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Home , Max Martin, Overdubbing

The History of Music Production

Richard James Burgess

OXFORD UNIVERSITY PRESS CONTENTS

List of lllustrations xi Preface xiii Introduction 1 1. Beginnings 2 Understanding Sound 2 Toward Recording 3 The 5 The First Producers 12 2. The Acoustic Period 16 Acoustic Recording 16 International Expansion 18 The Third Major Label 19 The Sooys 20 Documentation of Cultural Expression 24 The End of an Era 26 3. The Electric Period 29 Toward Electric Recording 29 Better Sound 30 Country Music 32 Further Technological Foundations 33 The Calm before the Storm 34 The Thirties and Forties 34 Radio, Film, and Tape Innovations 36 4. Economic and Societal Overlay 38 Cyclical Decline 38 One Thing after Another: The Thirties through the War Recovery 40 5. The Studio Is Interactive 42 Toward Greater Control 42 Recording 44 Defining Some Terms 48 49 Contents

Editing 49 Sound on Sound 50 Overdubbing 52 Summing up Tape's Impact 54 The Microgroove LP 54 6. The Post-World War II Reconstruction of the Recording Industry After the War 56 The Boom in Independent Labels 58 TheFifties 61 Radio DJs 64 7. Mobile Music 66 More Music for More People 66 Music Anywhere: Radio on the Move 67 My Music on the Move 69 My Music Anywhere 70 8. Expanding the Palette 73 Electric Instruments and Amplifiers 73 Synthesizers 76 Genre Hybridization 81 9. Some Key Producers 82 The Objective 82 Review of Early Producers 83 Mitch Miller 83 Leiber and Stoller 84 Phil Spector 85 Sam Phillips 87 Steve Sholes 87 Norrie Paramor 88 89 Brian Wilson 90 91 Holland, Dozier, and Holland 92 Teo Macero 92 KingTubby 93 93 94 95 Robert John "Mutt" Lange 96 Dr. Dre 96 Max Martin 97 10. The Sixties and Seventies 98 Cultural and Creative Revolution 98 The Sixties 98 Mix Automation 100 The Seventies 102 11. Toward the Digital Age 104 Digital Recording 104 HipHop 105 The State of the Eighties 106 The Sound of the Eighties 107 The Look of the Eighties 108 Shiny Silver Discs 109 Singles 111 Mixing 111 Dance Music 112 115 Further Eighties Developments 116 Mergers and Acquisitions 118 The Internet and the World Wide Web 119 12. The Nineties 120 The Corporate State 120 The Charts and SoundScan 120 Alternative Rock 121 Toward Music Online 121 Progress with Digitized Data 122 Digital Radio 123 Millenniais 125 Preparing the Way for Napster 125 13. Periods of Standards and Stability 127 Proprietary versus Open Systems 127 Standards 127 14. Deconstructing the Studio 131 Democratizing Technologies 131 Improvised Environments 131 When Is a Home Not a Home? 132 Freedom 132 15. Random Access Recording Technology 134 Why Random Access? 134 The Beginnings of Random Access for Producers 136 Drum Machines, Next Generation Sequencers, and MIDI Contents

The Beginnings of Random Access Digital Recording 143 Convergence and Integration 145

16. Transformative/Disruptive Technologies and the Value of Music Definitions of Terms 147 The Industry at the Turn of the 2Ist Century 147 Missed Opportunity 148 Oh, Wait 149 No Big Surprises 150 What a Great Idea 151 What Happened to Vertical Integration? 151 An Idea Whose Time Had Come 152 Denial and Inaction 153 The Consequences 154 The Digital Disruption and Producer Income 155 Performance Royalties 155 Direct versus Statutory Licenses 157 17. Post-Millennial Business Models 159 159 Downloads 160 Streaming Audio 162 Non-Interactive Streams 163 Streaming on Demand 164 Web 2.0, Social Networking, and Social Media 164 Commonalities 165 18. The Unfinished Work 167 Sampling, Mash-ups, and Remixes 167 Using Records as Raw Material 167 Disco 169 Hip Hop 169 Adapting Compositions 171 Adapting Recordings 171 The Question of Creativity 173 The Question of Legality 174 Conclusion 177

Notes 181 Bibliography 209 About the Author 227 Index 229