Skip to content
1981
  1. Home
  2. A-Z Publications
  3. Metal Music Studies
  4. Volume 5, Issue 1
  5. Article
Volume 5, Issue 1
  • ISSN: 2052-3998
  • E-ISSN: 2052-4005

Abstract

Innovations in music technology have the potential to change practices of music making and to contribute to the development of new forms of music. In 2011, a ‘profiling’ technology was released, capable of copying any valve guitar amplifier and shaping every detail of its sound. Many rock and metal guitarists and producers embraced this new technology, and the renowned producer Michael Wagener even claimed it to be ‘the biggest innovation for recording at least for the last fifteen years’. Building on an initial study on the quality and public reception of profiling technology in a metal music context, this article explores the attitudes of metal music producers towards new guitar amplification technologies, their uses thereof, and their conceptions of future music including the role of technological inventions. The findings indicate that although most producers experiment with modern technologies, they regard these as special effects or backup solutions. Traditional guitar sounds and engineering practices are still preferred, partly as a strategy to retain distinction between their established businesses and new enterprises. Developments in music technology are viewed sceptically regarding its positive contribution to future music.

© 2019 Intellect Ltd
Loading

Article metrics loading...

/content/journals/10.1386/mms.5.1.53_1
2019-03-01
2024-09-09
Loading full text...

Full text loading...

