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C. Mead, DA. Moffat, and ED. E.. Miranda, "Composing, Recording and Producing with Historical Equipment and Instrument Models," Paper 10432, (2020 October.). doi: C. Mead, DA. Moffat, and ED. E.. Miranda, "Composing, Recording and Producing with Historical Equipment and Instrument Models," Paper 10432, (2020 October.). doi:
Abstract: This paper describes how models were created and employed (as accurately as possible, using available resources), to simulate the recording technology and instruments, available at different points in recorded music history, initially with two models, based on 1955 and 1965. A series of explorative experiments in composing, performing and recording music were conducted with these models, in an effort to understand how the strengths and inherent limitations of the tools available affect both the composition and production process, and also the stylistic identity of the music created. How do influences from different musical genres familiar to the composer, inspire and inform their creative decisions? How much of this influence is dictated by the limitations in the instruments and equipment used?

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author={mead, clive and moffat,dave and miranda, eduardo e.},
journal={journal of the audio engineering society},
title={composing, recording and producing with historical equipment and instrument models},
year={2020},
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month={october},} @article{mead2020composing,,
author={mead, clive and moffat,dave and miranda, eduardo e.},
journal={journal of the audio engineering society},
title={composing, recording and producing with historical equipment and instrument models},
year={2020},
volume={},
number={},
pages={},
doi={},
month={october},
abstract={this paper describes how models were created and employed (as accurately as possible, using available resources), to simulate the recording technology and instruments, available at different points in recorded music history, initially with two models, based on 1955 and 1965. a series of explorative experiments in composing, performing and recording music were conducted with these models, in an effort to understand how the strengths and inherent limitations of the tools available affect both the composition and production process, and also the stylistic identity of the music created. how do influences from different musical genres familiar to the composer, inspire and inform their creative decisions? how much of this influence is dictated by the limitations in the instruments and equipment used?},}

TY - paper
TI - Composing, Recording and Producing with Historical Equipment and Instrument Models
SP - EP -
AU - Mead, Clive
AU - Moffat,Dave
AU - Miranda, Eduardo E.
PY - 2020
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - October 2020 TY - paper
TI - Composing, Recording and Producing with Historical Equipment and Instrument Models
SP - EP -
AU - Mead, Clive
AU - Moffat,Dave
AU - Miranda, Eduardo E.
PY - 2020
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - October 2020
AB - This paper describes how models were created and employed (as accurately as possible, using available resources), to simulate the recording technology and instruments, available at different points in recorded music history, initially with two models, based on 1955 and 1965. A series of explorative experiments in composing, performing and recording music were conducted with these models, in an effort to understand how the strengths and inherent limitations of the tools available affect both the composition and production process, and also the stylistic identity of the music created. How do influences from different musical genres familiar to the composer, inspire and inform their creative decisions? How much of this influence is dictated by the limitations in the instruments and equipment used?