Contemporary music technology affords limitless potential and has changed the way record producer... more Contemporary music technology affords limitless potential and has changed the way record producers need to work with metal music, often employing a far more fragmented approach. This article explores technology’s influence on producing metal records through the lived experiences of seven renowned metal music producers, and it is argued that what can be perceived as traditional production processes are production processes that favour capturing performances, embracing the potential of technology. In contrast, the construction of recorded performances through anticipated uses of technology often embodies innovative production methodologies. There are tensions caused by the anticipated use of technology and the participants highlight that commercial and artistic pressures have informed prescriptive and homogenous production methodologies under the guise of innovation.
The study of the recorded artefact from a musicological perspective continues to unfold through c... more 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.
Contemporary music technology affords limitless potential and has changed the way record producer... more Contemporary music technology affords limitless potential and has changed the way record producers need to work with metal music, often employing a far more fragmented approach. This article explores technology’s influence on producing metal records through the lived experiences of seven renowned metal music producers, and it is argued that what can be perceived as traditional production processes are production processes that favour capturing performances, embracing the potential of technology. In contrast, the construction of recorded performances through anticipated uses of technology often embodies innovative production methodologies. There are tensions caused by the anticipated use of technology and the participants highlight that commercial and artistic pressures have informed prescriptive and homogenous production methodologies under the guise of innovation.
Contemporary music technology affords limitless potential and has changed the way record producer... more Contemporary music technology affords limitless potential and has changed the way record producers need to work with metal music, often employing a far more fragmented approach. This article explores technology’s influence on producing metal records through the lived experiences of seven renowned metal music producers, and it is argued that what can be perceived as traditional production processes are production processes that favour capturing performances, embracing the potential of technology. In contrast, the construction of recorded performances through anticipated uses of technology often embodies innovative production methodologies. There are tensions caused by the anticipated use of technology and the participants highlight that commercial and artistic pressures have informed prescriptive and homogenous production methodologies under the guise of innovation.
The study of the recorded artefact from a musicological perspective continues to unfold through c... more 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.
The development of technology and the resulting influence on a specific genre of recorded music p... more The development of technology and the resulting influence on a specific genre of recorded music provide the central motivation for this thesis. Record production has become an increasingly important part of contemporary musicology, with the recorded artefact being so easily accessible via digital archives. Seminal texts such as: The Art of Music Production (Burgess, 2013); The Cambridge Companion to Recorded Music (Cook, Clarke, Leech-Wilkinson and Rink, 2009); and, The Art of Record Production (Frith and Zagorski-Thomas, 2012), have contributed to the growing research surrounding the Art of record production, complimenting the publications that document the practise and technicalities of record production (Hosken, 2011; Katz, 2007; and Rumsey and McCormick, 2006, for example). This study focuses on the relationship between technology and recorded Heavy Metal (HM) music between 1969 and 2015. Using a semi-structured interview technique, Interpretative Phenomenological Analysis has been used to develop an acute and informed understanding of how recording technology developments have influenced HM music production, through a series of interviews with renowned record producers. These experts were chosen because of their position held within the HM community and the key albums they have produced. Overall, their careers can be delineated between 1969 and 2015 to provide a view of, what could be considered, both a revolutionary and transitory stage for HM music. The anticipated and potential uses of technology were identified as super-ordinate themes through an analysis of the interview data. These larger themes can be sub-divided into subordinate themes, which are (respectively): the impact of expectations, industry and external influences; and the presence of technological dichotomies, affordances and aspirations. The tensions caused by these themes highlighted issues of fragmentation within HM record production. The development of technology has changed the ways in which record producers experience record production, as technological affordances and commercial influences change the recording process. This fragmentation led to the discovery of a possible conceptual shift within record production: performance events are perhaps submissive to performance enhancement. This research provides an understanding of how technology has influenced recorded HM music. This insight is drawn from the experience of those directly involved in its creation. A method for approaching the place of technology in music production is set-out and this could be utilised, or adapted, for further research within music production; it could also be applied more generally to explore technologically influenced creative production in the arts. For example, the use of digital processes in photography has had a similar impact on both the retail and creative industries in the sector; a similar pattern can be seen in the music industry due to relatively inexpensive editing methods compared to earlier analogue procedures. Therefore, a similar study could investigate the working practices of photographers, both within the capture and editing of photographic work. In addition to the transfer or application of this method, a data set has been created that captures the experience of HM music production from a phenomenological perspective, highlighting wider implications for recorded music production more generally.
