Record Production & Phonology

Lectures

Developed for Sound, RMIT Media Arts, from 1986

  • Record Production 1

    Listening examples include: Andrew Sisters; Judy Garland; Judy London; Glen Miller; Duke Ellington; Hans Salter

    Processess & Considerations

    Production personnel & historical formations
    presence/definition in vocal/orchestral recordings
    the sound of live orchestras & large ensembles
    the encoding & rendering of 'live'

  • Record Production 2

    Listening examples include: Herb Alpert; Bert Kaemfert; Sergio Mendes; Burt Bacharach; Link Wray; Duane Eddy; The Venture

    Production Technique in Muzak

    Overlooked experimentation in studio production
    Muzak; Easy Listening; Exotica; Lounge
    instrumental music & the compensation for vocal absence
    forwarding aural detail as phonology

  • Record Production 3

    Listening examples include: Age Of Love; Microglobe; Ilsa Gold; Paperclip People; Ultramarine; Influid III; Hyper On Experience

    The Digital Domain

    Analogue/digital relations
    the advent of MIDI and virtual aurality
    frequency expansion in the numerical matrix
    non-apparent construction
    hyper-fragmentation

  • Record Production 4

    Listening examples include: Black Sabbath; Led Zep; ACDC; Buzzcocks; Shellac; Herbie Hancock; ZZ Top; Young Gods; Iggy Pop

    Recording the Rock Band

    Live set-ups
    incorporating iconic presences of guitar sounds
    configuring spatial relations between instruments
    defining wholes through parts

  • Record Production 5

    Listening examples include: King Crimson; Cluster; Bowie; Wire; Lou Reed; Jesus & the Mary Chain; Age of Chance; Loop; Sonic Youth; Eno

    Deconstructing the Rock Band

    Transforming the recognizable sounds of instruments
    re-defining instruments' sonic perimeters
    fusing and integrating disparate sonics
    extending the act of post-production