30:
488:' producer-songwriter Brian Wilson are generally credited with helping to popularize the idea of the studio as an instrument used for in-studio composition, and music producers after the mid 1960s increasingly drew from their work. Although Martin was nominally the Beatles' producer, from 1964 he ceded control to the band, allowing them to use the studio as a workshop for their ideas and later as a sound laboratory. Musicologist Olivier Julien writes that the Beatles' "gradual integration of arranging and recording into one and the same process" began as early as 1963, but developed in earnest during the sessions for
636:
468:
120:"Playing the studio" is equivalent to 'in-studio composition', meaning writing and production occur concurrently. Definitions of the specific criterion of a "musical instrument" vary, and it is unclear whether the "studio as instrument" concept extends to using multi-track recording simply to facilitate the basic music writing process. According to academic Adam Bell, some proposed definitions may be consistent with music produced in a recording studio, but not with music that relies heavily on
513:
331:
164:
200:, tape was "malleable and mutable and cuttable and reversible in ways that discs aren't. It's very hard to do anything interesting with a disc". In the mid 1950s, popular recording conventions changed profoundly with the advent of three-track tape recorders, and by the early 1960s, it was common for producers, songwriters, and engineers to freely experiment with
2819:
849:
607:", which Wilson produced for the Beach Boys in 1966, was a prime proponent in revolutionizing rock from live concert performances into studio productions that could only exist on record. For the first time, Wilson limited himself to recording short interchangeable fragments (or "modules") rather than a complete song. Through the method of
758:
434:, sometimes regarded as Joe Meek's American counterpart, is also considered "important as the first star producer of popular music and its first 'auteur' ... Spector changed pop music from a performing art ... to an art which could sometimes exist only in the recording studio". His original production formula (dubbed the "
408:, which was unorthodox at the time. He was antagonized by his employers for his "radical" techniques. Some of these methods, such as close-miking instruments, later became part of normal recording practice. Music journalist Mark Beaumont writes that Meek "realised the studio-as-instrument philosophy years before
982:
notes: "Musically, it was terribly simple, but the way he recorded and miked it, they’d diffuse it so that you couldn't pick out any one instrument. Techniques like distortion and echo were not new, but Phil came along and took these to make sounds that had not been used in the past. I thought it was
88:
from the time the technology was first introduced. Before the late 1940s, musical recordings were typically created with the idea of presenting a faithful rendition of a real-life performance. Following the advent of three-track tape recorders in the mid-1950s, recording spaces became more accustomed
1038:
Academic
Marshall Heiser saw the resultant style of jumpcuts as a "striking characteristic", and that they "must be acknowledged as compositional statements in themselves, giving the music a sonic signature every bit as noticeable as the performances themselves. There was no way this music could be
231:
In-studio composition became standard practice by the late 1960s and early 1970s, and remained so into the 2010s. During the 1970s, the "studio as instrument" concept shifted from the studio's recording space to the studio's control room, where electronic instruments could be plugged directly into
427:
as "an excellent example of their pioneering practices in the emerging field of production", citing an account from
Stoller in which he recalls "cutting esses off words, sticking the tape back together so you didn't notice. And sometimes if the first refrain on a take was good and the second one
671:, and Brian Eno signify a conceptual shift in which an alternative approach that might make using the studio as an instrument cheaper, easier, more convenient, or more creative, was increasingly sought after. Compared to the 1960s, using the studio as an instrument became less about working
182:
Composers have exploited the potential of recording technology since it was first made available to them. Before the late 1940s, musical recordings were typically created with the idea of presenting a faithful rendition of a real-life performance. Writing in 1937, the
American composer
446:), with multiple instruments doubling and even tripling many of the parts to create a fuller, richer sound. It evolved from his mid-1950s work with Leiber and Stoller during the period in which they sought a fuller sound through excessive instrumentation. Spector's 1963 production of "
586:
as representing a "dramatic turning point" in recording history through its dedication to studio exploration over the "performability" of the songs, as this and subsequent
Beatles albums reshaped listeners' preconceptions of a pop recording. According to Julien, the follow-up LP
106:
There is no single instance in which the studio suddenly became recognized as an instrument, and even at present it may not have wide recognition as such. Nevertheless, there is a historical precedent of the studio—broadly defined—consciously being used to perform music.
57:. Sometimes called "playing the studio", the approach is typically embodied by artists or producers who favor the creative use of studio technology in record production, as opposed to simply documenting live performances in studio. Techniques include the incorporation of
187:
called for the development of "centers of experimental music" places where "the new materials, oscillators, turntables, generators, means for amplifying small sounds, film phonographs, etc." would allow composers to "work using twentieth-century means for making music."
191:
In the early 1950s, electronic equipment was expensive to own, and for most people, was only accessible through large organizations or institutions. However, virtually every young composer was interested in the potential of tape-based recording. According to
130:
historian Doyle Greene defines "studio as compositional tool" as a process in which music is produced around studio constructions rather than the more traditional method of capturing a live performance as is. Techniques include the incorporation of
650:
with popularizing the concept of the studio as instrument, particularly that it "did not require previous experience, and in some ways, a lack of know-how might even be advantageous to creativity", and that "such an approach was typified" by
730:
commented that "at its heights, Perry's genius has transformed the recording studio" into "virtual space, an imaginary chamber over which presided the electronic wizard, evangelist, gossip columnist and Dr. Frankenstein that he became."
611:, each fragment could then be assembled into a linear sequence – as Wilson explored on subsequent recordings from this period – allowing any number of larger structures and divergent moods to be produced at a later time. Musicologist
281:", which was a significant chart hit and became the first popular recording to use artificial reverb for artistic effect. Although Les Paul was not the first to use overdubs, he popularized the technique in the 1950s.
