8th Art of Record Production Conference: Rewriting the Rules of Production Université Laval, Québec, 12-14 July 2013

PROGRAMME  

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8TH ART OF RECORD PRODUCTION CONFERENCE: REWRITING THE RULES OF PRODUCTION

LOCAL ARRANGEMENTS COMMITTEE Co-organisers: Serge Lacasse, Sophie Stévance, Gérald Côté Local Staff (in red university t-shirts): Fabrice Alcayde, Dragos Chiriac, Noémi Doyon, Yannick Lapointe, Martine Nadeau, Anthony Papavassiliou, Rodolphe Raymond-Champagne, Méi-Ra St-Laurent. Technical Staff: Serges Samson (LARC), Sylvain Mailloux (Salle Henri-Gagnon) Administrative Staff: André Papillon (Dean), Richard Laplante, Sylviane Thibault

ASSOCIATION FOR THE STUDY OF RECORD PRODUCTION (ASARP) Art of Record Production Conference Directors: Katia Isakoff and Simon Zagorski-Thomas ASARP Executive Committee Chairpersons: Katia Isakoff and Simon Zagorski-Thomas Academic Advisory Committee: Richard James Burgess (Smithsonian Folkways, Washington) Anne Danielsen (University of Oslo) Simon Frith (University of Edinburgh) Mike Howlett (Queensland University of Technology, Brisbane) Allan Moore (University of Surrey) William Moylan (University of Massachusetts Lowell) Paul Theberge (Carleton University, Ottawa) Albin Zak (University of New York State at Albany)

A warm THANK YOU to everyone!

Rooms:

• Welcome event, keynotes and other plenary events are presented in Salle Henri-Gagnon (SHG)

• Lunches and cocktails are offered in LANTISS • LARC is located in the basement (0173) • Registration and pauses are in the hall adjacent to the three parallel

conference rooms (3532, 3534, 3536), except on Friday morning (SHG).

Beware: The Pavillon Casault is a real maze… Follow the signs or we may find your skeleton somewhere in the building in a few decades…J

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Words of Welcome From the local organisers It is with great pleasure and pride that we welcome you at Université Laval in Quebec City for the 8th Art of Record Production Conference. In recent years, our Faculty of music (headed by our dean André Papillon) has witnessed a significant shift of perspective: a new generation of professors; launching of new programs (including in the fields of sound recording, song production and practice-based research); the construction of new facilities (thanks to important funding from Québec and Canada), most notably the Laboratoire audionumérique de recherche et de création (LARC, Digital Laboratory of research and creation, headed by Serge Lacasse) which consists of a large recording studio with one main control room (with SSL 4000G+), three secondary control rooms and two smaller labs. Filled with both digital and analogue equipment (including optical fibre networking), LARC welcomes all sorts of research and creative projects from internal but also external users.

We have done our best to make your stay enjoyable. Quebec City is wonderful and we invite you to visit its charming Old quarter (le Vieux-Québec). Just get on the bus toward Place d’Youville (800 or 801)! Furthermore, this weekend is the closing of the Festival d’été de Québec where artists such as Bruno Mars, Def Leppard, Guns N’ Roses, Bad Religion, Emmylou Harris, Foreigner, Rush, Stevie Wonder, Voivoid, Wu-Tang Clan, and many, many others perform outdoors in amazing surroundings. Do not miss this year’s guest speaker, André Perry, who has indeed worked with some of these international artists, in addition to The Police, David Bowie, The Rolling Stones, etc. while heading Le Studio in Morin Heights (near Montreal) in the 1970s and 1980s. Do not hesitate to contact any member of the local team (wearing Université Laval red t-shirts) for any question you may have. Our Warmest Welcome!! Serge Lacasse, Sophie Stévance and Gérald Côté

From ASARP directors We’re thrilled that ARP has come to Canada this year. Since the conference started in 2005 Canadian academics have played a vital part in building the momentum that allowed the conference to grow, the journal to get established and ASARP to develop. The line up for this year’s conference is very exciting and continues to explore our ethos of combining the cutting edge of academic work with the highest levels of professional expertise. Aside from André Perry, who promises to provide a wonderful keynote, we have Lori Burns, Martha De Francisco and Albin Zak giving plenary talks and Steve D’Agostino and Martin Pilchner providing workshops as well as the usual wealth of presentations exploring the notion of ‘rewriting the rules of production’. This year also sees a new editorial committee appointed to the journal as well some exciting changes and developments that we’ll be announcing during the welcome session.

