f Performing the place: Delineating sonic signatures from recording studio spaces

References

1. Aikin, J. (1981), ‘Brian Eno’, Keyboard, 7, pp. 42–45, http://music.hyperreal.org/artists/brian_eno/interviews/keyb81.html. Accessed 1 October 2025.
   [Google Scholar]
2. American Federation of Musicians (AFM) (2023), Sound Recording Labor Agreement Signatory Packet, New York: AFM, https://www.afm.org/wp-content/uploads/2023/11/Sound-Recording-Labor-Agreement-Signatory-Packet-10.23.pdf. Accessed 20 December 2024.
   [Google Scholar]
3. Attali, J. (1985), Noise: The Political Economy of Music, Manchester: Manchester University Press.
   [Google Scholar]
4. Bates, E. (2012), ‘What studios do’, Journal on the Art of Record Production, 7, https://www.arpjournal.com/asarpwp/what-studios-do/. Accessed 1 October 2025.
   [Google Scholar]
5. Bates, E. and Bennett, S. (2018), ‘The production of music and sound: A multidisciplinary critique’, Critical Approaches to the Production of Music and Sound, pp. 1–21, https://doi.org/10.5040/9781501332074.
   [Google Scholar]
6. Bell, A. P. (2018), Dawn of the DAW: The Studio as Musical Instrument, New York: Oxford University Press.
   [Google Scholar]
7. Bennett, S. (2016), ‘Behind the magical mystery door: History, mythology and the aura of Abbey Road Studios’, Popular Music, 35:3, pp. 396–417, https://doi.org/10.1017/S0261143016000556.
   [Google Scholar]
8. Bennett, S. (2019), Modern Records, Maverick Methods: Technology and Process in Popular Music Record Production 1978–2000, New York: Bloomsbury Academic.
   [Google Scholar]
9. Burgess, R. J. (2013), The Art of Music Production: The Theory and Practice, Oxford: Oxford University Press.
   [Google Scholar]
10. Candy, L. and Edmonds, E. (2018), ‘Practice-based research in the creative arts: Foundations and futures from the front line’, Leonardo, 51:1, pp. 63–69, https://doi.org/10.1162/LEON_a_01471.
    [Google Scholar]
11. Csikszentmihalyi, M. (2002), Flow: The Classic Work on How to Achieve Happiness, rev. ed., London: Rider.
    [Google Scholar]
12. Dant, T. (2005), Materiality and Society, Maidenhead: McGraw-Hill Education.
    [Google Scholar]
13. Dudhwala, F. (2009), ‘What is actor-network theory?’, https://www.academia.edu/download/2711233/What_is_ANT_2009.pdf. Accessed 1 October 2025.
14. Eno, B. (2013), ‘The studio as compositional tool’, in C. Cox and D. Warner (eds), Collected Work: Audio Culture: Readings in Modern Music, 2nd ed., London: Bloomsbury, pp. 127–30.
    [Google Scholar]
15. Gibson, C. (2005), ‘Recording studios: Relational spaces of creativity in the city’, Built Environment, 31:3 pp. 192–207, https://doi.org/10.2148/benv.2005.31.3.192.
    [Google Scholar]
16. Goold, L. (2022), ‘The production of space and the changing character of the recording studio’, Popular Music, 41:2, pp. 238–56, https://doi.org/10.1017/S0261143022000150.
    [Google Scholar]
17. Goold, L. and Graham, P. (2019), ‘The uncertain future of the large-format recording studio’, in J. O. Gullö (ed.), Proceedings of the 2017 Art of Record Production Conference, Stockholm: Royal College of Music, pp. 119–36.
    [Google Scholar]
18. Gray, C. and Malins, J. (2016), Visualizing Research: A Guide to the Research Process in Art and Design, New York and London: Routledge.
    [Google Scholar]
19. Howlett, M. (2012), ‘The record producer as Nexus’, Journal on the Art of Record Production, 6:6, pp. 1–6.
    [Google Scholar]
20. Katz, M. (2012), Groove Music: The Art and Culture of the Hip-Hop DJ, New York: Oxford University Press.
    [Google Scholar]
21. Kealy, E. R. (1990), ‘From craft to art: The case of sound mixers and popular music’, in A. Frith (ed.), On Record: Rock, Pop, and the Written Word, London: Taylor & Francis, Routledge, pp. 207–20.
    [Google Scholar]
22. Latour, B. (1993), We Have Never Been Modern, Cambridge MA: Harvard University Press.
    [Google Scholar]
23. Latour, B. (1996), ‘On actor-network theory: A few clarifications’, Soziale Welt, 47:4, pp. 369–81, http://www.jstor.org/stable/40878163. Accessed 21 August 2025.
    [Google Scholar]
24. Latour, B. (2005), Reassembling the Social: An Introduction to Actor-Network-Theory, Oxford: Oxford University Press.