388:
was one of the first to use the recording studio as a creative tool, often overlooked as was producing music for TV (and the prominent people were women) Daphne Oram, and Delia
Derbyshire, who were early innovators.
591:
represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition." Composer and musicologist
810:
said
Shields is "widely accepted as shoegazing's genius", with "his astonishing wall of sound, use of the studio as instrument and dazzling reinvention of the guitar making him a sort of hydra-headed Spector-
506:(1967). Wilson, who was mentored by Spector, was another early auteur of popular music. Authors Jim Cogan and William Clark credit him as the first rock producer to use the studio as a discrete instrument.
531:
996:, three pianos and so on. We went for much more clarity in terms of instrumental colors, and he deliberately blended everything into a kind of mulch. He definitely had a different point of view."
615:
called "Good
Vibrations" "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance", while rock critic
754:, as "grassroots successors to Phil Spector, Brian Wilson, and George Martin, the 1960s producers who pioneered the use of the recording studio as an instrument in its own right."
596:
attributes the album's impact to Martin and his engineers, in response to the
Beatles' demands, making increasingly creative use of studio equipment and originating new processes.
522:
155:) into a unified whole. Despite the widespread changes that have led to more compact recording set-ups, individual components such as DAWs are still referred to as "the studio".
1687:
1818:
273:. Putnam was one of the first to recognize echo and reverb as elements to enhance a recording, rather than as natural byproducts of the recording space. He engineered
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1336:
530:
659:
While those of the ilk of Brian Wilson used the studio as an instrument by orchestrating everyone that worked within it, the turn to technology in the cases of
941:
541:, the Beatles advanced on Meek's approach, and employed the studio as "an environment for wide-ranging sonic research" that included experimentation with
2392:
878:
2799:
502:
2509:
89:
for in-studio composition. By the late 1960s, in-studio composition had become standard practice, and has remained as such into the 21st century.
1642:
992:
Leiber and
Stoller considered Spector's methods to be very distinct from what they were doing, stating: "Phil was the first one to use multiple
29:
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1977:
1937:
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1215:
796:
1956:
1113:
1210:
Cage, J.(2004),'The Future of Music Credo,'in Cox, Christoph; Warner, Daniel. Audio
Culture: Readings in Modern Music. A&C Black.
923:
574:" from the same year were the two recordings that ensured that the studio "was now its own instrument". Citing composer and producer
2159:
2001:
946:
124:(DAW). Various music educators alluded to "using the studio as a musical instrument" in books published as early as the late 1960s.
1695:
2334:
571:
2873:
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2385:
1828:
893:
2088:
Rock, Counterculture and the Avant-Garde, 1966–1970: How the Beatles, Frank Zappa and the Velvet Underground Defined an Era
1479:
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has been strongly linked to the lineage and technique of earlier artists who used the studio as an instrument. Jazz critic
349:
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2427:
420:
348:
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2036:
396:
around the same time exploited the use of recording studios as instruments, and one of the first producers to assert an
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833:(1999), which were the results of extensive studio experimentation. When asked what instrument does he play, frontman
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405:
121:
93:
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1006:
854:
496:
467:
385:
92:
Despite the widespread changes that have led to more compact recording set-ups, individual components such as
780:
and recording techniques to create ethereal, "dreamy" musical atmospheres. The English-Irish shoegazing band
619:
called it the "ultimate in-studio production trip", adding that its influence was apparent in songs such as "
2499:
2348:
Schmidt Horning, Susan (2016) . "The Sounds of Space: Studio as Instrument in the Era of High Fidelity". In
918:
148:
74:
438:") called for large ensembles (including some instruments not generally used for ensemble playing, such as
298:, a method of composition in which pieces of tape are rearranged and spliced together, and thus originated
2858:
2635:
1018:
232:
the mixing console. As of the 2010s, the "studio as instrument" idea remains ubiquitous in genres such as
2459:
2173:
and the rise of a phonographic tradition in twentieth-century popular music". In Julien, Olivier (ed.).
2014:
Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture
883:
307:
2559:
2529:
1650:
563:
266:
85:
2474:
1406:
1026:
687:
was cited as creating "a world in sound using the studio as an instrument" producing bands such as
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1305:
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2625:
2539:
735:
364:
197:
50:
278:
2432:
2422:
2357:
2311:
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2220:
2201:
2180:
2155:
2136:
2117:
2092:
2071:
2065:
2047:
2018:
1997:
1973:
1952:
1933:
1910:
1889:
1868:
1235:
1211:
1014:
913:
829:
790:
751:
723:
668:
620:
575:
428:
lousy, we'd tape another recording of the first one and stick it in place of the second one."
363:
overdubbed three times, and a guitar that fades in and out of the recording. The piece won an
171:
54:
17:
2235:
1925:
1883:
1123:
2736:
2645:
2564:
1118:
888:
863:
818:
802:
747:
340:
299:
294:
285:
163:
46:
42:
2726:
2589:
2584:
2544:
2484:
2401:
2061:
612:
604:
443:
439:
274:
144:
70:
2789:
2784:
2731:
2691:
2409:
1345:
971:
967:
903:
692:
545:, reversed and speed-manipulated tape sounds, and backwards-recorded lead guitar parts.
