Changing Technology and the Rise of the Canadian Rock Recording Industry by David J. Promane, B. Mus A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfdment of the requirements for the degree of Master of Arts in Canadian Studies Carleton University OTTAWA, Ontario May 17 2006, David Promane Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 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ABSTRACT This thesis examines the development of Canadian sound recording with an emphasis on the technology available and used for recording rock music. This examination focuses, in particular, on the recording methodologies and the evolution of the 'project studio' in northern Ontario. A history of sound recording and the technologies developed within the 'production,' 'project' and 'home recording' studios provides context for this examination. The effectiveness of the project studio in northern Ontario is analyzed by exploring the project studio of Timmins engineer and project studio owner, Greg Vintar. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Table of Co n t e n t s FOREWORD ..............................................................................................Page 03 INTRODUCTION ..............................................................................................Page 04 CHAPTER 1 - The Rise of Sound Recording ..............................................................................................Page 27 CHAPTER 2 - Canadian Studios From 1970 -1990 ..............................................................................................Page 53 CHAPTER 3 - Home Recording and Digital Technology ..............................................................................................Page 77 CHAPTER 4 - Creativity, Process, and Production ..............................................................................................Page 87 CHAPTER 5 - The Life and Times of Greg Vintar ..............................................................................................Page 114 CONCLUSION ..............................................................................................Page 129 APPENDICES Appendix A ..............................................................................................Page 137 Appendix B Page 175 Appendix C Page 184 BIBLIOGRAPHY Page 192 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. FOREWORD Throughout my career as a musician 1 have had the opportunity to perform with and learn from many talented individuals. There are many individuals that I would like to thank for giving me the gift o f music. First and foremost, I would like to thank my brother Barry who has been my musical partner since the beginning. Barry and I started our first rock band at the age of eleven; this marked the beginning of a long, successful partnership in music. Not only have we played on several professional albums as a unit, but we have also earned undergraduate and graduate degrees from the same institutions. Growing up in Timmins, Ontario, I had the privilege of working with a knowledgeable guitar teacher named Steve Clermont. Clermont inspired me through his own actions to push m yself further as a musician and individual. At the age of eleven, Clermont introduced me to Greg Vintar. Vintar was always willing to take time out of his busy schedule to repair my broken equipment and to teach me the basics of audio and electronics. I became fascinated, not only by the technical side of musical equipment, but by Vintar’s knowledge of the music industry itself. Vintar and I began spending countless hours discussing controversial aspects of the music industry and the effects of corporate powers A \f I D iJ ■ P R O M .A NI E on the musician. Vintar was a mentor early in my musical life and continues to be today. As a member of the rock groupStone’s Throw, I was introduced to James Mongeon, an engineer and production company owner. Mongeon became a key member of our touring band acting as our sound tech and tour manager. Mongeon is a knowledgeable individual and has given me insightful information regarding the recording business and digital technology. I would like to thank the following professors for making my learning experience at Carleton University so fulfilling: Elaine Keillor, Bryan Gillingham, Allan Ryan, Deirdre Piper and Stephen Rollins. The following musicians and teachers have been my friends and helped me out whether in basement bands or professional studios: Barry Promane, Dean Grenville, Greg Vintar, James Mongeon, Shaun Brown, Steve Clermont, Ron Spadafore and Philip Candelaria. o - Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I NT'R.O 'D W.C-TI O N CHANGING TECHNGLDGY AND THE RISE DF THE CANADIAN Rdck Recording In d u str y ow has the Canadian rock recording industry evolved? What technologies have Hbeen used to create modem sound recording? As new technologies evolved, were all of these technologies available in all of the regions of Canada, or did the remoteness of certain areas limit their accessibility to technology? How did these new technologies impact musicians, and how did technological limitations affect the sound from a given region? Academia has failed to thoroughly answer these questions as they relate to the evolution of the Canadian recording industry. This thesis will examine the development of Canadian recording with an emphasis on the technology available and used. The focus of this examination in particular will be limited to recording methodologies and the evolution of the project studio in northern Ontario. Although this thesis will be limited to a certain region of Canada, the situation researched will be considered as part of a broader phenomenon. Where would the contemporary music industry be without audio recording? It is safe to say that the music industry as we know it today would entail something very different had not the advent and progression of sound recording continually shaped and defined the musical potentiality of recording artists. Cultural and regional identity, creativity, performativity and performance rituals, political economy, race, gender, and iconicity, are a gambit of intertwined factors, all of which mediate the representation of visual and sonic artifacts, which are endorsed by dissemination. These foundational concepts forgather the contemporary framework of the -4- Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. recording industry as we know it, which is reinforced and harbored by the practice of recording. To this end, audio recording is essential for the promotion and distribution of an artist, whereby rock and popular musicians are promoted internationally through the offices of the media. It can be argued that without the distribution of sound recording, twentieth century artists would have been limited to a small fan base that only could be accumulated through live performance. I would argue that a recorded product enables the listener to re-live the live performance at their own leisure. International recognition has come into being with the innovation of play-back devices, including home/car stereos, and personal media devices (MP3 players, walk-mans, disc- mans). Due to Canada’s geographic diversity, Canadians have been forced to use innovative