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Historical Development, Sound Aesthetics and Production Techniques of Metal’S Distorted Electric Guitar
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Huddersfield Repository Historical development, sound aesthetics and production techniques of metal’s distorted electric guitar Jan-Peter Herbst Abstract The sound of the distorted electric guitar is particularly important for many metal genres. It contributes to the music’s perception of heaviness, serves as a distinguishing marker, and is crucial for the power of productions. This article aims to extend the research on the distorted metal guitar and on metal music production by combining both fields of interest. By the means of isolated guitar tracks of original metal recordings, 10 tracks in each of the last five decades served as sample for a historical analysis of metal guitar aesthetics including the aspects tuning, loudness, layering and spectral composition. Building upon this insight, an experimental analysis of 287 guitar recordings explored the effectiveness and effect of metal guitar production techniques. The article attempts to provide an empirical ground of the acous- tics of metal guitar production in order to extend the still rare practice-based research and metal-ori- ented production manuals. Keywords: guitar, distortion, heaviness, production, history, aesthetics Introduction With the exception of genres like black metal that explicitly value low-fidelity aesthetics (Ha- gen 2011; Reyes 2013), the powerful effect of many metal genres is based on a high production quality. For achieving the desired heaviness, the sound of the distorted electric guitar is partic- ularly relevant (Mynett 2013). Although the guitar’s relevance as a sonic icon and its function as a distinguishing marker of metal’s genres have not changed in metal history (Walser 1993; Weinstein 2000; Berger and Fales 2005), the specific sound aesthetics of the guitar have varied substantially. -
Production Perspectives of Heavy Metal Record Producers
This article has been accepted for publication in a revised form by Popular Music and end- users may view and download the material for private research and study only. Production Perspectives of Heavy Metal Record Producers Dr Niall Thomas University of Winchester Dr Andrew King University of Hull Abstract The study of the recorded artefact from a musicological perspective continues to unfold through contemporary research. Whilst an understanding of the scientific elements of recorded sound is well documented the exploration of the artistic nature of this endeavour from a production viewpoint is still developing. This study presents an understanding of the phenomenological aspects of Heavy Metal music from the perspective of seven renowned producers working within this genre. Through a series of interviews and subsequent in-depth analysis particular sonic qualities are identified as key within the production of this work: impact; energy; precision; and extremity. A framework is then put forward for understanding sonic elements of recorded Heavy Metal Music. Keywords: recording; Heavy Metal; production; producers; phenomenology Introduction The twenty-first century provides a rich source of creative opportunity through digital technology for practicing musicians to record music. The affordances of the digital revolution have subsequently changed the opportunities for those involved in the creation of such works. Technology enables those who could be described as amateur music makers the opportunity to record music with relative ease. The democratisation of technology has meant that mobile devices can become pocket sized recording studios (Leyshon, 2009), whilst affordable solutions and emulations of previously prohibitively expensive computing and recording technology are readily available via the Internet. -
Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
"THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr. -
Robert Walser Published Titles My Music by Susan D
Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y. -
Production Perspectives of Heavy Metal Record Producers Abstract
Production Perspectives of Heavy Metal Record Producers Dr Niall Thomas University of Winchester – [email protected] Dr Andrew King University of Hull – [email protected] Abstract The study of the recorded artefact from a musicological perspective continues to unfold through contemporary research. Whilst an understanding of the scientific elements of recorded sound is well documented the exploration of the production and the artistic nature of this endeavour is still developing. This article explores phenomenological aspects of producing Heavy Metal music from the perspective of seven renowned producers working within the genre. Through a series of interviews and subsequent in-depth analysis particular sonic qualities are identified as key within the production of this work: impact; energy; precision; and extremity. A conceptual framework is then put forward for understanding the production methodology of recorded Heavy Metal Music, and, how developing technology has influenced the production of the genre. Keywords: recording; Heavy Metal; production; producers; phenomenology Introduction The affordances of digital technology have significantly changed the opportunities for practicing musicians to record music. Technology enables even amateur music makers the opportunity to record music with relative ease. The democratisation of technology has meant that mobile devices can become pocket sized recording studios (Leyshon, 2009), whilst affordable solutions and emulations of prohibitively expensive computing and recording technology are readily available via the Internet. The technology associated with certain aspects of music making is now more widespread and enables a new sense of creative musical freedom; music producers command a limitless array of technological choices. Despite the benefits of the ever-increasing rate of technological development, the recording industry is changing dramatically, and with it, the production perspectives of record producers. -