485:
413:
356:
132:
58:
2837:
2741:
2655:
2594:
2574:
2519:
2452:
1987:
1683:
979:
929:
785:
777:
739:
664:
616:
608:
481:
457:
452:
435:
265:, who each contributed to the development of common recording practices like reverb,
237:
217:
209:
205:
175:
140:
66:
2779:
2746:
2721:
2716:
2599:
2479:
2442:
2437:
2417:
1010:
811:
461:
431:
424:
289:
225:
213:
201:
167:
821:
earned comparisons by critics to Brian Wilson's work when discussing their albums
2305:
2195:
2174:
2111:
2086:
2012:
1991:
1967:
1904:
1862:
1229:
529:
347:
2769:
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1814:
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1022:
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834:
807:
743:
684:
490:
409:
401:
303:
270:
254:
34:
2283:
Ocean of Sound: Ambient Sound and Radical Listening in the Age of Communication
1402:"Joe Meek and the tragic demise of the maverick who revolutionised British pop"
1363:"Suicide or murder? The life and untimely death of Sixties pop genius Joe Meek"
2701:
2660:
2579:
2464:
2339:
2278:
936:
844:
773:
727:
688:
554:
447:
376:
360:
127:
2354:
The Art of Record Production: An Introductory Reader for a New Academic Field
2257:
2514:
2489:
2032:
1823:
1306:"A Brief History of The Studio As An Instrument: Part 1 - Early Reflections"
908:
769:
719:
700:
660:
652:
647:
639:
542:
404:
in London. One of Meek's signature techniques was to overload a signal with
233:
193:
184:
707:
amongst many others, the studio was seen as an integral part of the music.
1842:
1025:, allowing the Beatles and the Beach Boys to become the first crop of non-
2569:
2447:
1231:
Electronic and Experimental Music: Pioneers in Technology and Composition
993:
823:
704:
393:
262:
258:
221:
1864:
The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology
2554:
2217:
Beatlemania: Technology, Business, and Teen Culture in Cold War America
868:
136:
62:
2152:
Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings
715:
397:
1341:
gets the chance to haunt a whole new generation of audiophile geeks"
757:
655:, whose members proclaimed "we play the studio". He goes on to say:
2370:
1928:. In Cook, Nicholas; Clarke, Eric; Leech-Wilkinson, Daniel (eds.).
2804:
1885:
White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock
1718:"A Brief History of The Studio As An Instrument: Part 3 | Ableton"
756:
634:
466:
162:
28:
1114:"Love & Mercy Does Justice to the Brilliance of Brian Wilson"
1009:
writes that the advancing technology of multitrack recording and
562:
According to author David Howard, Martin's work on the Beatles' "
314:, however, her tape experiments were mostly unheard at the time.
1949:
Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop
696:
152:
78:
2374:
966:
For example, Spector would often duplicate a part played by an
212:, and other sound effects. Some of the best known examples are
1549:
1547:
1443:
1441:
311:
2335:"Revisiting Brian Eno's 'The Studio as a Compositional Tool'"
2237:
The Producer as Composer: Shaping the Sounds of Popular Music
768:
Beginning in the 1980s, musicians associated with the genres
511:
423:, Adam Bell describes the songwriting duo's productions for
329:
2706:
1498:
1496:
1458:
1456:
2169:
Julien, Oliver (2008). "'A lucky man who made the grade':
2133:
Understanding Records: A Field Guide to Recording Practice
500:(1966) and "ultimately blossomed" during the sessions for
224:'s use of homemade electronic sound effects for acts like
96:(DAW) are still colloquially referred to as "the studio".
2176:
Sgt. Pepper and the Beatles: It Was Forty Years Ago Today
2113:
Sgt. Pepper and the Beatles: It Was Forty Years Ago Today
2197:
Avant Rock: Experimental Music from the Beatles to Bjork
196:, "the move to tape was very important", because unlike
1143:
1141:
1068:
1066:
1064:
1039:'real.' Wilson was therefore echoing the techniques of
1029:
musicians to create extended and complex compositions.
1279:
1277:
1275:
1969:
Temples of Sound: Inside the Great Recording Studios
1194:
1192:
1083:
1081:
2762:
2669:
2608:
2498:
2408:
1688:"Villains and Heroes: In Defense of the Beach Boys"
2256:
1926:"Recording practices and the role of the producer"
1361:
310:during her tenure as a balancing engineer for the
2219:. Baltimore, MD: Johns Hopkins University Press.
1906:Dawn of the DAW: The Studio As Musical Instrument
114:Dawn of the DAW: The Studio As Musical Instrument
2067:The Sound of the City: The Rise of Rock and Roll
1993:Jazz and Its Discontents: A Francis Davis Reader
1819:"Sonic Cathedral spark shoegazing music revival"
2307:Poetics of Rock: Cutting Tracks, Making Records
788:, are often celebrated for their studio albums
657:
104:
1743:"How prog was Kraftwerk producer Conny Plank?"
2386:
2106:Hannan, Michael (2008). "The sound design of
8:
2042:. In Cox, Christoph; Warner, Daniel (eds.).
942:Studio di fonologia musicale di Radio Milano
460:for studio pioneers such as the Beatles and
367:and sold over five million copies worldwide.
1647:The Journal on the Art of Record Production
1300:
1298:
1296:
1294:
1292:
523:The Beatles – "Tomorrow Never Knows" (1966)
2393:
2379:
2371:
1553:
1462:
879:Columbia-Princeton Electronic Music Center
84:Composers have exploited the potential of
33:A Studer four-track tape recorder used at
2800:Music technology (electronic and digital)
1930:The Cambridge Companion to Recorded Music
1801:
1502:
1420:
1843:"Wayne Coyne – "I Am Not on Drugs… Yet""
1447:
1228:Holmes, Thomas B.; Holmes, Thom (2002).
1047:'—if there can said to be such a thing."
151:, and combining segmented performances (
77:, and combining segmented performances (
53:when it plays a significant role in the
2044:Audio Culture: Readings in Modern Music
1670:
1589:
1526:
1476:"The RS 500 Greatest Songs of All Time"
1060:
959:
284:Around the same time, French composers
1643:"SMiLE: Brian Wilson's Musical Mosaic"
1636:
1634:
1613:
1601:
1577:
1538:
1514:
1072:
837:simply stated "the recording studio".
