of Newcastle (Australia)
Email: phillip.mcintyre@newcastle.edu.au
/// ABSTRACT
No matter whether you are engaged in recording EDM, metal, pop, rock, country, world music or any of the other myriad genres that tend to proliferate in the world of popular music, at some point in your record production you will encounter the process of mastering. Bob Katz (2002) has asserted that mastering is the last creative step in record production. In attempting to understand how this process works, as both a practitioner and a researcher, the author has undertaken three different methodological approaches to researching mastering. He conducted, in conjunction with a colleague from psychology, an experiment on audience reactions to mastering (Paton & McIntyre 2009), undertook an ethnographic approach to examining an in-depth case of mastering (McIntyre 2008). He then engaged in practice based enquiry (PBE) from the point of view of a DIY musician and record producer in an attempt to learn, use and understand the skills and techniques necessary to apply the mastering process (McIntyre 2017). The current paper, the fourth in this series, will directly examine these supposedly ontologically disparate methodological approaches and attempt to expose and integrate a common research framework that binds them together. In presenting this evidence, and the arguments that surround it, this paper will address an interdisciplinary approach to researching the inter-professional processes necessary to the creation of popular recorded music.