ASARP is aiming to grow in the coming years and we’d be delighted to hear from people who are interested in serving in various roles on the executive committee as well as those of you who might want to host future conferences, organize smaller local events (either in your own institution or as a session in a related conference) or who have other creative ideas about the way that we can develop as an organisation and best serve the interests of our members. Have a great conference! Katia and Simon

Friday 12 July

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Registration 10:00-11:00 SHG/HALL

Welcome Event 11:00-11:30 SHG

Plenary 1 11:30-12:30 LORI BURNS, “The Art of Persuasion: Genre, Discourse and Narrative in the Concept Album Spectacle” (SHG)

Lunch 12:30-14:00 LANTISS

CSL-3532 CSL-3534 CSL-3536 LARC SHG

Session 1 14:00-15:30

Remixing Authorship Chair: Lori Burns

Processing Sounds and Meaning Chair: Albin Zak

Workshop

BOOK STANDS

Ragnhild Brøvig-Hanssen Consumption as Mode of Production

Matt Brennan “The Tyranny of the Snare”: The Changing Status of the Drum Kit in Record Production

Martin Pilchner (Pilchner Schoustal International inc.) Studio Design: The Case of the LARC

Alice Tomaz de Carvalho The Discourse of Home Recording: Authority of ‘Pros’ and the Sovereignty of the Big Studios

Joshua S. Duchan Recording as Social Practice

Rob Toulson Mastering a Multi-Genre Compilation Album in the Era of The Loudness War

Brecht De Man A Semantic Approach to Autonomous Mixing

Pause 15:30-16:00 HALL

Evening Event: Books on the art of recording (SHG)

16:00-16:30 Simon Zagorski-Thomas, Alan Williams and Albin Zak, The Art of Record Production: An Introductory Reader for a New Academic Field, ed. Simon Zagorski-Thomas and Simon Frith, Ashgate, 2012

16:30-17:00 Richard J. Burgess, The Art of Music Production (4th edition), Oxford University Press (Publication date: August 2013) Cocktails 17:00-19:00 Cocktails (LANTISS)

Saturday 13 July

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Registration 8:30-9:00 HALL

CSL-3532 CSL-3534 CSL-3536 LARC HALL

Session 2 9:00-10:30

Collaborations Chair: Lori Burns

Shifting Music Technologies Chair: Rob Toulson

Surround Workshop

BOOK STANDS

Joe Bennett “You Won’t See Me”: In Search of an Epistemology of Collaborative Songwriting

Dragos Chiriac Coping with Loudness

Steve D’Agostino Surround Sound As a Compositional Consideration…

Isabel Campelo, Mike Howlett The “Virtual” Producer in the Recording Studio: Media Networks in Long Distance Peripheral Performances

Brandon Vaccaro, Jeffrey Tackett Shifting Approaches in Music Technology Lab Design Philip J. Chambon

Q: Where’s the song? A: It’s the track stupid!

Pause 10:30-11:00 HALL

Session 3 11:00-12:30

Creative Performances Chair: Simon Zagorski-Thomas

Creative Analysis Chair: Sophie Stévance

Creative Business Chair: Joe Bennett

Katia Isakoff What’s my Motivation? Song Catchers to Song Manufacturers….and Everything in the Middle

Rodolphe Raymond-Champagne A Functional Model for Recorded Music

Robert-Eric Gaskell Designing Professional Analogue Audio Recording Equipment in the 21st Century

Phillip McIntyre, Paul Thompson Rethinking Creative Practice in Record Production and Studio Recording Education: Addressing the Field

Yannick Lapointe Sound Extensity as a Perceived Meta-Parameter and a Creative Resource in Recorded Music

Mike Howlett, Phil Graham Creating New Music Ecologies: QUT’s 100 Songs Project

Stefanos-Agis Kaloterakis Creativity and Home Studios: An In-Depth Study on Recording Artists in Greece

Mei-Ra St-Laurent The Phonographic Transgressive Discourse of Extreme Metal Music

Mark Thorley Crowd Funding and its Potential to Create an Alternative Culture of Production

Lunch 12:30-14:00 LANTISS

Saturday 13 July

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CSL-3532 CSL-3534 CSL-3536 LARC HALL

Plenary 2 14:00-15:30

SIMON ZAGORSKI-THOMAS, AMY BLIER-CARRUTHERS, ALAN WILLIAMS, with guest producer MIKE HOWLETT, “Performance in the Studio: A special presentation about three projects addressing this issue — a UK Arts and Humanities Research Council network, a Visiting Fellowship at the Centre for Musical Performance as Creative Practice and a Royal College of Music initiative” (SHG)

BOOK STANDS

Pause 15:30-16:00 HALL

Session 4 16:00-17:00

Recording Jazz Chair: Isabel Campelo

Recording Intermedia Chair: Alan Williams

Recording (Trans)culture Chair: Mark Mynett

Marian Jago What Is A Jazz Record, Anyway?: Lennie Tristano and the Use of Creative Studio Techniques in Jazz

Amandine Pras, Terri Hron Studio or stage? Exploring issues arising from the recording of mixed electroacoustic music: Bird on a Wire 2: Flocking Patterns case study

