What Is the Worth of Pre-DSP Traditional" Production Values in the Contemporary Manipulation-Oriented Context?
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J. Paterson, "What Is the Worth of Pre-DSP Traditional” Production Values in the Contemporary Manipulation-Oriented Context?," Engineering Brief 41, (2012 April.). doi:
J. Paterson, "What Is the Worth of Pre-DSP Traditional” Production Values in the Contemporary Manipulation-Oriented Context?," Engineering Brief 41, (2012 April.). doi:
Abstract: Moorefield’s “illusion of reality” was focused on the perception of authenticity in recordings, something that often continues to concern music producers. Editing techniques have increasingly been applied to move beyond this mimetic reproduction and “re-perform” musical elements, and furthermore, DSP commonly offers such extensive manipulation possibilities that all identifiable components of authenticity might be masked, even subverted, offering “virtual timbres” and revised sonic meaning. Here, editing and processing are considered along with their aesthetic and technical implications, placed in a historical perspective and augmented through the synthesis of contributions from a number of professional producers. Several perspectives are presented, and their tensions considered. The fluxive nature of authenticity will be further revealed in the trajectory toward the “reality of illusion.”
@article{paterson2012what,
author={paterson, justin},
journal={journal of the audio engineering society},
title={what is the worth of pre-dsp traditional” production values in the contemporary manipulation-oriented context?},
year={2012},
volume={},
number={},
pages={},
doi={},
month={april},}
@article{paterson2012what,
author={paterson, justin},
journal={journal of the audio engineering society},
title={what is the worth of pre-dsp traditional” production values in the contemporary manipulation-oriented context?},
year={2012},
volume={},
number={},
pages={},
doi={},
month={april},
abstract={moorefield’s “illusion of reality” was focused on the perception of authenticity in recordings, something that often continues to concern music producers. editing techniques have increasingly been applied to move beyond this mimetic reproduction and “re-perform” musical elements, and furthermore, dsp commonly offers such extensive manipulation possibilities that all identifiable components of authenticity might be masked, even subverted, offering “virtual timbres” and revised sonic meaning. here, editing and processing are considered along with their aesthetic and technical implications, placed in a historical perspective and augmented through the synthesis of contributions from a number of professional producers. several perspectives are presented, and their tensions considered. the fluxive nature of authenticity will be further revealed in the trajectory toward the “reality of illusion.”},}
TY - paper
TI - What Is the Worth of Pre-DSP Traditional” Production Values in the Contemporary Manipulation-Oriented Context?
SP -
EP -
AU - Paterson, Justin
PY - 2012
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - April 2012
TY - paper
TI - What Is the Worth of Pre-DSP Traditional” Production Values in the Contemporary Manipulation-Oriented Context?
SP -
EP -
AU - Paterson, Justin
PY - 2012
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - April 2012
AB - Moorefield’s “illusion of reality” was focused on the perception of authenticity in recordings, something that often continues to concern music producers. Editing techniques have increasingly been applied to move beyond this mimetic reproduction and “re-perform” musical elements, and furthermore, DSP commonly offers such extensive manipulation possibilities that all identifiable components of authenticity might be masked, even subverted, offering “virtual timbres” and revised sonic meaning. Here, editing and processing are considered along with their aesthetic and technical implications, placed in a historical perspective and augmented through the synthesis of contributions from a number of professional producers. Several perspectives are presented, and their tensions considered. The fluxive nature of authenticity will be further revealed in the trajectory toward the “reality of illusion.”
Moorefield’s “illusion of reality” was focused on the perception of authenticity in recordings, something that often continues to concern music producers. Editing techniques have increasingly been applied to move beyond this mimetic reproduction and “re-perform” musical elements, and furthermore, DSP commonly offers such extensive manipulation possibilities that all identifiable components of authenticity might be masked, even subverted, offering “virtual timbres” and revised sonic meaning. Here, editing and processing are considered along with their aesthetic and technical implications, placed in a historical perspective and augmented through the synthesis of contributions from a number of professional producers. Several perspectives are presented, and their tensions considered. The fluxive nature of authenticity will be further revealed in the trajectory toward the “reality of illusion.”
Author:
Paterson, Justin
Affiliation:
London College of Music, University of West London
AES Convention:
132 (April 2012)eBrief:41
Publication Date:
April 26, 2012Import into BibTeX
Permalink:
http://www.aes.org/e-lib/browse.cfm?elib=16596
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