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Popular Music Production: Rethinking Recording Studio Labels

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  • By Pat O'Grady
  • Source: The Intellect Handbook of Popular Music Methodologies , pp 488-504
  • Publication Date: June 2025
  • DOI: https://doi.org/10.1386/9781835951033_31
  • Language: English
  • Accessibility Summary:  EPUB 3 and pdf file included; compatible with devices and software which can read these formats. Adjustable font size, spacing, contrast, text justification, number of columns (ePUB only). Alternative text for images. Tagged with a logical reading order to assist screen readers. Navigation between in-text citations and reference list, and endnotes and endnote markers.
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References

  1. Abbey Road (n.d.), ‘Audio products’, Abbey Road, https://www.abbeyroad.com/audio-products. Accessed 23 May 2022 .
  2. Adorno, Theodor (1991), The Culture Industry: Selected Essays on Mass Culture, London: Routledge.
    [Google Scholar]
  3. Apogee (n.d.), ‘Make studio-quality recordings anywhere’, Apogee, https://apogeedigital.com/products/mic. Accessed 23 May 2022 .
  4. Apple (n.d.), ‘Add custom chords to GarageBand for iPhone’, Apple, 502https://support.apple.com/en-au/guide/garageband-iphone/chsab9d1c4c/ios. Accessed 23 May 2022 .
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  5. Barthes, Roland (1980), Camera Lucida: Reflections on Photography, New York: Hill and Wang.
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  6. Bennett, Samantha (2012), ‘Endless analogue: Situating vintage technologies in the contemporary recording & production workplace’, Journal of the Art of Record Production, 7, http://arpjournal.com/endless-analogue-situating-vintage-technologies-in-the-contemporary-recording-production-workplace/. Accessed 23 May 2022 .
     [Google Scholar]
  7. Bennett, Samantha (2016), ‘Behind the magical mystery door: History, mythology and the aura of Abbey Road Studios’, Popular Music, 35:3, pp. 396–417.
     [Google Scholar]
  8. Bennett, Samantha (2018), Modern Records, Maverick Methods: Technology and Process in Popular Music Record Production 1978–2000, New York: Bloomsbury Publishing USA.
     [Google Scholar]
  9. Blue Sky Recording Studios (n.d.), ‘Home’, Blue Sky Recording Sudios, https://blueskystudioau.wordpress.com. Accessed 23 May 2022 .
  10. Brown, Lee. B. (2000), ‘Phonography, rock records, and the ontology of recorded music’, The Journal of Aesthetics and Art Criticism, 58:4, pp. 361–72.
     [Google Scholar]
  11. CAAMA (n.d.), ‘Label and studio’, CAAMA, https://www.caamamusic.com.au/about/label-studio/. Accessed 23 May 2022 .
  12. Capitol Studios (n.d.a), ‘Studio Services’, Capitol Studios, https://www.capitolstudios.com/#studio-a Accessed 23 May 2022 .
  13. Capitol Studios (n.d.b), ‘Studio A Equipment’, Capitol Studios, https://www.capitolstudios.com/wp-content/uploads/2015/05/Studio-A-Equipment-3-26-13.pdf. Accessed 23 May 2022 .
  14. Cole, Steven J. (2011), ‘The prosumer and the project studio: The battle for distinction in the field of music recording’, Sociology, 45:3, pp. 447–63.
     [Google Scholar]
  15. Cox Trevor J. (1996), ‘Designing curved diffusers for performance spaces’, Journal of the Audio Engineering: Society, 44:5, pp. 354–64.
     [Google Scholar]
  16. Cunningham, Mark (1999), Good Vibrations, Second Edition: A History of Record Production, London: Sanctuary Publishing.
     [Google Scholar]
  17. Den Tandt, Christophe (2004), ‘From craft to corporate interfacing: Rock musicianship in the age of music television and computer-programmed music’, Popular Music and Society, 27:2, pp. 139–60, https://doi.org/10.1080/03007760410001685804.
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  18. Ellis, Carolyn and Bochner Arthur P . (2000), ‘Autoethnography, personal narrative, reflexivity: Researcher as subject’, in N. K. Denzin and Y. S. Lincoln (eds), Handbook of Qualitative Research, 2nd ed., Thousand Oaks, CA: Sage, pp. 733–68.
     [Google Scholar]
  19. Frith, Simon (1996), Performing Rites: On the Value of Popular Music, Cambridge: Harvard University Press.
     [Google Scholar]
  20. Gracyk, Theodore (1996), Rhythm and Noise: An Aesthetics of Rock, Durham, NC: Duke University Press.
     [Google Scholar]
  21. Leyshon, Andrew (2009), ‘The software slump?: Digital music, the democratisation of technology, and the decline of the recording studio sector within the musical economy’, Environment and Planning A, 41:6, pp. 1309–31.