Lisa Di Cione Aesthetics of Precariousness: Argentina Production Profiles of Indie Rock Recordings

Darren Mueller Duke Ellington: Live (but Mediated) at Newport 1956

Phillip McIntyre, Bob Davis, Vikrant Kishore The Systems Model of Creativity and Recording Music for Indian Film: A Pilot Study of Music Directors in the Studios of Kerala India

Sophie Stévance, Serge Lacasse Tanya Tagaq in the Studio: Traditional Throat Singing meets Technology

Plenary 3 17:00-18:00 ALBIN ZAK, “‘The Death Rattle of a Laughing Hyena’: Musical Democracy and Its Discontents” (SHG)

Cocktail Buffet 18:00-19:30 FREE COCKTAIL BUFFET (LANTISS)

Plenary 4 Artist Keynote 19:30-21:00

ANDRÉ PERRY (interviewed by Gérald Côté), “The Five Minutes of Magic” (SHG)

Sunday 14 July

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Registration 8:30-9:00 HALL

CSL-3532 CSL-3534 CSL-3536 LARC HALL

Session 5 9:00-10:00

Performing Space Chair: Rob Toulson

Learning/Evaluating Audio Chair: Albin Zak

Studio Ethnography Chair: Gérald Côté

BOOK STANDS

Michael Holland Creative Spaces: Producing Rock and Pop in Non-Studio Environments’

Paul Draper On Critical Listening, Musicianship and the Art of Record Production

Ons Barnat Studio Recording and World Music Making in Central America: The Case of The Garifuna Paranda, From Internationalization to Local Revival

Pat O’Grady Passive Studio-Based Songwriting

Mark Thorley A Three-way Model of Assessment Involving Transatlantic and Employer-engaged Assessment – Project Launch

Waldo Garrido, Guy Morrow Digitising Transcultural Latino: Negotiating Music Industry Expectations of Latin American Migrant Musicians in Australasia Pre-Digital Revolution and Post-Digital Revolution

Pause 10:00-10:30 HALL LARC:

Open doors

Session 6 10:30-12:00

Sonic Aesthetics Chair: Joe Bennett

Stylistic Approaches of Production Chair: Simon Zagorski-Thomas

Alternative Approaches to Production Chair: Katia Isakoff

LARC: Open doors

Justin Morey, Phillip McIntyre The Creative Studio Practice of Contemporary Dance Music Producers

Maria Hanáček, Toby Seay Signature Sounds: Creative Practice at the Crossroads to Modern Music Production

Joshua D. Reiss Towards an Autonomous System for Music Production: A Comparative Study of Knowledge Engineering, Grounded Theory and Machine Learning Approaches

Alexei Michailowsky The “Brazilian Electronica” of César Camargo Mariano and Prisma (1984-7): Hybridization or Tradition?

Mark Mynett Sounds in Silence: Controlling Ambience and Colouration with a Semi-Anechoic Chamber during Contemporary Metal Music Production

Serge Lacasse, Richard Hudon Recording and Mixing Superimposed M-S Layers

Hans T. Zeiner-Henriksen Vintage Instruments and Retro Technology in Popular Music Culture

Aaron Liu-Rosenbaum The Posthuman in the Machine: Seeking Human Agency in 21st Century Recording Studio Practices

Stéphane Rancourt Challenges (and Results) of Being a Producer from/in a Small Town (and the Skills that Can or HAVE to be Developed in that Context for Becoming a Real Professional Producer)

Lunch 12:00-13:30 LANTISS

Sunday 14 July

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CSL-3532 CSL-3534 CSL-3536 LARC HALL

Session 7 13:30-15:00

Remixing IDM Chair: Sophie Stévance

Skype Panel Chair: Mark Mynett

Surround Workshop

BOOK STANDS

Sheena Hyndman No Money, Mo’ Problems: The Role of the Remix in Restructuring Compensation for Producers of Electronic Dance Music

Ilario Meandri 1967: The Year of the “Ambient Machine: Local adaptation of global technologies in the Italian film sound post-production process of the late Sixties Steve D’Agostino

Surround Sound As a Compositional Consideration… (bis)

Anthony Papavassiliou Production Rules Rewritten by Intelligent Dance Music: Study on the Dissemination of an Experimental Way of Creation in Electronic Music Domain

Alex Stevenson The UK Sound: British Hip Hop Production Practice

Serge Lacasse, Gérald Coté “Remixer la chanson québécoise”: An Annual Update

Carlos G. Román, Perfecto Herrera Automatic Description of Music for Analyzing Music Productions: A Study Case in Detecting Mellotron Sounds in Recordings

Pause 15:00-15:30 HALL

Plenary 5 15:30-16:30 MARTHA DE FRANCISCO, “Record Production in the Age of Information” (SHG)

16h30 Final Word SHG

THANKS TO: