What Constitutes Innovation in Music Production?
Innovation has often been at the core of record production, yet as production has advanced from Fred Gaisberg through the techniques of Musique Concrète to the plethora of possibilities afforded by the present digital age, the opportunities for genuine innovation might now seem limited. This notion is explored by considering the ontology of production with reference to audio examples, forming a chronological thread that highlights pieces commonly perceived as landmark innovations, their technological backdrops, and the recurrence/evolution of effect and aesthetic through successive generations of technology, and ultimately a nexus. The perception, attribution and value of “quality” is another factor, and while this is a separate subject in its own right, some discussion of this better contextualizes the topic.
Click to purchase paper or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $20 for non-members and is free for AES members and E-Library subscribers.
The Engineering Briefs at this Convention were selected on the basis of a submitted synopsis, ensuring that they are of interest to AES members, and are not overly commercial. These briefs have been reproduced from the authors' advance manuscripts, without editing, corrections, or consideration by the Review Board. The AES takes no responsibility for their contents. Paper copies are not available, but any member can freely access these briefs. Members are encouraged to provide comments that enhance their usefulness.