References

  1. Auvinen, T.. ( 2016;), ‘ A new breed of home studio producer: Agency and cultural space in contemporary home studio music production. ’, Etnomusikologian vuosikirja, 28, pp. 1–33.
     [Google Scholar]
  2. Bates, E.. ( 2012;), ‘ What studios do. ’, Journal on the Art of Record Production, 7, http://www.arpjournal.com/asarpwp/what-studios-do/. Accessed 12 December 2018.
     [Google Scholar]
  3. Bauerfeind, K.. ( 2017;), interviewed by Jan-Peter Herbst, Mp3-file in the possession of the author. , Grefrath:, 25 July 2017, 136 minutes .
     [Google Scholar]
  4. Bemm, S.. ( 2017;), interviewed by Jan-Peter Herbst, Mp3-file in the possession of the author. , Hagen:, 27 July 2017, 67 minutes .
     [Google Scholar]
  5. Berger, H. M.. ( 1999), Metal, Rock, and Jazz. Perception and Phenomenology of Musical Experience, Hanover:: Wesleyan University Press;.
     [Google Scholar]
  6. Berger, H. M., and Fales, C.. ( 2005;), ‘ “Heaviness” in the perception of heavy metal guitar timbres. The match of perceptual and acoustic features over time. ’, in P. D. Greene, and T. Porcello. (eds), Wired for Sound. Engineering and Technologies in Sonic Cultures, Middletown, CT:: Wesleyan University Press;, pp. 181–97.
     [Google Scholar]
  7. Chanan, M.. ( 1995), Repeated Takes. A Short History of Recording and Its Effects on Music, London:: Verso;.
     [Google Scholar]
  8. Cresswell, J. W.. ( 2003), Research Design. Qualitative, Quantitative and Mixed Methods Approaches, Thousand Oaks, CA:: Sage;.
     [Google Scholar]
  9. Davodowich, D.. ( 2015;), ‘ Kemper profiling amplifier. ’, Music Players.com, http://musicplayers.com/reviews/guitars/2015/0115_Kemper.php. Accessed 11 November 2017.
     [Google Scholar]
  10. Denscombe, M.. ( 2007), The Good Research Guide for Small-Scale Research Projects, Maidenhead:: Open University Press;.
     [Google Scholar]
  11. Eichenberger, D.. ( 2015;), ‘ Giggin without an amp. ’, Seymour Duncan , http://www.seymourduncan.com/blog/tips-and-tricks/gigging-without-an-amp. Accessed 11 November 2017.
  12. Greeves, D.. ( 2012;), ‘ Kemper profiling amplifier. ’, Sound on Sound, April, http://www.soundonsound.com/reviews/kemper-profiling-amplifier. Accessed 11 November 2017.
     [Google Scholar]
  13. Herbst, J.-P.. ( 2016), Die Gitarrenverzerrung in der Rockmusik( The Guitar Distortion in Rock Music), Münster:: Lit;.
     [Google Scholar]
  14. Herbst, J.-P.. ( 2017;), ‘ Historical development, sound aesthetics and production techniques of the distorted electric guitar in metal music. ’, Metal Music Studies, 3:1, pp. 24–46.
     [Google Scholar]
  15. Herbst, J.-P.. ( 2018;), ‘ Heaviness and the electric guitar: Considering the interaction between distortion and harmonic structures. ’, Metal Music Studies, 4:1, pp. 95–113.
     [Google Scholar]
  16. Herbst, J.-P.,, Czedik-Eysenberg, I., and Reuter, C.. ( 2018;), ‘ Guitar profiling technology in metal music production: Public reception, capability, consequences and perspectives. ’, Metal Music Studies, 4:3, pp. 481–506.
     [Google Scholar]
  17. Jones, S.. ( 1992), Rock Formation. Music, Technology, and Mass Communication, Thousand Oaks, CA:: Sage;.
     [Google Scholar]
  18. Kaiser, C.. ( 2017;), ‘ Analog distinction – music production processes and social inequality. ’, Journal on the Art of Record Production, 11, http://www.arpjournal.com/asarpwp/analog-distinction-music-production-processes-and-social-inequality/. Accessed 12 December 2018.
     [Google Scholar]
  19. Kealey, E. R.. ( 1982;), ‘ Conventions and the production of the popular music aesthetic. ’, Journal of Popular Culture, 16:2, pp. 100–15.
     [Google Scholar]
  20. Kemper ( 2016), Kemper Profiling Guide, Kemper , https://www.kemper-amps.com/download/87/Profiling-Guide. Accessed 11 November 2017.
     [Google Scholar]
  21. Kemper, C.. ( 2017;), interviewed by Jan-Peter Herbst, Mp3-file in the possession of the author. , Recklinghausen:, 2 November 2017, 49 minutes .
     [Google Scholar]
  22. Lammert, L.. ( 2017;), interviewed by Jan-Peter Herbst, Mp3-file in the possession of the author. , Lübeck:, 19 June 2011, 40 minutes .
     [Google Scholar]
  23. Levermann, S.. ( 2017;), interviewed by Jan-Peter Herbst, written notes in the possession of the author. , Arnsberg:, 28 June 2017, 32 minutes .
     [Google Scholar]
  24. 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 A, 49, pp. 1309–31.
     [Google Scholar]
  25. Martin, A.. ( 2014;), ‘ The role and working practice of music producers: An interpretative phenomenological analysis. ’, Ph.D. thesis, Hull:: University of Hull;.
     [Google Scholar]
  26. Martinelli, R.. ( 2006;), ‘ Interview: Andy Sneap. ’, Maelstrom, 45, http://www.maelstromzine.com/ezine/interview_iss45_208.php. Accessed 11 November 2017.
     [Google Scholar]
  27. Moore, A. F.. ( 2002;), ‘ Authenticity as authentication. ’, Popular Music, 21:2, pp. 209–23.
     [Google Scholar]
  28. Moorefield, V.. ( 2010), The Producer as Composer. Shaping the Sounds of Popular Music, London:: MIT Press;.
     [Google Scholar]
  29. Mynett, M.. ( 2013;), ‘ Contemporary metal music production. ’, Ph.D. thesis, Huddersfield:: University of Huddersfield;.
     [Google Scholar]
  30. Mynett, M.. ( 2017), Metal Music Manual. Producing, Engineering, Mixing, and Mastering Contemporary Heavy Metal, London:: Routledge;.
     [Google Scholar]
  31. Sneap, A.. ( 2012;), ‘ Kemper profiling amp – artist talk with Andy Sneap. ’, YouTube , https://www.youtube.com/watch?v=Nb1zI6pEu0A. Accessed 11 November 2017.
  32. Spracklen, K.. ( 2018;), ‘ Opeth not metal: Making sense of the symbolic boundary work in the leisure spaces of musicians and fans. ’, International Journal of the Sociology of Leisure, https://doi.org/10.1007/s41978-018-00024-w.
     [Google Scholar]
  33. Taylor, M.. ( 2011;), ‘ Interview: Metal production guru Colin Richardson. ’, Musicradar, 16 March, http://www.musicradar.com/news/guitars/interview-metalproduction-guru-colin-richardson-400260. Accessed 11 November 2017.
     [Google Scholar]
  34. Théberge, P.. ( 1993;), ‘ Consumers of technology. Musical instrument innovations and the musicians’ market. ’, Ph.D. thesis, Montreal:: Concordia University;.
     [Google Scholar]
  35. Théberge, P.. ( 1997), Any Sound You Can Imagine. Making Music/Consuming Technology, Hanover:: Wesleyan University Press;.
     [Google Scholar]
  36. Théberge, P.. ( 2004;), ‘ The network studio: Historical and technological paths to a new ideal in music making. ’, Social Studies of Science, 34:5, pp. 759–81.
     [Google Scholar]
  37. Uimonen, H.. ( 2016;), ‘ Celebrity guitars: Musical instruments as luxury items. ’, Rock Music Studies, 3:3, pp. 1–19.
     [Google Scholar]
  38. Vinnicombe, C.. ( 2012;), ‘ Kemper profiling amp. ’, Guitarist, May, pp. 119–22.
     [Google Scholar]
  39. Wagener, M.. ( 2013;), ‘ Kemper producer talk – Michael Wagener. ’, YouTube , https://www.youtube.com/watch?v=32kBaZFPzHs. Accessed 11 November 2017.
  40. Walser, R.. ( 1993), Running with the Devil. Power, Gender, and Madness in Heavy Metal Music, Hanover:: Wesleyan University Press;.
     [Google Scholar]
  41. Warner, T.. ( 2003), Pop Music – Technology and Creativity. Trevor Horn and the Digital Revolution, Aldershot:: Ashgate;.
     [Google Scholar]
  42. Williams, D.. ( 2015;), ‘ Tracking timbral changes in metal productions from 1990 to 2013. ’, Metal Music Studies, 1:1, pp. 39–68.
     [Google Scholar]
  43. Herbst, J.-P.. ( 2019;), ‘ Old sounds with new technologies? Examining the creative potential of guitar “profiling” technology and the future of metal music from producers” perspectives. ’, Metal Music Studies, 5:1, pp. 53–69, doi: 10.1386/mms.5.1.53_1
     [Google Scholar]
/content/journals/10.1386/mms.5.1.53_1
Loading
Old sounds with new technologies? Examining the creative potential of guitar ‘profiling’ technology and the future of metal music from producers’ perspectives
Metal Music Studies 5, 53 (2019); https://doi.org/10.1386/mms.5.1.53_1
/content/journals/10.1386/mms.5.1.53_1
/content/journals/10.1386/mms.5.1.53_1
Loading

Data & Media loading...

  • Article Type: Article
Keyword(s): competition; democratization; electric guitar; future; metal industry; music producers; music technology; profiling technology

Most Cited Most Cited RSS feed

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error