(EBook PDF) Dawn Of The Daw The Studio As Musical Instrument 1st edition by Adam Patrick Bell 0190296631 9780190296636 full chapters

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ISBN-10 ‏ : ‎ 0190296631 

ISBN-13 ‏ : ‎9780190296636

Author: Adam Patrick Bell 

Dawn ot the DAW tells the story of how the dividing line between the traditional roles of musicians and recording studio personnel (producers, recording engineers, mixing engineers, technicians, etc.) has eroded throughout the latter half of the twentieth century to the present. Whereas those equally adept in music and technology such as Raymond Scott and Les Paul were exceptions to their eras, the millennial music maker is ensconced in a world in which the symbiosis of music and technology is commonplace. As audio production skills such as recording, editing, and mixing are increasingly co-opted by musicians teaching themselves in their do-it-yourself (DIY) recording studios, conventions of how music production is taught and practiced are remixed to reflect this reality. Dawn of the DAW first examines DIY recording practices within the context of recording history from the late nineteenth century to the present. Second, Dawn of the DAW discusses the concept of “the studio as musical instrument” and the role of the producer, detailing how these constructs have evolved throughout the history of recorded music in tandem. Third, Dawn of the DAW details current practices of DIY recording–how recording technologies are incorporated into music making, and how they are learned by DIY studio users in the musically–chic borough of Brooklyn. Finally, Dawn of the DAW examines the broader trends heard throughout, summarizing the different models of learning and approaches to music making. Dawn of the DAW concludes by discussing the ramifications of these new directions for the field of music education.

Dawn Of The Daw: The Studio As Musical Instrument 1st Table of contents:

Part I Do-It-Yourself
1. A History of DIY Recording: Striving for Self-Sufficiency
The Difficulty of Defining DIY
DIY Recording Before Records
Tinfoil Revolutions: The First DIY Audio Recording
Mechanical Recording (Pre-1925)
The Electrical Era (Post-1925)
Les Paul’s Legacy of Overdubbing
Les Paul and the Tale of Tape (Post-1945)
Craft-Union Mode: 30th Street Studio
DIY Recording Post-1945: Sticking to the Tape Mentality
The Escalating Expenses of Equipment and the DIY Hi-Fi/Lo-Fi Dichotomy
Divide-and-Isolate
DIY Hi-Fi and the Multitrack Reel-to-Reel Tape Recorder
DIY Lo-Fi and the Multitrack Cassette Tape Recorder
Digital DIY: ADAT
Space-Less Studios: Dawn of the DAW (1990–Present)
Tracking the Twenty-First-Century DIY-er
2. The Studio: Instrument of the Producer
What Is a Producer?
Instrumentality: The Studio as Musical Instrument
Using the Studio as a Musical Instrument with Others
Early Incarnations of Using the Studio as a Musical Instrument: Elvis, Leiber and Stoller, and Aldon Music
Phil Spector’s “Wall of Sound”
Brian Wilson and the Beach Boys’ Sound
Berry Gordy and the Motown Sound
The Joe Meek Sound
Producing Without Producers
Produced, Arranged, Composed, and Performed by Prince
Brian Eno and In-Studio Composition
Happy Accident #1: Dub and Its Legacy of Privileging Timbre in Production
Tweaking Timbres
Happy Accident #2: Hip-Hop and Its Sampling Legacy
The Contemporary Collaborative Producer: Max Martin
Different But the Same: Conclusions
Part II Made in Brooklyn
Brooklyn: The Cultural Capital of DIY
3. Track 1: Michael
The Car Stereo Classroom: Learning History
Cassette Creativity Since 1977: Self-Led Explorations in Overdubbing
Going Classical
Going Electric and Digital
The Skeuomorphic Advantage: New Technologies, Old Concepts
On the Road . . . Again
Alone at the Kitchen Table: Learning Ableton
Expletives! First Encounters with Ableton
Ready, Aim, Misfire: Clicks of Intent
The Timbre Trail: Tweaking Sounds
Lonely Learning: Conclusions
4. Track 2: Tara
From Scoring Points to Scoring Films: Learning Background
“I Just Learned As I Had To”: Karaoke Composition and Reflexive Recording with Logic
Walking and Writing: Distinguishing the Song from the Recording
Packing Blankets and Piano Tuners: Converting the Home to Studio
Preparation (Saturday and Monday Morning)
Home Studio Headaches
Hypercritical: In Pursuit of the Pristine Piano Performance (Monday Afternoon, Tuesday, and Wednesday)
Finding Faults with Felix
Recording the Piano for “Chesterfield” (Wednesday)
“Trains and Stuff”: Battling Environmental Noise
Felix as Producer? Defining Roles in the Recording Process
Technical Difficulties (Thursday)
Manufacturing Vocal Perfection: Repeated Takes and Comping (Friday)
Technical Details
Self-Consciousness in Recording
“Gotta Hit That”: Singing Perfection
Comping (Saturday)
Ongoing: Shopping for a Mixer
To Be Continued: Conclusions
5. Track 3: Tyler
“Just Learned It From Doing It”: Learning History
“I Would Get Together With Myself”: Making Music with Acid Pro
Technical Tangent #1: Microphone Matters
“I Learned the Hard Way”: Self-Teaching with DAWs
The Cartographic Composer: Mapping a Musical Existence
Autodidacticism and Ableton Live
A Guided Tour Through Tyler’s Bedroom Studio
Technical Tangent #2: Mixing Matters
Stems
The Apple Doesn’t Fall Far from the Social Network: Growing a Fictional Family Tree
Singing Robots
Audio Avatars: Otter, Sumac, and Totem
“This Is Me Watching Me Talking About Me”: Stimulated Recall
Editing MIDI
Equalizing Beats
Making Loops
Shifting Pitch
“If I Can Get Myself Feeling Good About It”: Reflexive Listening
“And That’s It For Now”: Concluding the Session
“Technology is the Reason”: Conclusions
6. Track 4: Jimmy
From Scratching to Picking: Learning History
“I Just Found It So Hard”: Learning to Play the Guitar
Three Hours a Day: Practice
“It Was Never, Never, Never Serious”: Learning the Studio by Osmosis
“I Woke Up With the Melody”: The Making of “Lost and Found”
“Every Day’s a Struggle”: Writing Lyrics
“It Just Happens”: Recording = Songwriting
Finger Drumming
Tracking, Layering, and Tweaking Guitars
Do It Again: Layering Vocals
“Me and Him Have This Synergy”: Mixing with Bill
Analog versus Digital According to Jimmy
Getting Guitar Sounds: Equalizing and Compressing
“I Never Thought I Would Be a Singer”: Vocal Doubling and Processing the Voice
Final Mix?
Recording as Second Nature: Conclusions
Part III Learning Producing | Producing Learning
Going Green: DIY Recording and Informal Learning Strategies
7. Mixing the Multitrack: Cross-Case Analyses
Conceptualizing the Multiple Case Study as a Multitrack Recording
Classifying DIY Studios
DIA Studios
DIWO Studios
Music-Making Models and Digitally Afforded Techniques
The Third Dimension: Breaking from the Horizontal and Vertical Planes
Karaoke Composition and Reflexive Recording
Preset Culture
Undo the Undue
Producer Pedagogies: Acquiring Skills and Know-How
Aural Emulation
Peer-Guided Learning
Self-Teaching
Tape Travails
Domain of the DAW
Immersive Learning and Holistic Learning
Summing the Tracks: Conclusions
8. Mastering the Multitrack: Conclusions
Implications for Music Education
By-Processes: Tacit Learning
Making Waves: Music-Inventing
Forged with Ones and Zeroes: Digital Audio Music-Making Tools
Trial-and-Error Learning: A New Spin on an Old Favorite
Song-Makers: Making as Learning
The Les Paul Legacy of the Producer

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