    [Google Scholar]
25. Law, J. (1992), ‘Notes on the theory of the actor-network: Ordering, strategy, and heterogeneity’, Systems Practice, 5:4, pp. 379–93, https://doi.org/10.1007/BF01059830.
    [Google Scholar]
26. Lefford, M. N. (2015), ‘The sound of coordinated efforts: Music producers, boundary objects and trading zones’, Journal on the Art of Record Production, 10:10, https://www.arpjournal.com/asarpwp/the-sound-of-coordinated-efforts-music-producers-boundary-objects-and-trading-zones/. Accessed 21 August 2025.
    [Google Scholar]
27. Leyshon, A. (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, 41:6, pp. 1309–31, https://doi.org/10.1068/a40352.
    [Google Scholar]
28. Malafouris, L. (2008), ‘At the potter’s wheel: An argument for material agency’, in C. Knappett and L. Malafouris (eds), Material Agency: Towards a Non-Anthropocentric Approach, New York: Springer, pp. 19–36.
    [Google Scholar]
29. McIntyre, P. (2015), ‘Tradition and innovation in creative studio practice: The use of older gear, processes and ideas in conjunction with digital technologies’, Journal on the Art of Record Production, 9, https://www.arpjournal.com/asarpwp/tradition-and-innovation-in-creative-studio-practice-the-use-of-older-gear-processes-and-ideas-in-conjunction-with-digital-technologies/. Accessed 21 August 2025.
    [Google Scholar]
30. Pras, A. and Guastavino, C. (2011), ‘The role of music producers and sound engineers in the current recording context, as perceived by young professionals’, Musicae Scientiae, 15:1, pp. 73–95, https://doi.org/10.1177/1029864910393407.
    [Google Scholar]
31. Schmidt-Horning, S. (2012), ‘The sound of space: Studio as instrument in the era of high fidelity, in F. Simon and Z. Simon (eds), The Art of Record Production, Farnham: Ashgate, pp. 29–42.
    [Google Scholar]
32. Scott, A. J. (1999), ‘The cultural economy: Geography and the creative field’, Media, Culture & Society, 21:6, pp. 807–17, https://doi.org/10.1177/016344399021006006.
    [Google Scholar]
33. Seay, T. (2016), ‘Sonic signatures in record production’, in J. G. Papenburg and H. Schulze (eds), Sound as Popular Culture, Boston, MA: The MIT Press.
    [Google Scholar]
34. Seay, T. (2023), ‘The sound engineer’s creativity: Mediative practices and the recorded artifact’, doctoral thesis, London: Kingston University.
    [Google Scholar]
35. Sheehan, R. (2011), ‘Actor-network theory as a reflexive tool: (Inter)personal relations and relationships in the research process’, Area, 43:3, pp. 336–42, https://doi.org/10.1111/j.1475-4762.2011.01000.x.
    [Google Scholar]
36. Stake, R. E. (2010), Qualitative Research: Studying How Things Work, New York: Guilford Press.
    [Google Scholar]
37. Starman, A. B. (2013), ‘The case study as a type of qualitative research’, Journal of Contemporary Educational Studies/Sodobna Pedagogika, 64:1, pp. 28–43, https://www.researchgate.net/profile/A-Biba-Rebolj-2/publication/265682891_The_case_study_as_a_type_of_qualitative_research/links/54183f560cf25ebee988104c/The-case-study-as-a-type-of-qualitative-research.pdf. Accessed 22 August 2025.
    [Google Scholar]
38. Watson, A. and Ward, J. (2013), ‘Creating the right “vibe”: Emotional labour and musical performance in the recording studio’, Environment & Planning, 45:12, pp. 2904–18, https://doi.org/10.1068/a45619.
    [Google Scholar]
39. Weick, K. E. (1995), Sensemaking in Organizations, Thousand Oaks, CA: Sage Publications.
    [Google Scholar]
40. Zagorski-Thomas, S. (2014), The Musicology of Record Production, Cambridge: Cambridge University Press.
    [Google Scholar]
41. Zak, A. (2009), ‘Getting sounds: The art of sound engineering’, in E. Clarke, N. Cook, D. Leech-Wilkinson and J. Rink (eds), Notes: The Cambridge Companion to Recorded Music, Cambridge: Cambridge University Press, pp. 63–76.
    [Google Scholar]
42. Schmidt-Horning, S. (2013), Chasing Sound: Technology, Culture & the Art of Studio Recording from Edison to the LP, Baltimore, MD: The Johns Hopkins University Press.
    [Google Scholar]
43. Simons, H. (2009), Case Study Research in Practice, Los Angeles, CA: Sage Publications.
    [Google Scholar]
44. Slater, M. and Martin, A. (2012), ‘A conceptual foundation for understanding musico-technological creativity’, Journal of Music, Technology & Education, 5:1, pp. 59–76, https://doi.org/10.1386/jmte.5.1.59_1.
    [Google Scholar]