552:
400:. He began production work in 1955 at
374:
2108:Sgt. Pepper's Lonely Hearts Club Band
1951:. San Francisco, CA: Backbeat Books.
1789:
1625:
1565:
1266:
1043:and seemed to be breaking the audio '
503:Sgt. Pepper's Lonely Hearts Club Band
471:Martin working with the Beatles, 1964
7:
1777:
1765:
1387:
1322:
1283:
1234:. Psychology Press. pp. 81–85.
1171:
1159:
1147:
1099:
1087:
537:Author Mark Brend writes that, with
2011:Edmondson, Jacqueline, ed. (2013).
1966:Cogan, Jim; Clark, William (2003).
1432:
1360:Beaumont, Mark (February 3, 2022).
1335:Patrick, Jonathan (March 8, 2013).
1254:
1198:
1183:
2310:. University of California Press.
2037:"The Studio as Compositional Tool"
1641:Heiser, Marshall (November 2012).
1478:. RollingStone.com. Archived from
1400:Gritten, David (October 1, 2016).
924:Recording practices of the Beatles
323:Meek, Leiber, Stoller, and Spector
25:
2641:Recording studio as an instrument
2352:; Zagorski-Thomas, Simon (eds.).
2200:. Open Court Publishing Company.
947:Studio for Electronic Music (WDR)
2817:
847:
582:, author Jay Hodgson highlights
570:, and Spector's production of "
553:Problems playing this file? See
527:
398:individual identity as an artist
375:Problems playing this file? See
345:
341:The Tornadoes – "Telstar" (1962)
253:Pioneers from the 1940s include
159:Evolution of recording processes
2333:Eller, Dylan (March 28, 2016).
1861:Ashby, Arved Mark, ed. (2004).
1112:Seymour, Corey (June 5, 2015).
817:American psychedelic rock band
784:, helmed by guitarist-producer
359:", features a sped-up piano, a
355:Meek's best-known production, "
2154:. Milwaukee, WI: Hal Leonard.
1932:. Cambridge University Press.
894:Groupe de Recherches Musicales
18:Recording studio as instrument
1:
2110:". In Julien, Olivier (ed.).
722:productions, recorded at his
421:Jerry Leiber and Mike Stoller
2824:Record production portal
1337:"Joe Meek's pop masterpiece
734:From the late 1970s onward,
675:as it were, and working the
2795:Music technology (electric)
2234:Moorefield, Virgil (2010).
2135:. New York, NY: Continuum.
1909:. Oxford University Press.
1903:Bell, Adam Patrick (2018).
1888:. Ashgate Publishing, Ltd.
1882:Bannister, Matthew (2007).
1741:Dave Everley (2019-09-05).
2895:
572:River Deep – Mountain High
306:experimented heavily with
122:digital audio workstations
94:digital audio workstations
2813:
2150:Howard, David N. (2004).
1013:were more influential to
742:identified early hip-hop
406:dynamic range compression
302:. Meanwhile, in England,
244:Notable artists and works
174:, where he developed his
1867:. Boydell & Brewer.
855:Record production portal
580:The Producer as Composer
386:BBC Radiophonic Workshop
240:, and electronic music.
81:) into a unified whole.
2255:Ribowsky, Mark (1989).
2215:Millard, André (2012).
2070:. Perseus Books Group.
919:Recording consciousness
776:made innovative use of
642:at a live remix in 2012
149:audio signal processing
75:audio signal processing
2085:Greene, Doyle (2016).
1924:Blake, Andrew (2009).
1831:on September 19, 2009.
1554:Cogan & Clark 2003
1019:electronic instruments
765:
714:was noted for his 70s
681:
643:
516:
480:The Beatles' producer
476:Beatles and Beach Boys
472:
334:
308:electronic instruments
179:
109:
49:is often treated as a
38:
37:from 1965 to the 1970s
2874:21st century in music
2869:20th century in music
2712:Ghostwriters in music
2194:Martin, Bill (2015).
2131:Hodgson, Jay (2010).
884:Electroacoustic music
760:
638:
515:
470:
333:
277:' 1947 novelty song "
166:
32:
1947:Brend, Mark (2005).
978:. Session guitarist
800:(1991). Writing for
564:Tomorrow Never Knows
86:multitrack recording
55:composition of music
2849:Musical instruments
2304:Zak, Albin (2001).
1972:. Chronicle Books.
1780:, pp. 114–115.
1649:(7). Archived from
1604:, pp. 166–167.
1592:, pp. viii–ix.
1450:, pp. 185–186.
1312:. October 25, 2016.
1257:, pp. 128–129.
1027:classically trained
782:My Bloody Valentine
762:My Bloody Valentine
712:Lee "Scratch" Perry
2626:Hip hop production
1845:. 22 January 2011.
1817:(April 12, 2009).
1686:(September 1968).
1529:, pp. 178–79.
1339:I Hear a New World
933:documentary series
766:
764:performing in 2008
736:hip hop production
710:Jamaican producer
646:Adam Bell credits
644:
517:
473:
365:Ivor Novello Award
335:
198:gramophone records
180:
133:non-musical sounds
59:non-musical sounds
51:musical instrument
39:
2879:Audio engineering
2844:Recording studios
2831:
2830:
2433:Critical distance
2363:978-1-4094-0562-7
2317:978-0-520-92815-2
2296:978-1-78816-030-8
2270:978-0-525-24727-2
2247:978-0-262-13457-6
2226:978-1-4214-0525-4
2207:978-0-8126-9939-5
2186:978-0-7546-6708-7
2142:978-1-4411-5607-5
2123:978-0-7546-6708-7
2098:978-1-4766-2403-7
2077:978-0-306-80683-4
2053:978-0-8264-1615-5
2046:. A&C Black.
