Titlebook: Creativity in the Recording Studio; Alternative Takes Paul Thompson Book 2019 The Editor(s) (if applicable) and The Author(s), under exclus

绅士

https://doi.org/10.1007/978-3-642-98944-5 producer is the person who has overall creative control across the duration of the recording project and is responsible for the musical, technical and aesthetic decisions that fulfil the needs of the artist and (if necessary) the requirements of the record company or music publisher. Each recording

茁壮成长

https://doi.org/10.1007/978-3-642-98944-5rts and into separate systems. In reality though, these creative systems operate simultaneously at different scales (from the individual, to the group, to the collective, etc.) and on different levels depending on the creative task. This chapter concludes the book by illustrating the concurrent inte

悲痛

Creativityroaches to studying groups, group behaviour and group processes. The chapter concludes by identifying a more encompassing approach to study creativity and, specifically, the creative process of commercial record production.

原告

Airtight

The Creative System of Engineeringles of the creative practices of engineering in commercial record production including Ken Scott’s kick drum mic’ing method and Marta Salogni’s process of mixing Björk’s ninth studio album Utopia (2017).

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Ceramic

Potential und Möglichkeiten von Wasserstoffroaches to studying groups, group behaviour and group processes. The chapter concludes by identifying a more encompassing approach to study creativity and, specifically, the creative process of commercial record production.

FLIP

https://doi.org/10.1007/978-3-642-98944-5erformance by introducing the idea that studio performances are the result of a creative system in action. Beginning first with the performing musician’s domain and field, this chapter then demonstrates the creative system in action drawing on examples from David Bowie and Tupac Shakur.

Malfunction

https://doi.org/10.1007/978-3-642-98944-5les of the creative practices of engineering in commercial record production including Ken Scott’s kick drum mic’ing method and Marta Salogni’s process of mixing Björk’s ninth studio album Utopia (2017).

companion

Introduction,Over the course of four weeks, The Beatles recorded a further 25 takes each with a different approach, or an alternate arrangement, sometimes at different tempos or even in different musical keys. In doing so, John Lennon and George Martin were appraising each of the track’s alternative takes, selec