The Role Of Recording Studio Technology

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The Role Of Recording Studio Technology

Studio technology has developed drastically over the years and has become ever more vital to the record

producer within the music industry. Different producers make use of studio technology in different

ways, often depending on the style of music that they are producing, their preferred method of

production and the band’s preference of sound.

The development of recording technology has run parallel to a reorientation in popular music

production. The goal of getting a good sound is no different now than it was when the first recordings

were made, but the idea of what a good sound is and how it should be achieved are radically different.

The role of the recording producer in popular music is very important; the producer plays a very big

part in the realisation of a composition by deciding what technology should be used and how to use it.

Interplay between the musician, record producer and engineer is critical to the recording process.

However, what is eventually fixed to tape must first be composed around the limitations of the available

technology. Thus the most direct interactions between music and technology occur during composition

and realisation.

There are a number of record producers who have become famous for their distinctive sound and their

particular techniques and application of varied developments of studio technology. Some producers

take much advantage of the technology available to them, whilst others seem to prefer to employ more

classical techniques of record production, tending to shy away from the increasing practise of digital

studio technology.

Ross Robinson, well known for producing ‘nu-metal’ bands such as ‘Korn’, ‘Deftones’, ‘Limp Bizkit’

and ‘Soulfly’, generates his own distinctive sound. Robinson focuses more on capturing the soul and

spirit of the music that he produces. He does this by resisting the use of digital technology and

continuing to use analogue, stating that ‘the digital realm is very trendy, and it’s not a very permanent

sound, it’s just too synthetic, it doesn’t come from flesh and blood.’ (R. Robinson. Quoted by A.

Pertout. Ross Robinson: The Art of a Record Producer [online]. Available from:

http://www.users.bigpond.com/apertout/Robinson.com. [Accessed 02/06/01].)

Another producer known for his creation of a specific sound is Butch ...

... middle of paper ...

...us Press.

Chanan, M. (1995) Repeated Takes. London. Verso.

Dearing, J. (1989) Making Money Making Music. Ohio, USA. Omnibus Press.

Olsen, E et al. (1999) The Encyclopedia of Record Producers. New York, USA. Billboard Books.

Buskin, R. Butch Vig. Talking Garbage. [online] available from:

http://sospubs.co.uk/sos/199/_articles/mar9//butchvig.html. [accessed 29/05/01]

Passet, R & Joost de Lyser. Richard D. James. [online]. Available from:

http://www.aphextwin.org/reading/bassicg.htm [accessed on 29/05/01]

Pertout, A. Ross Robinson: The Art of a Record Producer [online]. Available from:

http://www.users.bigpond.com/apertout/Robinson.com. [Accessed 02/06/01]

Vincent, S. & Branch, A. Digital Mixing. [online]. Available from:

http://www.futuremusic.co.uk/fm_mmusic.asp?ID=4089. [Accessed 05/06/01]

Wakeham, M. Let's Talk about Record Producers. [Online]. Available from:

http://www.geocities.com/Hollywood/Hills/1293/produce.html [accessed 05/06/01].

Record Producers. [online]. Available from: http://www.grandcentralmusic.com/record_producers.htm

[accessed 29/05/01]

http://www.musicmaker.demon.co.uk/cubasevst.htm

http://www.futuremusic.co.uk/

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