2024:978-0-313-39348-8
1979:978-0-8118-3394-3
1939:978-1-139-82796-6
1916:978-0-19-029660-5
1895:978-0-7546-8803-7
1874:978-1-58046-143-6
1568:, pp. 55–56.
1556:, pp. 32–33.
1325:, p. 12, 39.
1241:978-0-415-93644-6
1216:978-0-8264-1615-5
1150:, pp. 34–35.
1015:experimental rock
914:Psychedelic music
830:The Soft Bulletin
752:Grandmaster Flash
621:A Day in the Life
576:Virgil Moorefield
532:
456:magazine, was a "
392:English producer
350:
172:Gold Star Studios
16:(Redirected from
2886:
2854:Electronic music
2822:
2821:
2820:
2737:Session musician
2402:Music production
2395:
2388:
2381:
2372:
2367:
2344:
2321:
2300:
2274:
2262:
2251:
2230:
2211:
2190:
2165:
2146:
2127:
2102:
2081:
2062:Gillett, Charlie
2057:
2041:
2028:
2007:
1983:
1962:
1943:
1920:
1899:
1878:
1847:
1846:
1839:
1833:
1832:
1827:. Archived from
1811:
1805:
1799:
1793:
1787:
1781:
1775:
1769:
1763:
1757:
1756:
1754:
1753:
1738:
1732:
1731:
1729:
1728:
1714:
1708:
1707:
1705:
1703:
1694:. Archived from
1680:
1674:
1668:
1662:
1661:
1659:
1658:
1638:
1629:
1623:
1617:
1611:
1605:
1599:
1593:
1587:
1581:
1575:
1569:
1563:
1557:
1551:
1542:
1536:
1530:
1524:
1518:
1512:
1506:
1500:
1491:
1490:
1488:
1487:
1472:
1466:
1460:
1451:
1445:
1436:
1430:
1424:
1418:
1412:
1411:
1397:
1391:
1385:
1379:
1378:
1376:
1374:
1365:
1357:
1351:
1350:
1332:
1326:
1320:
1314:
1313:
1302:
1287:
1281:
1270:
1264:
1258:
1252:
1246:
1245:
1225:
1219:
1208:
1202:
1196:
1187:
1181:
1175:
1169:
1163:
1157:
1151:
1145:
1136:
1135:
1133:
1131:
1122:. Archived from
1109:
1103:
1097:
1091:
1085:
1076:
1070:
1048:
1041:musique concrète
1036:
1030:
1003:
997:
990:
984:
964:
889:Experimental pop
864:Acousmatic music
857:
852:
851:
850:
819:The Flaming Lips
803:The Sunday Times
748:Afrika Bambaataa
534:
533:
514:
450:", according to
444:acoustic guitars
352:
351:
332:
295:musique concrete
292:were developing
286:Pierre Schaeffer
210:unnatural reverb
116:
47:recording studio
43:music production
21:
2894:
2893:
2889:
2888:
2887:
2885:
2884:
2883:
2834:
2833:
2832:
2827:
2818:
2816:
2809:
2758:
2727:Record producer
2680:
2676:
2665:
2619:
2615:
2604:
2545:Double tracking
2501:
2494:
2485:Sound recording
2423:Audio mastering
2404:
2399:
2364:
2347:
2332:
2329:
2327:Further reading
2324:
2318:
2303:
2297:
2277:
2271:
2254:
2248:
2233:
2227:
2214:
2208:
2193:
2187:
2168:
2162:
2149:
2143:
2130:
2124:
2105:
2099:
2084:
2078:
2060:
2054:
2039:
2031:
2025:
2010:
2004:
1986:
1980:
1965:
1959:
1958:978-0-879308551
1946:
1940:
1923:
1917:
1902:
1896:
1881:
1875:
1860:
1856:
1851:
1850:
1841:
1840:
1836:
1813:
1812:
1808:
1804:, p. 1205.
1800:
1796:
1788:
1784:
1776:
1772:
1764:
1760:
1751:
1749:
1740:
1739:
1735:
1726:
1724:
1722:www.ableton.com
1716:
1715:
1711:
1701:
1699:
1698:on 14 July 2014
1682:
1681:
1677:
1669:
1665:
1656:
1654:
1640:
1639:
1632:
1624:
1620:
1612:
1608:
1600:
1596:
1588:
1584:
1580:, pp. 2–3.