Contemporary music technology affords limitless potential and has changed the way record producer... more Contemporary music technology affords limitless potential and has changed the way record producers need to work with metal music, often employing a far more fragmented approach. This article explores technology’s influence on producing metal records through the lived experiences of seven renowned metal music producers, and it is argued that what can be perceived as traditional production processes are production processes that favour capturing performances, embracing the potential of technology. In contrast, the construction of recorded performances through anticipated uses of technology often embodies innovative production methodologies. There are tensions caused by the anticipated use of technology and the participants highlight that commercial and artistic pressures have informed prescriptive and homogenous production methodologies under the guise of innovation.
The study of the recorded artefact from a musicological perspective continues to unfold through c... more 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.
Contemporary music technology affords limitless potential and has changed the way record producer... more Contemporary music technology affords limitless potential and has changed the way record producers need to work with metal music, often employing a far more fragmented approach. This article explores technology’s influence on producing metal records through the lived experiences of seven renowned metal music producers, and it is argued that what can be perceived as traditional production processes are production processes that favour capturing performances, embracing the potential of technology. In contrast, the construction of recorded performances through anticipated uses of technology often embodies innovative production methodologies. There are tensions caused by the anticipated use of technology and the participants highlight that commercial and artistic pressures have informed prescriptive and homogenous production methodologies under the guise of innovation.
Contemporary music technology affords limitless potential and has changed the way record producer... more Contemporary music technology affords limitless potential and has changed the way record producers need to work with metal music, often employing a far more fragmented approach. This article explores technology’s influence on producing metal records through the lived experiences of seven renowned metal music producers, and it is argued that what can be perceived as traditional production processes are production processes that favour capturing performances, embracing the potential of technology. In contrast, the construction of recorded performances through anticipated uses of technology often embodies innovative production methodologies. There are tensions caused by the anticipated use of technology and the participants highlight that commercial and artistic pressures have informed prescriptive and homogenous production methodologies under the guise of innovation.
The study of the recorded artefact from a musicological perspective continues to unfold through c... more 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.
The development of technology and the resulting influence on a specific genre of recorded music p... more The development of technology and the resulting influence on a specific genre of recorded music provide the central motivation for this thesis. Record production has become an increasingly important part of contemporary musicology, with the recorded artefact being so easily accessible via digital archives. Seminal texts such as: The Art of Music Production (Burgess, 2013); The Cambridge Companion to Recorded Music (Cook, Clarke, Leech-Wilkinson and Rink, 2009); and, The Art of Record Production (Frith and Zagorski-Thomas, 2012), have contributed to the growing research surrounding the Art of record production, complimenting the publications that document the practise and technicalities of record production (Hosken, 2011; Katz, 2007; and Rumsey and McCormick, 2006, for example). This study focuses on the relationship between technology and recorded Heavy Metal (HM) music between 1969 and 2015. Using a semi-structured interview technique, Interpretative Phenomenological Analysis has been used to develop an acute and informed understanding of how recording technology developments have influenced HM music production, through a series of interviews with renowned record producers. These experts were chosen because of their position held within the HM community and the key albums they have produced. Overall, their careers can be delineated between 1969 and 2015 to provide a view of, what could be considered, both a revolutionary and transitory stage for HM music. The anticipated and potential uses of technology were identified as super-ordinate themes through an analysis of the interview data. These larger themes can be sub-divided into subordinate themes, which are (respectively): the impact of expectations, industry and external influences; and the presence of technological dichotomies, affordances and aspirations. The tensions caused by these themes highlighted issues of fragmentation within HM record production. The development of technology has changed the ways in which record producers experience record production, as technological affordances and commercial influences change the recording process. This fragmentation led to the discovery of a possible conceptual shift within record production: performance events are perhaps submissive to performance enhancement. This research provides an understanding of how technology has influenced recorded HM music. This insight is drawn from the experience of those directly involved in its creation. A method for approaching the place of technology in music production is set-out and this could be utilised, or adapted, for further research within music production; it could also be applied more generally to explore technologically influenced creative production in the arts. For example, the use of digital processes in photography has had a similar impact on both the retail and creative industries in the sector; a similar pattern can be seen in the music industry due to relatively inexpensive editing methods compared to earlier analogue procedures. Therefore, a similar study could investigate the working practices of photographers, both within the capture and editing of photographic work. In addition to the transfer or application of this method, a data set has been created that captures the experience of HM music production from a phenomenological perspective, highlighting wider implications for recorded music production more generally.