     [Google Scholar]
  22. Moore, Allan F. (2012), Song Means: Analysing and Interpreting Recorded Popular Song, Surrey: Ashgate.
    [Google Scholar]
  23. Moorefield, Virgil (2005), The Producer as Composer: Shaping the Sounds of Popular Music, Cambridge, MA: The MIT Press.
     [Google Scholar]
  24. O'Grady, Pat (2014), ‘Studio hubs: Changing recording environments’, in J. O'Regan and T. Wren (eds), Communities, Places, Ecologies: International Association for the Study of Popular Music 2013 Australia and New Zealand Chapter Conference Proceedings, Brisbane, 24–26 November, Brisbane: Informit, pp. 103–11.
     [Google Scholar]
  25. O'Grady, Pat (2019), ‘The politics of digitizing analogue recording technologies’, in R. Hepworth-Sawyer , J. Hodgson and M. Marrington (eds), Producing Music, London: Routledge, pp. 119–33.
     [Google Scholar]
  26. O'Grady, Pat (2020), ‘Sound City and music from the outskirts: The de-democratisation of pop music production’, Creative Industries Journal, 14:3, pp. 211–25.
     [Google Scholar]
  27. O'Grady, Pat (2021), ‘Rethinking criticism about lossy compression: Sound fidelity, large-scale production and audio capital in pop music’, Convergence, 27:4, pp. 1075–91.
     [Google Scholar]
  28. Reilly, April (1973), ‘The impact of technology on rhythm “n” blues’, The Black Perspective in Music, 1:2, pp. 136–46.
     [Google Scholar]
  29. Scott, Ken and Owsinski, B. (2012), Abbey Road to Ziggy Stardust: Off-The-Record with the Beatles, Bowie, Elton, and So Much More, New York: Alfred Music Publishing Co., Inc.
     [Google Scholar]
  30. Smith, Caspar Llewellyn and Doward, Jamie (2010), ‘Gorillaz give away their new album made on an iPad’, 25 December, https://www.theguardian.com/music/2010/dec/25/damon-albarn-fall-gorillaz-ipad. Accessed 23 May 2022 .
  31. Sorcinelli, Gino (2016), ‘The Gorillaz made an entire album with an iPad’, Medium, 28 October 2016, https://medium.com/micro-chop/the-gorillaz-made-an-entire-album-with-an-ipad-46cfbd78ee01. Accessed 23 May 2022 .
  32. Studios 301 (n.d.a), ‘About’, Studios 301, https://studios301.com/about/. Accessed 23 May 2022 .
  33. Studios 301 (n.d.b), ‘Studio 1’, Studios 301, https://studios301.com/studios/studio-1/. Accessed 23 May 2022 .
  34. Taylor, Timothy (2001), Strange Sounds: Music Technology and Culture, New York: Routledge.503
     [Google Scholar]
  35. Théberge, Paul (1997), Any Sound You Can Imagine: Making Music/Consuming Technology, Middletown, CT: Wesleyan.
     [Google Scholar]
  36. Théberge, Paul (2004), ‘The network studio historical and technological paths to a new ideal in music making’, Social Studies of Science, 34:5, pp. 759–81, https://doi.org/10.1177/0306312704047173.
    [Google Scholar]
  37. Thorley, Mark (2019), ‘The rise of the remote mix engineer: Technology, expertise, star’, Creative Industries Journal, 12:3, pp. 301–13.
     [Google Scholar]
  38. Vintage King (n.d.), ‘Neve BCM10/2 MKII – 32 Channel’, Vintage King, https://vintageking.com/neve-bcm10-2-mk2-32-channel-recording-console. Accessed 23 May 2022 .
     [Google Scholar]
  39. Waves (n.d.), ‘Abbey Road collection’, Waves, https://www.waves.com/bundles/abbey-road-collection. Accessed 23 May 2022 .
  40. Whiteley, Sheila and Rambarran, Shara (eds) (2016), The Oxford Handbook of Music and Virtuality, New York: Oxford University Press.
     [Google Scholar]
  41. Wilkinson, Matt (2010), ‘Gorillaz reveal iPad apps used on Christmas album The Fall’, NME, 25 December, https://www.nme.com/news/music/gorillaz-69-1294577. Accessed 23 May 2022 .
     [Google Scholar]
  42. Williams, Alan (2010), ‘Pay some attention to the man behind the curtain: Unsung heroes and the canonization of process in the classic albums documentary series’, Journal of Popular Music Studies, 22:2, pp. 166–79.
     [Google Scholar]
  43. Wright, Julian R. (1995), ‘An exact model of acoustic radiation in enclosed spaces’, Journal of the Audio Engineering Society, 43:10, pp. 813–20.