1576:
1572:
1564:
1560:
1552:
1545:
1537:
1533:
1525:
1521:
1513:
1509:
1501:
1494:
1485:
1483:
1474:
1473:
1469:
1463:Moorefield 2010
1461:
1454:
1446:
1439:
1431:
1427:
1419:
1415:
1399:
1398:
1394:
1386:
1382:
1372:
1370:
1359:
1358:
1354:
1334:
1333:
1329:
1321:
1317:
1304:
1303:
1290:
1282:
1273:
1265:
1261:
1253:
1249:
1242:
1227:
1226:
1222:
1209:
1205:
1197:
1190:
1182:
1178:
1170:
1166:
1158:
1154:
1146:
1139:
1129:
1127:
1126:on June 7, 2015
1111:
1110:
1106:
1098:
1094:
1086:
1079:
1071:
1062:
1057:
1052:
1051:
1037:
1033:
1004:
1000:
991:
987:
965:
961:
956:
951:
899:Lo-fi/DIY music
853:
848:
846:
843:
633:
613:Charlie Gillett
605:Good Vibrations
560:
559:
551:
549:
548:
547:
546:
535:
528:
525:
518:
512:
478:
382:
381:
373:
371:
370:
369:
368:
353:
346:
343:
336:
330:
325:
320:
279:Peg o' My Heart
275:the Harmonicats
251:
246:
161:
145:sound synthesis
118:
111:
102:
71:sound synthesis
23:
22:
15:
12:
11:
5:
2892:
2890:
2882:
2881:
2876:
2871:
2866:
2861:
2856:
2851:
2846:
2836:
2835:
2829:
2828:
2814:
2811:
2810:
2808:
2807:
2802:
2797:
2792:
2787:
2782:
2777:
2772:
2766:
2764:
2760:
2759:
2757:
2756:
2751:
2750:
2749:
2739:
2734:
2732:Rhythm section
2729:
2724:
2719:
2714:
2709:
2704:
2699:
2694:
2692:Audio engineer
2689:
2683:
2681:
2679:
2678:
2674:
2670:
2667:
2666:
2664:
2663:
2658:
2653:
2648:
2643:
2638:
2636:Overproduction
2633:
2628:
2622:
2620:
2618:
2617:
2613:
2609:
2606:
2605:
2603:
2602:
2597:
2592:
2587:
2582:
2577:
2572:
2567:
2565:Exciter effect
2562:
2557:
2552:
2542:
2537:
2527:
2522:
2517:
2512:
2506:
2504:
2496:
2495:
2493:
2492:
2487:
2482:
2477:
2472:
2467:
2462:
2457:
2456:
2455:
2450:
2440:
2435:
2430:
2425:
2420:
2414:
2412:
2406:
2405:
2400:
2398:
2397:
2390:
2383:
2375:
2369:
2368:
2362:
2345:
2328:
2325:
2323:
2322:
2316:
2301:
2295:
2287:Serpent's Tail
2275:
2269:
2252:
2246:
2231:
2225:
2212:
2206:
2191:
2185:
2166:
2160:
2147:
2141:
2128:
2122:
2103:
2097:
2082:
2076:
2058:
2052:
2029:
2023:
2008:
2002:
1988:Davis, Francis
1984:
1978:
1963:
1957:
1944:
1938:
1921:
1915:
1900:
1894:
1879:
1873:
1857:
1855:
1852:
1849:
1848:
1834:
1806:
1802:Edmondson 2013
1794:
1792:, p. 259.
1782:
1770:
1768:, p. 115.
1758:
1733:
1709:
1692:Jazz & Pop
1684:Sculatti, Gene
1675:
1673:, p. 329.
1663:
1630:
1628:, p. 282.
1618:
1606:
1594:
1582:
1570:
1558:
1543:
1541:, p. 162.
1531:
1519:
1507:
1505:, p. 890.
1503:Edmondson 2013
1492:
1482:on 16 May 2007
1467:
1452:
1437:
1425:
1421:Bannister 2007
1413:
1392:
1380:
1352:
1346:Tiny Mix Tapes
1327:
1315:
1288:
1271:
1259:
1247:
1240:
1220:
1203:
1201:, p. 128.
1188:
1186:, p. 127.
1176:
1174:, p. xvi.
1164:
1152:
1137:
1104:
1092:
1077:
1075:, p. 179.
1059:
1058:
1056:
1053:
1050:
1049:
1031:
998:
985:
972:electric piano
968:acoustic piano
958:
957:
955:
952:
950:
949:
944:
939:
934:
926:
921:
916:
911:
906:
904:Plunderphonics
901:
896:
891:
886:
881:
876:
871:
866:
860:
859:
858:
842:
839:
814:-Eno figure".
791:Isn't Anything
778:effects pedals
632:
629:
594:Michael Hannan
550:
536:
526:
521:
520:
519:
510:
509:
508:
486:the Beach Boys
477:
474:
414:The Beach Boys
372:
354:
344:
339:
338:
337:
328:
327:
326:
324:
321:
319:
316:
250:
247:
245:
242:
160:
157:
103:
101:
98:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2891:
2880:
2877:
2875:
2872:
2870:
2867:
2865:
2862:
2860:
2859:Popular music
2857:
2855:
2852:
2850:
2847:
2845:
2842:
2841:
2839:
2826:
2825:
2812:
2806:
2803:
2801:
2798:
2796:
2793:
2791:
2788:
2786:
2783:
2781:
2778:
2776:
2775:Interpolation
2773:
2771:
2768:
2767:
2765:
2761:
2755:
2752:
2748:
2745:
2744:
2743:
2742:Backup singer
2740:
2738:
2735:
2733:
2730:
2728:
2725:
2723:
2720:
2718:
2715:
2713:
2710:
2708:
2705:
2703:
2700:
2698:
2695:
2693:
2690:
2688:
2685:
2684:
2682:
2675:
2672:
2671:
2668:
2662:
2659:
2657:
2656:Wall of Sound
2654:
2652:
2649:
2647:
2644:
2642:
2639:
2637:
2634:
2632:
2629:
2627:
2624:
2623:
2621:
2614:
2611:
2610:
2607:
2601:
2598:
2596:
2593:
2591:
2588:
2586:
2583:
2581:
2578:
2576:
2575:Octave effect
2573:
2571:
2568:
2566:
2563:
2561:
2558:
2556:
2553:
2550:
2546:
2543:
2541:
2538:
2535:
2531:
2528:
2526:
2523:
2521:
2520:Chorus effect
2518:
2516:
2513:
2511:
2508:
2507:
2505:
2503:
2497:
2491:
2488:
2486:
2483:
2481:
2478:
2476:
2473:
2471:
2468:
2466:
2463:
2461:
2458:
2454:
2453:Wah-wah pedal
2451:
2449:
2446:
2445:
2444:
2441:
2439:
2436:
2434:
2431:
2429:
2426:
2424:
2421:
2419:
2416:
2415:
2413:
2411:
2407:
2403:
2396:
2391:
2389:
2384:
2382:
2377:
2376:
2373:
2365:
2359:
2356:. Routledge.
