1st assignment

This is how I will be recording my summary's reading" Technostalgia In New Recording Projects By the 198s' Dunedin Sounds" Band the Chills", in the Albany street C24 studio.

This is the audio file of summary reading of Technotalsgia .I find it hard to finish reading it , below is the  complete summary of the article .

This article seeks to provide new insights into the ways that producers of recorded popular music are influenced by and engage with - on both a technical and methodological level – the broader social and cultural discourses that envelope the music and artists they record. 

The creative inspiration of the artist, the technology of the recording studio, and the commercial aspirations of the record company, emphasize that commercial popular music productions are also grounded in highly specific, ideologically oriented discourses(conversation), and that these have a definitive impact on recordings’ sonic characteristics.

 YYY has been employed by the band and their management as live 'front of house' engineer consistently since 2011, and recorded the A-side of the aforementioned(mentioned earlier) 'Molten Gold' single.

 According to Craig Robertson this quest for originality was fuelled by a «cynical attitude to new trends and attitudes» . 

While the production team acknowledged the relationship between the new production and the original version - in terms of the need for both to share certain sonic characteristics - this issue was largely over-ridden by the band's conflicting goals for the production.

These conversations touched on some issues to be negotiated in creating a 'new' version of Pink Frost, and its potential relationship with the production values of the original recording.

They represent a crucial part of a nexus( a connected series ) of pressures that contributed to the occurrence(fact) of what we have described as a series of compromises(a formal document) that define productions processes. If you don’t want to alienate( to make indifferent ) those people, you have to keep some elements about what you have to love about Chills recordings. 

The tracking of the record took place at Albany Street studios at the University of Otago, located in the band’s hometown of Dunedin, between June 7 and 22, 2014. The recording took place in Dunedin for a number of reasons, mainly to do with logistical considerations. 

On the third day of the tracking process Davies and Phillipps arrived at the studio with a large array of highly unconventional and rare instruments from Phillipps’ personal collection. 

These instruments ranged from a collection of children’s toys and shakers, a 1970’s New Zealand made ‘Jansen Transonic’ electronic organ, mandolins, and a Santur. 

Despite their unconventional nature, the band and production team recognized the value of these instruments to the creation of an album that ‘sounds like the Chills’. 

SSL C-200 digital console, connected to both a Pro Tools HDX system and a Studer

24-track tape machine, . The control room houses a modest collection of vintage analogue outboard , 17 and the studio has an extensive collection of both vintage and contemporary microphones. The studio is part of a larger complex housing rehearsal suites, and a number of smaller, digital studios. The most exceptional characteristic of the Albany Street facility is a large live tracking room, which was originally built by Radio New Zealand in the 1960’s . 

Due to its similarities to BBC-designed studios, Phillipps had expressed his attachment to the sound and aesthetic of Albany Street Studios in earlier press interviews see . 

A key characteristic of this method, however, is that it sacrifices some post-production audio manipulability(being manipulated) , which is a notable departure from the primacy ( state of being first in order, ) placed on isolation and digital manipulability in the tracking of ‘Pink Frost 13’. Extensive use was made of room microphones, and the production team endeavoured(  make an effort) to record as many parts as possible in the studio’s main live room.

 Microphones were recorded to discrete(apart) tracks, and their use, both in combination with close microphones, and in many occasions as the sole source of capture, is crucial to the sound of the record. The choice of these microphones, with a smooth but subtle high end, was intended accentuate the size of the room, while avoiding the capture of high-frequency early reflections. 

Figure Three: Drum Mic Array

On occasion(a particular time)  , elements of the drum kit were later replaced with ‘close-mic’d’ samples of drums from the same kit. The lead vocals were also tracked in the same room as the rest of the instruments. 

The use of the same space gives the vocals some cohesion with the rest of the sounds on the record, all of which, with the exception of the electric guitar parts discussed above, carry the early reflectivity of the central recording space with them. 

While we have addressed the production team’s focus on incorporating the natural room ambience on most elements of the production, it should be noted that decisions around the application of artificial reverb also plays a crucial role in The Chills’ production aesthetic. 

Several aspects of the record are heavily edited, and as the tracking process moved towards its conclusion, the workflow became further rationalised. The shift towards this distribution of labour suggests the degree to which time constraints came to impinge upon the stated goals of a communal and collaborative production environment.

This blurring of analogue vintage and digital production methods is most evident in the post-recording treatment of tracks in preparation for mix. This use of analogue tape technology in studio production practices is a considerably more expedient deployment of the technology than those propagated(to caused) in popular contemporary discussion of such techniques. 

Conclusions: The ‘Compromise Aesthetic’

In tracking Silver Bullets, the production team devised a series of strategies in order to negotiate the nexus of production pressures outlined in the introduction. 

In addition to practical and economic considerations, the use of these strategies also constituted a response to pressures articulated in discourse about the band. These were primarily articulated in fan’s response ‘Pink Frost 13’, which we contextualised(to put in action) and extrapolated (to estimate) in ou

Power by YOZOSOFT