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Wired for Sound D ENGINEERING and TECHNOLOGIES in SONIC CULTURES

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Wired for Sound D ENGINEERING and TECHNOLOGIES in SONIC CULTURES Wired for Sound d ENGINEERING AND TECHNOLOGIES IN SONIC CULTURES EDITED BY PAUL D. GREENE AND THOMAS PORCELLO WESLEYAN UNIVERSITY PRESS Middletown, CmneGtiGttt published by Wesleym Ufiversity Pras, Middlnown, CT 06459 0 2005 by Wesleyan University Press All rights reserved Printed in the United States of America I I Acknowledgments vii I ! CHAPTER ONE Library of Ca-in-Publicadon Data i Introduction: W~edSound and Sonic Cultures I vied for sound :engineering and technolo$= k sonic Pad D. Greene 1e&ted by Paul D. Gmne andThoma~P0rce~0.-1st ed. 1 p, un. - (Music/cul~~e) CHAPTER TWO Indudes bibliographid references and index. i F Reaching "Overseas": South Afkican Sound Engineers, 0-819$-65164(cloth : alk. paper) - ISBN c-8195-6~17-z i Technology, and Tradition 23 (pbk. : alk paper) Louise Meintjes I. World music-History and criticism. 2. Sowd-&ording reproducing. 3. Ethnorn~icologyI. Gmne, Paul D. B! CHAPTER THREE 11. Porcello, Thomas. III. Series. : t "The Disc Is Not the Avenue": SchismogeneticMimesis t ' in Samba Recording 47 FreWJ.Moehn CHAPTER FOUR \ Nigel Pegnun, "Didjeridu-Friendly Sections," and What Constitutes i an 'Indigenous" CD: An Australian Case Study of Producing 'World Music" Recordings 84 fir1 Neuenfildt CHAPTER FIVE Music Mediated as Live in Austin: Sound, Technology, and Recording Practice 103 ThmPmIlo CHAPTER SIX Media as Social Action: Native American Musicians in the Recording Studio 118 Beverhy Diamond CHAPTER SEVEN Engineering Techno-Hybrid Grooves in Two Indonesian Sound Studlos 138 Jeremy Wallach CHAPTER EIGHT Short-CircuitingPerceptual Systems: Timbre in Ambient and Techno Music 156 G?vmLia Fales e wish to express our gratitude to several individuals and institutions who navc :inspired, facilitated, and supported the development, production, and CHAPTER NINE pub!lication of this book. During the 1999 annual meeting of the Society "Heaviness" in the Perception of Heavy Metal Guitar Timbres: for IEthnomusicology, we convened a panel titled "Sound Engineering as The Match of Perceptual and Acoustic Features over Time 181 .. utural. Production," involving Cornelia Fales, Boden Sandstrom, Jeremy Harris M. Ber~evand Cvrnclia Fah 'dach, and the two editors of this volume. Our discussions on and sur- unding this panel were very stimulating and helpfd, as we drew together CHAPTER TEN and compared ethnographic and cultural perspectives on sound engineer- Mixed Messages: Unsettled Cosmopolitanisms in Nepah Pop 198 ing. We are grateful to the Society for Ethnomusicology, which has not only Paul D. Greene pro1Jided the venues for this and other important panels and forums but ro served more generally as a scholarly network and intellectual home for CHAPTER ELEVEN e development of this volume. It is impossible to mention by name all of The Soundscape of the Radio: EngineeringMoh Song;r e individuals whose insights have contributed to this project. With their and Superculture in Nepal 222 tellectual support it has grown from a five-person panel to a thirteen- In~emarGrandin lapter book. We thank the authors who contributed their findings and sights to this volume. We are grateful not only for their original manu- CHAPTER TWELVE scripts but also for their ongoing efforts and patience throughout the pro- Music and the Rise of Radio in Twenties America: Technological cess of preparing this book for publication. Imperialism, Socialization, and the Transformation of Lntimacy 245 We also thank our home institutions of Pennsylvania State University Timothy D. Taylm and Vassar College, which have provided support on many important lev- els. They have supported us as scholars and researchers, and numerous col- CHAPTER THIRTEEN leagues have offered valuable intellectual guidance. Through our home in- Afterword 269 stitutions we have also benefited from access to library and computer Thomas Pmcello resources that have enabled us to conduct the necessary research and edit- ing work for this volume. List of Contributors 283 We would like to thank Carfax Publishing Company for making it pos- sil ble for us to publish Timothy D. Taylor's "Music and the Rise of Radio in Tl venties America: Technological Imperialism, Socialization, and theTrans- receded it in particular locales, and how have music makers taken ad- age of the numerous possibilities opened up by this technology?These ue important questions to anyone interested in assessing the state of world popular music, and ethnographic inquiry is an effective method for ad- CHAPTER SEVEN hessing them. But it is not enough for researchers to simply document cre- itive uses of recording technology in pamdar locales. Each innovation is I productive intervention in social life that impacts upon the ubiquitous Eqgineerhy Techno-Hybrid @ooves struggles over meaning and power that characterize popular music phe- nomena in general. in Two Indonesian Sound Studios What follows is a brief tour through two very different recording studio facilities in Indonesia: a commercial recording studio complex located