2355:
2351:
2346:
2342:
2341:
2336:
2331:
2330:
2326:
2319:
2313:
2309:
2308:
2302:
2298:
2292:
2288:
2284:
2280:
2276:
2272:
2266:
2261:
2260:
2253:
2249:
2243:
2240:. MIT Press.
2239:
2238:
2232:
2228:
2222:
2218:
2213:
2209:
2203:
2199:
2198:
2192:
2188:
2182:
2178:
2177:
2172:
2167:
2163:
2161:0-634-05560-7
2157:
2153:
2148:
2144:
2138:
2134:
2129:
2125:
2119:
2115:
2114:
2109:
2104:
2100:
2094:
2091:. McFarland.
2090:
2089:
2083:
2079:
2073:
2069:
2068:
2063:
2059:
2055:
2049:
2045:
2038:
2034:
2030:
2026:
2020:
2016:
2015:
2009:
2005:
2003:0-306-81055-7
1999:
1995:
1994:
1989:
1985:
1981:
1975:
1971:
1970:
1964:
1960:
1954:
1950:
1945:
1941:
1935:
1931:
1927:
1922:
1918:
1912:
1908:
1907:
1901:
1897:
1891:
1887:
1886:
1880:
1876:
1870:
1866:
1865:
1859:
1858:
1853:
1844:
1838:
1835:
1830:
1826:
1825:
1820:
1816:
1810:
1807:
1803:
1798:
1795:
1791:
1786:
1783:
1779:
1774:
1771:
1767:
1762:
1759:
1748:
1744:
1737:
1734:
1723:
1719:
1713:
1710:
1697:
1693:
1689:
1685:
1679:
1676:
1672:
1667:
1664:
1653:on 2015-04-15
1652:
1648:
1644:
1637:
1635:
1631:
1627:
1622:
1619:
1616:, p. 46.
1615:
1610:
1607:
1603:
1598:
1595:
1591:
1586:
1583:
1579:
1574:
1571:
1567:
1562:
1559:
1555:
1550:
1548:
1544:
1540:
1535:
1532:
1528:
1523:
1520:
1517:, p. 75.
1516:
1511:
1508:
1504:
1499:
1497:
1493:
1481:
1477:
1471:
1468:
1465:, p. 10.
1464:
1459:
1457:
1453:
1449:
1448:Ribowsky 1989
1444:
1442:
1438:
1435:, p. 77.
1434:
1429:
1426:
1423:, p. 38.
1422:
1417:
1414:
1409:
1408:
1407:The Telegraph
1403:
1396:
1393:
1390:, p. 39.
1389:
1384:
1381:
1369:
1364:
1356:
1353:
1348:
1347:
1342:
1340:
1331:
1328:
1324:
1319:
1316:
1311:
1307:
1301:
1299:
1297:
1295:
1293:
1289:
1286:, p. 49.
1285:
1280:
1278:
1276:
1272:
1269:, p. 45.
1268:
1263:
1260:
1256:
1251:
1248:
1243:
1237:
1233:
1232:
1224:
1221:
1217:
1213:
1207:
1204:
1200:
1195:
1193:
1189:
1185:
1180:
1177:
1173:
1168:
1165:
1162:, p. 38.
1161:
1156:
1153:
1149:
1144:
1142:
1138:
1125:
1121:
1120:
1115:
1108:
1105:
1102:, p. 37.
1101:
1096:
1093:
1090:, p. 34.
1089:
1084:
1082:
1078:
1074:
1069:
1067:
1065:
1061:
1054:
1046:
1042:
1035:
1032:
1028:
1024:
1020:
1016:
1012:
1011:mixing boards
1008:
1002:
999:
995:
989:
986:
981:
980:Barney Kessel
977:
973:
969:
963:
960:
953:
948:
945:
943:
940:
938:
935:
932:
931:
930:Soundbreaking
927:
925:
922:
920:
917:
915:
912:
910:
907:
905:
902:
900:
897:
895:
892:
890:
887:
885:
882:
880:
877:
875:
872:
870:
867:
865:
862:
861:
856:
845:
840:
838:
836:
832:
831:
826:
825:
820:
815:
813:
809:
805:
804:
799:
798:
793:
792:
787:
786:Kevin Shields
783:
779:
775:
771:
763:
759:
755:
753:
749:
745:
741:
740:Francis Davis
737:
732:
729:
725:
721:
717:
713:
708:
706:
702:
698:
694:
690:
686:
680:
678:
674:
670:
666:
665:Stevie Wonder
662:
656:
654:
649:
641:
637:
630:
628:
626:
622:
618:
617:Gene Sculatti
614:
610:
609:tape splicing
606:
602:
597:
595:
590:
585:
581:
577:
573:
569:
565:
558:
556:
544:
540:
524:
507:
505:
504:
499:
498:
493:
492:
487:
483:
482:George Martin
475:
469:
465:
463:
459:
458:Rosetta stone
455:
454:
453:Rolling Stone
449:
445:
441:
437:
436:Wall of Sound
433:
429:
426:
422:
417:
415:
411:
407:
403:
399:
395:
390:
387:
380:
378:
366:
362:
358:
342:
322:
317:
315:
313:
309:
305:
301:
297:
296:
291:
287:
282:
280:
276:
272:
268:
264:
260:
256:
248:
243:
241:
239:
235:
229:
227:
223:
219:
218:Wall of Sound
215:
211:
207:
206:orchestration
203:
199:
195:
189:
186:
178:methods, 1965
177:
176:Wall of Sound
173:
169:
165:
158:
156:
154:
150:
146:
142:
138:
134:
129:
125:
123:
117:
115:
108:
99:
97:
95:
90:
87:
82:
80:
76:
72:
68:
64:
60:
56:
52:
48:
44:
36:
31:
27:
19:
2815:
2780:Loudness war
2747:Ghost singer
2722:Orchestrator
2717:Horn section
2640:
2600:Reverse echo
2560:Equalization
2530:Delay effect
2480:Punch in/out
2475:Ping-ponging
2443:Effects unit
2438:Effects loop
2428:Audio mixing
2418:Audio filter
2353:
2350:Frith, Simon
2338:
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1854:Bibliography
1837:
1829:the original
1824:Times Online
1822:
1815:Lester, Paul
1809:
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1696:the original
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1655:. Retrieved
1651:the original
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1484:. Retrieved
1480:the original
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283:
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226:the Tornados
214:Phil Spector
202:musical form
190:
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170:(center) at
168:Phil Spector
126:
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112:—Adam Bell,
110:
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83:
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26:
2770:Click track
2754:Vocal coach
2697:Backup band
2677:professions
2651:Turntablism
2525:Compression
2510:Pitch shift
2470:Overdubbing
2410:Engineering
2279:Toop, David
2179:. Ashgate.