9781317587255.Pdf
Global Metal Music and Culture This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philos- ophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom and Drone metal, Death metal, and Progressive metal. They interrogate production technologies, sound engi- neering, album artwork and band promotion, logos and merchandising, t-shirt and jewelry design, and the social class and cultural identities of the fan communities that define the global metal music economy and subcul- tural scene. The volume explores how the new academic discipline of metal studies was formed, while also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, social psychology and sociology, as well as those interested in metal communities around the world. Andy R. Brown is Senior Lecturer in Media Communications at Bath Spa University, UK. Karl Spracklen is Professor of Leisure Studies at Leeds Metropolitan Uni- versity, UK. Keith Kahn-Harris is honorary research fellow and associate lecturer at Birkbeck College, UK. -
Culture & Events
CULTURE & EVENTS 1 May 31 – July 5 Strossmartre Saunter up towards the outlet to display their talents and Ida Jakšić’s designs will Stross - Zagreb’s Strossmayer promenade and the old be featured in June. Museum of Arts and Crafts (B-3) Trg romantic Upper Town as spring kicks off yet another season of maršala Tita 10, tel. 488 21 11 this well known spectacle. Visitors can enjoy a feast of cultural June 1 – 31 Miniature Furniture from the Museum of events, entertainment, film, theatre and other programmes. Arts and Crafts Collection Throughout the 17th and 18th Strossmayer promenade (B-2) century, the production of furniture and the ornaments to June – July The Laganiši Cave - A place of life and death go with it was a growing trade. Objects that we classify as Step back in time as a display of results from the excavations being placed on large furniture are called ‘sopramobiles. They made at the Laganiši cave near the town of Oprtalj, which were are miniature in shape and require precision on the artist’s conducted from 2004 until 2007, will be presented. Traces of behalf. Every intricate detail is noted, some are decorated life from the early periods were found inside the cave, dating in bronze as to appear as precious jewels. Craftsmanship from the Stone Age (Neolithic), through to the Bronze Age and was of essence and they had to be perfectionists as can be Antique period. Archeological Museum in Zagreb (C-2) Trg seen here on display. Museum of Arts and Crafts (B-3), N. -
Investigation of Heavy Metal History 1 Вінницький Національний Технічний Університет;
УДК 681.12 В. О. Довгун1 Л. Е. Габрійчук1 INVESTIGATION OF HEAVY METAL HISTORY 1 Вінницький національний технічний університет; Анотація Досліджено причини та особливості виникнення важкого металу як музичного жанру, його вплив на інші жанри та на суспільство вцілому. Також прослідковано, як розвивався та змінювався жанр на протязі часу його існування. Ключові слова: важкий метал, рок, гітара, рок-гурт, гітарне соло. Abstract The reasons and peculiarities of the occurrence of heavy metal as a musical genre, its influence on other genres and on society as a whole are researched. It also traced how the genre evolved and changed over its lifetime. Keywords: heavy metal, rock, guitar, rock band, guitar solo. Introduction Metal(or heavy metal) is a genre of rock music that includes such styles that are virtuosic, powerful, and intense. Heavy metal has roots in blues rock, psychedelic rock, and acid rock and characterized with a thick, massive aggressive sound, highly emphatic beats, extended guitar solos, dense bass-and-drum sound, vigorous vocals, amplified distortion, and overall loudness. Metal developed in the late 1960s and early 1970s, largely in the United Kingdom and now it have millions of fans called "headbangers" or "metalheads". Although early heavy metal bands such as Led Zeppelin, Black Sabbath, and Deep Purple attracted large audiences, they were often critically reviled at the time, a status common throughout the history of the genre. In the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of its blues influence. The New Wave of British Heavy Metal followed in a similar vein, introducing a punk rock sensibility and an increasing emphasis on speed.[3][4] There are a lot of heavy metal festivals worldwide, both touring and stationary, dedicated to heavy metal subgenres and heavy metal itself. -
The Internet Era I MUSC-21600: the Art of Rock Music Prof
The Internet Era I MUSC-21600: The Art of Rock Music Prof. Freeze 5 December 2016 Music Industry in the Internet Era • Rock’s marginalization within popular music • Breakdown of artistic/economic approach • Internet (MP3, Napster, p2p) • Eliminates industry control over distribution • New platforms (iPod, iTunes, streaming) • Re-prioritizes tracks • Pro Tools further empowers DIY-ers • Industry’s responses (so far) • Court cases, focus on baby boomers • Product placement, 360-degree deals, touring Rock in the Internet Era • Many forms of mainstream rock in the 2000s • The rest of the listening list: a non-representative sampling of directions • Nickelback • Traditional approach to music and business lives [7,000,000 albums sold] • “Photograph” (Nickelback, 2005) • Hard rock + Country + Pop • Check out “How You Remind Me of Somewhere” • Linkin Park • Reflects new demographics: Asian-American band members • Exemplifies growing irrelevance of generic boundaries • Enabled by new technology, distribution platforms • “In the End” (Linkin Park, 2000) • Nu metal ( = alt metal = metal + ______ ) • Creed • Breaks down commercial boundaries: Contemporary Christian Music vs. mainstream rock • “Higher” (Creed, 1999) • Grunge (cf. post-grunge) Rock in the Internet Era • Radiohead • Alternative rock as vehicle for musical, economic experimentation • In Rainbows (2007): lavish album and digital download • “Bodysnatchers” (Radiohead, 2007) • Nihilistic punk sensibility, rhythmic drive • Heavy metal guitar orientation (often highly distorted) • Exotic scale and hypnotic repetition • Lyrics seem to link individual helplessness, rock industry • Arcade Fire • The Suburbs (2011): Grammy Award for Best Album of the Year • Is there mainstream and alternative anymore? • Stylistically eclectic • Deals with experience of post-recession suburbs (cf. hip-hop) • “The Suburbs” (Arcade Fire, 2011) • Retro bouncing beat • Gradually thickening of texture, becomes more menacing. -
Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music
Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music Jose M. Garza, Jr. NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.garza.php KEYWORDS: heavy metal, rhythm and meter, time feels, riff, drums, cymbals, popular music, subgenres ABSTRACT: Over the past fifteen years, much of the music-theoretical scholarship on heavy metal has addressed metric processes (Lucas 2019, Capuzzo 2018, Hannan 2018, Lucas 2018, Lennard 2016, Smialek 2008, Pieslak 2007) and the use of the voice (Smialek 2017, Young 2018). A significant portion of the literature deals with the band Meshuggah, but the music of countless artists scaered across manifold subgenres remains unexplored. Widening the focus on such a large repertoire not only helps remedy this issue, but serves to inform one recent music-theoretical topic that relies on a broad stylistic understanding: time feels. To date, scholars have mainly limited the discussion of time feels to the kick and snare drums (e.g., de Clercq 2016), and indeed, these instruments ultimately determine a feel. I argue, however, that different uses of guitar, bass, and cymbals can reinforce, clarify, or contradict the feel laid down by the kick and snare. In this article, I describe several categories of guitar and bass riff types and timekeeping cymbals. I then discuss how their associations with certain time-feel contexts inform further analyses. To this end, I draw from post- millennial metal music in various subgenres including black metal, death metal, doom metal, grindcore, metalcore, progressive metal, sludge metal, and thrash metal. -
Metal Music Since the 1980S
Marrington, Mark ORCID: https://orcid.org/0000-0001-5404-2546 (2017) From DJ to djent- step: Technology and the re-coding of metal music since the 1980s. Metal Music Studies, 3 (2). pp. 251-268. Downloaded from: http://ray.yorksj.ac.uk/id/eprint/2328/ The version presented here may differ from the published version or version of record. If you intend to cite from the work you are advised to consult the publisher's version: http://dx.doi.org/10.1386/mms.3.2.251_1 Research at York St John (RaY) is an institutional repository. It supports the principles of open access by making the research outputs of the University available in digital form. Copyright of the items stored in RaY reside with the authors and/or other copyright owners. Users may access full text items free of charge, and may download a copy for private study or non-commercial research. For further reuse terms, see licence terms governing individual outputs. Institutional Repository Policy Statement RaY Research at the University of York St John For more information please contact RaY at [email protected] Mark Marrington, From DJ to djent-step: Technology and the re-coding of metal music since the 1980s Mark Marrington trained in composition and musicology at the University of Leeds (M.Mus., Ph.D.) and is currently a Senior Lecturer in Music Production at York St John University. He has previously held teaching positions at Leeds College of Music and the University of Leeds (School of Electronic and Electrical Engineering). Mark has published chapters with Cambridge University Press, Bloomsbury Academic, Routledge and Future Technology Press and contributed articles to British Music, Soundboard, the Musical Times and the Journal on the Art of Record Production. -
Universitá Degli Studi Di Milano Facoltà Di Scienze Matematiche, Fisiche E Naturali Dipartimento Di Tecnologie Dell'informazione
UNIVERSITÁ DEGLI STUDI DI MILANO FACOLTÀ DI SCIENZE MATEMATICHE, FISICHE E NATURALI DIPARTIMENTO DI TECNOLOGIE DELL'INFORMAZIONE SCUOLA DI DOTTORATO IN INFORMATICA Settore disciplinare INF/01 TESI DI DOTTORATO DI RICERCA CICLO XXIII SERENDIPITOUS MENTORSHIP IN MUSIC RECOMMENDER SYSTEMS Eugenio Tacchini Relatore: Prof. Ernesto Damiani Direttore della Scuola di Dottorato: Prof. Ernesto Damiani Anno Accademico 2010/2011 II Acknowledgements I would like to thank all the people who helped me during my Ph.D. First of all I would like to thank Prof. Ernesto Damiani, my advisor, not only for his support and the knowledge he imparted to me but also for his capacity of understanding my needs and for having let me follow my passions; thanks also to all the other people of the SESAR Lab, in particular to Paolo Ceravolo and Gabriele Gianini. Thanks to Prof. Domenico Ferrari, who gave me the possibility to work in an inspiring context after my graduation, helping me to understand the direction I had to take. Thanks to Prof. Ken Goldberg for having hosted me in his laboratory, the Berkeley Laboratory for Automation Science and Engineering at the University of California, Berkeley, a place where I learnt a lot; thanks also to all the people of the research group and in particular to Dmitry Berenson and Timmy Siauw for the very fruitful discussions about clustering, path searching and other aspects of my work. Thanks to all the people who accepted to review my work: Prof. Richard Chbeir, Prof. Ken Goldberg, Prof. Przemysław Kazienko, Prof. Ronald Maier and Prof. Robert Tolksdorf. Thanks to 7digital, our media partner for the experimental test, and in particular to Filip Denker.