Episode 31 – The Recording Studio as an Instrument
The Recording Studio as an Instrument: In music production, the recording studio is often treated as a musical instrument when it plays a significant role in the composition of music. Sometimes called “playing the studio”, the approach is typically embodied by artists or producers who favour the creative use of studio technology in record production, as opposed to simply documenting live performances in the studio. Techniques include the incorporation of non-musical sounds, overdubbing, tape edits, sound synthesis, audio signal processing, and combining segmented performances (takes) into a unified whole. We discuss this and more on today’s episode of The Big Note, as well as playing some cracking tracks from local and international artists. Image credits: Photo by toastycake on Freeimages.com
Feed the Fire by Audrey Powne
How to Disappear Completely by Radiohead from Kid A
Synthesise This by Haptics
Telstar by The Tornadoes from Telstar – The Best Of
Greedy Soul by Adam Coad
Melbourne Streets by Helen Townsend from Take It Or Leave It
Isn’t It Nice To Slow Down? by Bec Jean
Beauty and the Beast, Pt. 1 by Daphne Oram from Beauty and the Beast
At Sea by All India Radio & Josh Roydhouse from REALM
No One Receiving by Brian Eno from Before and After Science
Titanic Eight by Dubokaj & Lee “Scratch” Perry from Daydreamflix
You’ve said enough (feat. Elisha Solomon) by Ray Ramon
Thin Lizzy by Harry Coulson’s Rain Dogs from Harry Coulson’s Rain Dogs
Searching by Pieter Nooten and Michael Brook from Sleeps With The Fishes
Little Umbrellas by Frank Zappa from Hot Rats
Pinned Down by Adam Coad
Movement 1 (feat. London Symphony Orchestra) by Floating Points & Pharoah Sanders from Promises (feat. London Symphony Orchestra)