program
The Third Annual Art of Record Production Conference
December 10 and 11 2007 | Queensland University of Technology (QUT), Creative Industries Precinct, Kelvin Grove Brisbane, Australia
view / download full program here [pdf]
SOUND RECORDING, NEW TECHNOLOGIES AND NEW CONTEXTS
8.45 am: Welcome
Professor Andy Arthurs
THE BLOCK
9.00am: Paper Presentation
Room B: Z2306
Kalika Doloswala, University of Western Sydney, Australia
Peer to peer, piracy and production – reconciling Ps in the age of digital reproduction
9.00am: Paper Presentation
Room A: Z2205
Becky Shephard, Macquarie University, Australia
Production on the Edge of Nostalgia
9.30am: Paper Presentation
Room B: Z2306
Mat Wall-Smith, Ross Rudesch Harley, and Andrew Murphie – University of New South Wales
LAST FM and the Music Multiverse
9.30am: Paper Presentation
Room B: Z2305
Peter Doyle, Macquarie University, Australia
Technologies of capture: the field recording, the mug shot and the early 20th century global mediascape.
10.00am: Classic Producer 1
MIKE HOWLETT
The Block
Mike Howlett takes us through some of the production techniques and processes he used in producing a string of Top Ten hits throughout his career.
10.30am: Paper Presentation
Room B: Z2306
Justin Morey, Leeds Metropolitan University,UK
The Death of Sampling: Has Litigation destroyed an Art Form
11.15am: KEYNOTE ADDRESS: Professor Julian Knowles with Hank Shocklee
The BLOCK
12.15pm – 1.15pm: LUNCH
1.15pm: Classic Producer 2
HANK SHOCKLEE
The BLOCK
Hank Shocklee takes us through the legendary album Fear of a Black Planet
2.15pm: Paper Presentation
Room B: Z2 306
Michael Bates, University of Sydney, Australia
The Representation of Space in Audio and Audiovisual Works
2.15pm: CLASSIC PRODUCER 3
STEVE D’AGOSTINO
THE BLOCK
3.30pm: Paper Presentation
Room B: Z2 306
Mike Howlett, London College of Music,TVU, UK.
Fixing the Volatile - studio vocal performance techniques
3.30pm: CLASSIC PRODUCER 4
RICHARD LUSH
THE BLOCK
4.00pm: Paper Presentation The Changing Role of the Producer
Room B: Z2 306
Donna Hewitt, Queensland University of Technology, Australia
Women at the Controls: Women producers and the Democratisation of Media.
4.30pm: Networking Drinks
ROOM B: Z2 306
THE CHANGING ROLE OF THE PRODUCER,
Lo-Fi vs Hi-Fi AND RECORDING AS A COMPOSTIONAL PROCESS
9.00AM: Paper Presentation
Room B: Z2 305
Andy Arthurs, Queensland University of Technology, Australia
More Risk – More Control: The evolution of the role of record producer
9.00AM: Paper Presentation
Room A: Z2 306
Peter O’Hare, Forth valley, College, UK.
Steve Albini: In Utero’s Ultra Sound Guy
9.30AM: Paper Presentation
Room B: Z2 306
Hugh Brown and Phil Graham, Queensland University of Technology, Australia
From Garage to Greatness? Reflections on home-studio production experience.
9.30AM: Paper Presentation
Room A: Z2 305
Katia Isakoff, London College of Music, TVU, UK.
What’s going on?
10.00AM: CLASSIC PRODUCER 5
PIP WILLIAMS
The BLOCK
10.00AM: Paper Presentation
Room B: Z2 306
Jonathon Dale, Adelaide University, Australia
Messthetics Is All That We Know: DIY Production and Post-Punk.
10.30AM: Paper Presentation
Sarah Van Doel, Tufts University, USA
Music Meaning and Music Making: The Changing Face of Music Culture in the Digital Age
11.15AM: PANEL DISCUSSION
Towards a Musicology of Record Production
Simon Zagorski-Thomas, Mike Howlett, Ross Harley, Katia Isakoff, Julian Knowles
The BLOCK
12.15PM – 1.15PM: LUNCH
MUSICLAB PRESENTS NEW PROTOOLS DEMONSTRATION IN ROOM B, Z2306 DURING LUNCH
1.15PM: Paper Presentation
Room B: Z2 306
Pip Williams, London College of Music, TVU, UK
Lo- Fi vs Hi-Fi: A Symphony In The Potting Shed!?
1.15PM: CLASSIC PRODUCER 6
TOM ELLARD: THE ILLUSTRATED FAMILY DOCTOR PROJECT
THE BLOCK
1.45PM: Paper Presentation
Room B: Z2 306
Per Dahl, University of Stavanger, Norway
When the performance perforates the idea of a musical work. The transformation of a song by Grieg from the podium to the groove.
2.15PM: Paper Presentation
Room B: Z2 306
Andrew Pleffer, Macquarie University, Australia
I Put a Spell on You:Standards as a product of recorded music culture.
2.15PM: CLASSIC PRODUCER 7
DANIEL DENHOLM
The BlOCK
2.45PM: Paper Presentation
Room B: Z2 306
Steve D’Agostino, London College of Music, TVU, UK
Surround Sound as a Compositional….Consideration
3.30PM: Paper Presentation
Room B: Z2 306
Simon Zagorski-Thomas, London College of Music, TVU, UK
Gesturing Producers and Scratching Musicians.
3.30PM: CLASSIC PRODUCER 8
DAVID TRUMP
THE BLOCK
4.00pm: Paper Presentation
Room B: Z2 306
Phillip McIntyre, University of Newcastle, Australia
Rethinking Creativity: Record Production and the Systems Model.
4.30pm: PANEL DISCUSSION
The BLOCK
The Changing Role of the Producer
Professor Julian Knowles
Panel: Hank Shocklee, Dave Trump, Pip Williams, Steve D’Agostino,Andy Arthur
More than 30 academic papers with Q & A sessions will be presented on the following:
Lo-Fi vs Hi-Fi
The future of the studio and the producer. The association of large studios with large sales and small studios with small sales is no longer a given. How has practice changed? How will it change in the future? What are the roles of the producer, engineer, sound designer, artist, songwriter and performer and to what extent are these still delineated as separate or conflated? What is the place for the professional, the amateur or the pro/am?
Recording as a compositional process
Which comes first, the recording or the performance? A recording is pivotal in the compositional act. To what extent does it drive the process? Has recording demolished the concept of authenticity? To what extent is the recording the modern score?
Sound recording, new technologies and new contexts
For over 50 years recording has not necessarily meant the documentation of a single sound event. Nor is it always merely a linear product such as a song, a symphony or a film soundtrack. Record producers often need to understand the new contexts in which their work will exist.
Increasingly uses have become more fluid and interactive. Recorded sound is now part of the fabric of games, the internet, emerging media, mobile networks, and live performance.
New aesthetics have emerged in parallel with technical and creative innovations. Is there still a directorial role for a producer to "get the best from the musicians"? Are streaming and downloading our friends or foes? What of the legal issues and initiatives such as Creative Commons?
The art surrounding the art
In a world where no discipline is an island, what is the interaction with, and impact upon record production of videos, CD covers, online spaces and virtual sites?
The Changing Role of the Producer
The evolution of the role of record producer and what the future holds.