2171:Sgt. Pepper
2116:. Ashgate.
1996:. Da Capo.
1614:Hannan 2008
1602:Julien 2008
1578:Howard 2004
1539:Julien 2008
1515:Martin 2015
1368:Independent
1310:Ableton.com
1130:October 31,
1073:Greene 2016
1045:fourth wall
1023:synthesizer
1007:Bill Martin
976:harpsichord
874:Click track
835:Wayne Coyne
827:(1997) and
808:Paul Lester
794:(1988) and
685:Conny Plank
631:1970s–2010s
625:Sgt. Pepper
589:Sgt. Pepper
494:(1965) and
491:Rubber Soul
419:Discussing
410:The Beatles
402:IBC Studios
318:1950s–1960s
304:Daphne Oram
271:overdubbing
255:Bill Putnam
249:1940s–1950s
137:overdubbing
100:Definitions
63:overdubbing
35:EMI Studios
2838:Categories
2702:Bandleader
2661:Xenochrony
2616:aesthetics
2580:Noise gate
2540:Distortion
2502:processing
2465:Microphone
2340:TechCrunch
2263:. Dutton.
2033:Eno, Brian
1790:Davis 2004
1752:2023-04-29
1727:2023-04-29
1657:2017-07-14
1626:Ashby 2004
1566:Brend 2005
1486:2007-06-02
1267:Blake 2009
1055:References
937:Xenochrony
774:shoegazing
728:David Toop
673:the system
555:media help
543:tape loops
448:Be My Baby
377:media help
361:clavioline
267:tape delay
2864:New media
2612:Practices
2515:Auto-Tune
2490:Tape loop
2460:Diffusion
2281:(2018) .
1778:Toop 2018
1766:Toop 2018
1388:Bell 2018
1373:April 11,
1323:Bell 2018
1284:Bell 2018
1172:Bell 2018
1160:Bell 2018
1148:Bell 2018
1100:Bell 2018
1088:Bell 2018
1005:Academic
994:drum kits
909:Post-punk
770:dream pop
724:Black Ark
701:Kraftwerk
683:Producer
661:Sly Stone
653:Kraftwerk
648:Brian Eno
640:Brian Eno
566:", from
194:Brian Eno
185:John Cage
2687:Arranger
2646:Sampling
2570:Flanging
2448:Talk box
2064:(1984).
2035:(2004).
1990:(2004).
1433:Zak 2001
1255:Eno 2004
1199:Eno 2004
1184:Eno 2004
970:with an
841:See also
824:Zaireeka
797:Loveless
726:studio.
705:Ultravox
601:Revolver
584:Revolver
578:'s book
568:Revolver
539:Revolver
497:Revolver
440:electric
394:Joe Meek
300:sampling
263:Tom Dowd
259:Les Paul
222:Joe Meek
2590:Pumping
2555:Ducking
2500:Signal
1702:10 July
869:Art pop
812:Hendrix
693:Cluster
677:systems
623:" from
357:Telstar
238:hip-hop
143:edits,
69:edits,
2790:Medley
2785:Mashup
2595:Reverb
2585:Phaser
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974:and a
716:reggae
669:Prince
269:, and
261:, and
45:, the
2805:Remix
2763:Other
2673:Roles
2631:Lo-fi
2534:STEED
2040:(PDF)
1119:Vogue
1017:than
954:Notes
599:Like
153:takes
79:takes
2358:ISBN
2312:ISBN
2291:ISBN
2265:ISBN
2242:ISBN
2221:ISBN
2202:ISBN
2181:ISBN
2156:ISBN
2137:ISBN
2118:ISBN
2093:ISBN
2072:ISBN
2048:ISBN
2019:ISBN
1998:ISBN
1974:ISBN
1953:ISBN
1934:ISBN
1911:ISBN
1890:ISBN
1869:ISBN
1704:2014
1375:2022
1236:ISBN
1212:ISBN
1132:2018
772:and
750:and
718:and
703:and
697:Neu!
484:and
442:and
384:The
288:and
220:and
141:tape
128:Rock
67:tape
2549:ADT
744:DJs
720:dub
689:Can
603:, "
464:".
416:".
412:or
312:BBC
234:pop
216:'s
41:In
2840::
2707:DJ
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