     [Google Scholar]
  44. Zagorski-Thomas, Simon (2014), The Musicology of Record Production, Cambridge: Cambridge University Press.
     [Google Scholar]
  45. Zak, Albin J. (2001), The Poetics of Rock: Cutting Tracks, Making Records, Berkely, CA: University of California Press.
     [Google Scholar]

References

  1. Abbey Road (n.d.), ‘Audio products’, Abbey Road, https://www.abbeyroad.com/audio-products. Accessed 23 May 2022 .
  2. Adorno, Theodor (1991), The Culture Industry: Selected Essays on Mass Culture, London: Routledge.
    [Google Scholar]
  3. Apogee (n.d.), ‘Make studio-quality recordings anywhere’, Apogee, https://apogeedigital.com/products/mic. Accessed 23 May 2022 .
  4. Apple (n.d.), ‘Add custom chords to GarageBand for iPhone’, Apple, 502https://support.apple.com/en-au/guide/garageband-iphone/chsab9d1c4c/ios. Accessed 23 May 2022 .
     [Google Scholar]
  5. Barthes, Roland (1980), Camera Lucida: Reflections on Photography, New York: Hill and Wang.
    [Google Scholar]
  6. Bennett, Samantha (2012), ‘Endless analogue: Situating vintage technologies in the contemporary recording & production workplace’, Journal of the Art of Record Production, 7, http://arpjournal.com/endless-analogue-situating-vintage-technologies-in-the-contemporary-recording-production-workplace/. Accessed 23 May 2022 .
     [Google Scholar]
  7. Bennett, Samantha (2016), ‘Behind the magical mystery door: History, mythology and the aura of Abbey Road Studios’, Popular Music, 35:3, pp. 396–417.
     [Google Scholar]
  8. Bennett, Samantha (2018), Modern Records, Maverick Methods: Technology and Process in Popular Music Record Production 1978–2000, New York: Bloomsbury Publishing USA.
     [Google Scholar]
  9. Blue Sky Recording Studios (n.d.), ‘Home’, Blue Sky Recording Sudios, https://blueskystudioau.wordpress.com. Accessed 23 May 2022 .
  10. Brown, Lee. B. (2000), ‘Phonography, rock records, and the ontology of recorded music’, The Journal of Aesthetics and Art Criticism, 58:4, pp. 361–72.
     [Google Scholar]
  11. CAAMA (n.d.), ‘Label and studio’, CAAMA, https://www.caamamusic.com.au/about/label-studio/. Accessed 23 May 2022 .
  12. Capitol Studios (n.d.a), ‘Studio Services’, Capitol Studios, https://www.capitolstudios.com/#studio-a Accessed 23 May 2022 .
  13. Capitol Studios (n.d.b), ‘Studio A Equipment’, Capitol Studios, https://www.capitolstudios.com/wp-content/uploads/2015/05/Studio-A-Equipment-3-26-13.pdf. Accessed 23 May 2022 .
  14. Cole, Steven J. (2011), ‘The prosumer and the project studio: The battle for distinction in the field of music recording’, Sociology, 45:3, pp. 447–63.
     [Google Scholar]
  15. Cox Trevor J. (1996), ‘Designing curved diffusers for performance spaces’, Journal of the Audio Engineering: Society, 44:5, pp. 354–64.
     [Google Scholar]
  16. Cunningham, Mark (1999), Good Vibrations, Second Edition: A History of Record Production, London: Sanctuary Publishing.
     [Google Scholar]
  17. Den Tandt, Christophe (2004), ‘From craft to corporate interfacing: Rock musicianship in the age of music television and computer-programmed music’, Popular Music and Society, 27:2, pp. 139–60, https://doi.org/10.1080/03007760410001685804.
    [Google Scholar]
  18. Ellis, Carolyn and Bochner Arthur P . (2000), ‘Autoethnography, personal narrative, reflexivity: Researcher as subject’, in N. K. Denzin and Y. S. Lincoln (eds), Handbook of Qualitative Research, 2nd ed., Thousand Oaks, CA: Sage, pp. 733–68.
     [Google Scholar]
  19. Frith, Simon (1996), Performing Rites: On the Value of Popular Music, Cambridge: Harvard University Press.
     [Google Scholar]
  20. Gracyk, Theodore (1996), Rhythm and Noise: An Aesthetics of Rock, Durham, NC: Duke University Press.
     [Google Scholar]
  21. Leyshon, Andrew (2009), ‘The software slump?: Digital music, the democratisation of technology, and the decline of the recording studio sector within the musical economy’, Environment and Planning A, 41:6, pp. 1309–31.
     [Google Scholar]
  22. Moore, Allan F. (2012), Song Means: Analysing and Interpreting Recorded Popular Song, Surrey: Ashgate.
    [Google Scholar]
  23. Moorefield, Virgil (2005), The Producer as Composer: Shaping the Sounds of Popular Music, Cambridge, MA: The MIT Press.
