Recording studios as museums? Record producers’ perspectives on German rock studios and accounts of their heritage practice
Recording studios are shrouded in mystery. Some have become sites of pilgrimage; other studios have been converted into heritage museums. These practices are driven by city authorities, commercial heritage institutions or music fans. This interview study gives a voice to an understudied group: recor...
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| Veröffentlicht in: | Popular music Jg. 40; H. 1; S. 91 - 113 |
|---|---|
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| Format: | Journal Article |
| Sprache: | Englisch |
| Veröffentlicht: |
Cambridge, UK
Cambridge University Press
01.02.2021
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| ISSN: | 0261-1430, 1474-0095 |
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| Abstract | Recording studios are shrouded in mystery. Some have become sites of pilgrimage; other studios have been converted into heritage museums. These practices are driven by city authorities, commercial heritage institutions or music fans. This interview study gives a voice to an understudied group: record producers and studio owners as the people in charge of popular music creation. Three German rock and metal producers expressed their opinion on the usefulness of studio museums and explained their own heritage practices. Their insights demystify the ‘magical aura’ associated with recording studios, picturing these spaces as places of pressure and anxiety. Hardly convinced of the technologically deterministic ‘magical contamination’ of technical equipment, the producers see little sense in studios as museums. For them, the released record is what counts. To stay in touch with the community and to keep the memory of their work alive, they prefer to use social media. |
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| AbstractList | Recording studios are shrouded in mystery. Some have become sites of pilgrimage; other studios have been converted into heritage museums. These practices are driven by city authorities, commercial heritage institutions or music fans. This interview study gives a voice to an understudied group: record producers and studio owners as the people in charge of popular music creation. Three German rock and metal producers expressed their opinion on the usefulness of studio museums and explained their own heritage practices. Their insights demystify the ‘magical aura’ associated with recording studios, picturing these spaces as places of pressure and anxiety. Hardly convinced of the technologically deterministic ‘magical contamination’ of technical equipment, the producers see little sense in studios as museums. For them, the released record is what counts. To stay in touch with the community and to keep the memory of their work alive, they prefer to use social media. |
| Author | Herbst, Jan-Peter |
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| Cites_doi | 10.1017/S0261143016000556 10.29311/mas.v15i1.664 10.1177/1461444814544001 10.1086/209154 10.2148/benv.2005.31.3.192 10.1080/08870449608400256 10.1080/00379810701611936 10.1057/9780230239418_8 10.1017/S026114301400035X 10.21832/9781873150948 10.1177/1749975518762569 10.1068/a3360 10.1080/13527258.2012.750619 10.1177/0306312704047173 10.1558/pomh.v2i2.147 10.1016/j.poetic.2009.09.006 10.1057/9781137271549 10.1177/1367549413491721 10.1177/1367877916637150 10.1080/09298215.2010.494199 10.1080/19401159.2017.1341368 |
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| Copyright | Copyright © The Author(s), 2021. Published by Cambridge University Press Copyright © The Author(s), 2021. Published by Cambridge University Press. This work is licensed under the Creative Commons Attribution License http://creativecommons.org/licenses/by/4.0/ (the “License”). Notwithstanding the ProQuest Terms and Conditions, you may use this content in accordance with the terms of the License. |
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| Title | Recording studios as museums? Record producers’ perspectives on German rock studios and accounts of their heritage practice |
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