in Jakarta and an "undergroundy' recording facihty in Denpasar, Bali. I will focus on practices of what Paul Greene calls "sound engineering:' the tech- Jeremy WallaEh nological manipulation of sound for social strategic ends (1999), paying par- ticular attention to strategies of what I call music "techno-hybridization": that is, using studio technologies to create novel combinations of music el- ements derived from Merent genres. I will suggest that the new music hybrids produced in Indonesian sound studios matter because their intro- The sources of Indonesian popular music are extraordinarily diverse.' duction creates social consequences, both intended and unforeseen. To Middle Eastern pop, American hip-hop, Arnbonese church hymns, Sun- A~monstratethis claim I will discuss some of the responses I encountered danese deguq, British heavy metal, Indian filmsong, Chinese folk music, the introduction of new "techno-hybridn musics in the course of my eth- and Javanesegendhing are but a few of the influences one might detect on a graphic research among Indonesian popular music fans. single cassette. Despite this complexity, the question of where the niusic on an Indonesian popular music cassette "came fiom" has in almost all cases one simple, straightforward answer: it was produced in a recording studio, Remkng and Reimagining Indonesian Modemzity: 601 Studio h.b which most likely was located in Jakarta or another large city. The multitrack recording studio is arguably the most important musical The first studio we wiU visit is the 601 Studio Lab, a multipurpose com- instrument of the last half-century, and its diffusion around the globe has mercial recording complex used to record a variety of popular musics. Our transformed the nature of musical practice and experience for much of the tour will focus on one of the most central and lucrative of these: dunddut world's population. By "multitrack recording studio" I mean a facility that remixes. But first, some background information is in order. Dangdut, an enables the recording of several discrete musical parts successively or si- amalgamation of Indian film music, Middle Eastern pop, western hard multaneously. These parts can then be manipulated, edited, and combined --ck, and disco, is the quintessential Indonesian pop genre. Its two most (mixed), to create a final musical composition in which the presence of each stinctive music features are a propulsive dance rhythm and a mournful, part in the whole is caremy calibrated to achieve maximum aesthetic im- elismatic vocal style that avoids the leaps and histrionics of western pop pact. By materializing sound the multitrack recording studio has trans- ~alladry.Though often a source of laughter and derision among members formed definitions of music itself and given rise to competing discourses of of Indonesia's educated elite, who dismiss it as kampungan (characteristic of sonic aesthetics, musical authenticity, and creativity (Thtberge 1997: 215- backward dagelife), dangdut remains by far the most popular music genre 222; Jones 1992). in Indonesia, with a large and ethnically diverse audience of ordinary In- But exactly how has multitrack studio technology transformed music? donesians young and old. Moreover, a number of Indonesians with whom Has its impact been the same all over the world? How does this new cul- I spoke insisted that members of the middle and upper classes secretly en- tural layer of technomusical practices interact with the cultural elements iyed dangdut music but were unwilling to admit it. In the words of one J. WALLACH / 138 1 Engimkng Techno-Hybrid Grooves / 139 professional dangdut singer, "They say they don't like dangdut, but when {with over one hundred virtual tracks) used for electronic dance music and they hear it they always sway to the music!" My research suggests such creating dance remixes of dangdut songs. The studio also houses state-of- claims are correct, at least in some cases.2 the-art computers used for mastering, sequencing, and graphic design, as Though it is considered backward and provincial by its detractors, dang- well as samplers, synthesizers, ptar amplifiers, and racks fU of electronic dut music is actually quite cosmopolitan in its borrowings from other effects. styles. I have heard dangdut songs that incorporated musical elements fiom All of this technology is not neutral, and the origin of most of the Javanese gamelan, Kemy G-type "jazz" hion, the Balinese kecak dance, equipment in the "developed" world is of some consequence as well. Ray- heavy metal, Latin pop, Mandarin pop, and Hindustani light classical mond, the head engineer of the second-floor digital studio at the time of music. And if this were not sufficiently eclectic, in recent years musicians my first visit, told me of his struggles to learn English so that he could and record producers seeking to engineer profitable new music hybrids understand the technical manuals for the studio's equipment. After spend- have created a number of novel dangdut offshoots, which the Indonesian ing countless hours with an English-Indonesian dictionary, he proudly re- recording industry has grouped together under the label dunjdut My.
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