Applied Recording and Production
An advanced working knowledge of recording, engineering, and production techniques is arguably the single most sort after qualification by music technology employers in both academic and professional arenas (2014 job search research). Although NASM standards for Music Technology: General Programs encompasses a board spectrum of music technological study, it is highly suggested that students of such a program be required to complete an instruction in recording arts course sequence. Applied Recording instruction can be approached from many directions. Which approaches will be dependent upon an institution’s resources and faculty knowledge. However, all students should be knowledgeable and proficient at operating a modern Digital Audio Workstation (DAW).
The audio consumption and dissemination landscape of the 21st century is quickly changing. As reported by Nielsen (U.S. research firm), digital streaming of music is in increase demand and accounts for a substantial amount of commercial music consumption. Thus, as the demand and consumption of digital audio products increases, so too does the necessity for music technologist to be knowledge of digital audio processes. At the minimum, students should be given instruction in DAW operation in at least two major DAW program and be familiar with, and able to define, industry terms.
All current, major DAW programs operate similarly or at the very least, achieve the same results but in different ways. At their root, DAWs enable a user the ability to capture, create, edit, and manipulate recorded or produced sounds. A music technologist with a strong working knowledge of one major DAW should be able to learn the processes of another DAW product fairly quickly and with ease. For instance:
1. Avid ProTools and Apple Logic Pro, perform very similar functions but the locations, appearances, and orders of these functions arranged differently. An advanced user of one of these DAWs, could quickly adapt to use the other. This is the same for many other DAWs.
Each DAW has its own claimed specialty and preferences of one over another general fall onto an individual’s personal preferences. With this being said, it is advised that students be instructed in at least two major DAW products so that they can gain experience in adapting to different user environments.
Applied instruction of recording and production could run simultaneously with an academic recording and/or music technology history course. As students learn the history of recording, they will also be exposed to a variety of techniques. This could be very beneficial to them as artist and assist them in their future careers:
1. As a composer, perhaps the student will want to recreate a particular effect or recording technique for a certain piece.
2. As an engineer, perhaps the student will be required to emulate a particular sound for a piece or film to convey a sense of dating.
3. As a producer, perhaps the student will want to recreate a particular recording technique for an artist or piece of music.
There is a multitude of scenarios where recreating effects of the past may be needed in the career of a music technologist. Instructing students in at least some of the historically significant techniques is recommended.
The audio consumption and dissemination landscape of the 21st century is quickly changing. As reported by Nielsen (U.S. research firm), digital streaming of music is in increase demand and accounts for a substantial amount of commercial music consumption. Thus, as the demand and consumption of digital audio products increases, so too does the necessity for music technologist to be knowledge of digital audio processes. At the minimum, students should be given instruction in DAW operation in at least two major DAW program and be familiar with, and able to define, industry terms.
All current, major DAW programs operate similarly or at the very least, achieve the same results but in different ways. At their root, DAWs enable a user the ability to capture, create, edit, and manipulate recorded or produced sounds. A music technologist with a strong working knowledge of one major DAW should be able to learn the processes of another DAW product fairly quickly and with ease. For instance:
1. Avid ProTools and Apple Logic Pro, perform very similar functions but the locations, appearances, and orders of these functions arranged differently. An advanced user of one of these DAWs, could quickly adapt to use the other. This is the same for many other DAWs.
Each DAW has its own claimed specialty and preferences of one over another general fall onto an individual’s personal preferences. With this being said, it is advised that students be instructed in at least two major DAW products so that they can gain experience in adapting to different user environments.
Applied instruction of recording and production could run simultaneously with an academic recording and/or music technology history course. As students learn the history of recording, they will also be exposed to a variety of techniques. This could be very beneficial to them as artist and assist them in their future careers:
1. As a composer, perhaps the student will want to recreate a particular effect or recording technique for a certain piece.
2. As an engineer, perhaps the student will be required to emulate a particular sound for a piece or film to convey a sense of dating.
3. As a producer, perhaps the student will want to recreate a particular recording technique for an artist or piece of music.
There is a multitude of scenarios where recreating effects of the past may be needed in the career of a music technologist. Instructing students in at least some of the historically significant techniques is recommended.
Recommended Supporting Materials:
- A major Digital Audio Workstation program: ProTools, Logic, Ableton, or Cubase.
- A selection of microphones
- An external audio interface of some kind
- The Art of Music Production by Richard James For the Author's promotional site, click here.