     [Google Scholar]
  24. O'Grady, Pat (2014), ‘Studio hubs: Changing recording environments’, in J. O'Regan and T. Wren (eds), Communities, Places, Ecologies: International Association for the Study of Popular Music 2013 Australia and New Zealand Chapter Conference Proceedings, Brisbane, 24–26 November, Brisbane: Informit, pp. 103–11.
     [Google Scholar]
  25. O'Grady, Pat (2019), ‘The politics of digitizing analogue recording technologies’, in R. Hepworth-Sawyer , J. Hodgson and M. Marrington (eds), Producing Music, London: Routledge, pp. 119–33.
     [Google Scholar]
  26. O'Grady, Pat (2020), ‘Sound City and music from the outskirts: The de-democratisation of pop music production’, Creative Industries Journal, 14:3, pp. 211–25.
     [Google Scholar]
  27. O'Grady, Pat (2021), ‘Rethinking criticism about lossy compression: Sound fidelity, large-scale production and audio capital in pop music’, Convergence, 27:4, pp. 1075–91.
     [Google Scholar]
  28. Reilly, April (1973), ‘The impact of technology on rhythm “n” blues’, The Black Perspective in Music, 1:2, pp. 136–46.
     [Google Scholar]
  29. Scott, Ken and Owsinski, B. (2012), Abbey Road to Ziggy Stardust: Off-The-Record with the Beatles, Bowie, Elton, and So Much More, New York: Alfred Music Publishing Co., Inc.
     [Google Scholar]
  30. Smith, Caspar Llewellyn and Doward, Jamie (2010), ‘Gorillaz give away their new album made on an iPad’, 25 December, https://www.theguardian.com/music/2010/dec/25/damon-albarn-fall-gorillaz-ipad. Accessed 23 May 2022 .
  31. Sorcinelli, Gino (2016), ‘The Gorillaz made an entire album with an iPad’, Medium, 28 October 2016, https://medium.com/micro-chop/the-gorillaz-made-an-entire-album-with-an-ipad-46cfbd78ee01. Accessed 23 May 2022 .
  32. Studios 301 (n.d.a), ‘About’, Studios 301, https://studios301.com/about/. Accessed 23 May 2022 .
  33. Studios 301 (n.d.b), ‘Studio 1’, Studios 301, https://studios301.com/studios/studio-1/. Accessed 23 May 2022 .
  34. Taylor, Timothy (2001), Strange Sounds: Music Technology and Culture, New York: Routledge.503
     [Google Scholar]
  35. Théberge, Paul (1997), Any Sound You Can Imagine: Making Music/Consuming Technology, Middletown, CT: Wesleyan.
     [Google Scholar]
  36. Théberge, Paul (2004), ‘The network studio historical and technological paths to a new ideal in music making’, Social Studies of Science, 34:5, pp. 759–81, https://doi.org/10.1177/0306312704047173.
    [Google Scholar]
  37. Thorley, Mark (2019), ‘The rise of the remote mix engineer: Technology, expertise, star’, Creative Industries Journal, 12:3, pp. 301–13.
     [Google Scholar]
  38. Vintage King (n.d.), ‘Neve BCM10/2 MKII – 32 Channel’, Vintage King, https://vintageking.com/neve-bcm10-2-mk2-32-channel-recording-console. Accessed 23 May 2022 .
     [Google Scholar]
  39. Waves (n.d.), ‘Abbey Road collection’, Waves, https://www.waves.com/bundles/abbey-road-collection. Accessed 23 May 2022 .
  40. Whiteley, Sheila and Rambarran, Shara (eds) (2016), The Oxford Handbook of Music and Virtuality, New York: Oxford University Press.
     [Google Scholar]
  41. Wilkinson, Matt (2010), ‘Gorillaz reveal iPad apps used on Christmas album The Fall’, NME, 25 December, https://www.nme.com/news/music/gorillaz-69-1294577. Accessed 23 May 2022 .
     [Google Scholar]
  42. Williams, Alan (2010), ‘Pay some attention to the man behind the curtain: Unsung heroes and the canonization of process in the classic albums documentary series’, Journal of Popular Music Studies, 22:2, pp. 166–79.
     [Google Scholar]
  43. Wright, Julian R. (1995), ‘An exact model of acoustic radiation in enclosed spaces’, Journal of the Audio Engineering Society, 43:10, pp. 813–20.
     [Google Scholar]
  44. Zagorski-Thomas, Simon (2014), The Musicology of Record Production, Cambridge: Cambridge University Press.
     [Google Scholar]
  45. Zak, Albin J. (2001), The Poetics of Rock: Cutting Tracks, Making Records, Berkely, CA: University of California Press.
     [Google Scholar]

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