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Papers by Niall Thomas
This study focuses on the relationship between technology and recorded Heavy Metal (HM) music between 1969 and 2015. Using a semi-structured interview technique, Interpretative Phenomenological Analysis has been used to develop an acute and informed understanding of how recording technology developments have influenced HM music production, through a series of interviews with renowned record producers. These experts were chosen because of their position held within the HM community and the key albums they have produced. Overall, their careers can be delineated between 1969 and 2015 to provide a view of, what could be considered, both a revolutionary and transitory stage for HM music.
The anticipated and potential uses of technology were identified as super-ordinate themes through an analysis of the interview data. These larger themes can be sub-divided into subordinate themes, which are (respectively): the impact of expectations, industry and external influences; and the presence of technological dichotomies, affordances and aspirations. The tensions caused by these themes highlighted issues of fragmentation within HM record production. The development of technology has changed the ways in which record producers experience record production, as technological affordances and commercial influences change the recording process. This fragmentation led to the discovery of a possible conceptual shift within record production: performance events are perhaps submissive to performance enhancement.
This research provides an understanding of how technology has influenced recorded HM music. This insight is drawn from the experience of those directly involved in its creation. A method for approaching the place of technology in music production is set-out and this could be utilised, or adapted, for further research within music production; it could also be applied more generally to explore technologically influenced creative production in the arts. For example, the use of digital processes in photography has had a similar impact on both the retail and creative industries in the sector; a similar pattern can be seen in the music industry due to relatively inexpensive editing methods compared to earlier analogue procedures. Therefore, a similar study could investigate the working practices of photographers, both within the capture and editing of photographic work. In addition to the transfer or application of this method, a data set has been created that captures the experience of HM music production from a phenomenological perspective, highlighting wider implications for recorded music production more generally.
This study focuses on the relationship between technology and recorded Heavy Metal (HM) music between 1969 and 2015. Using a semi-structured interview technique, Interpretative Phenomenological Analysis has been used to develop an acute and informed understanding of how recording technology developments have influenced HM music production, through a series of interviews with renowned record producers. These experts were chosen because of their position held within the HM community and the key albums they have produced. Overall, their careers can be delineated between 1969 and 2015 to provide a view of, what could be considered, both a revolutionary and transitory stage for HM music.
The anticipated and potential uses of technology were identified as super-ordinate themes through an analysis of the interview data. These larger themes can be sub-divided into subordinate themes, which are (respectively): the impact of expectations, industry and external influences; and the presence of technological dichotomies, affordances and aspirations. The tensions caused by these themes highlighted issues of fragmentation within HM record production. The development of technology has changed the ways in which record producers experience record production, as technological affordances and commercial influences change the recording process. This fragmentation led to the discovery of a possible conceptual shift within record production: performance events are perhaps submissive to performance enhancement.
This research provides an understanding of how technology has influenced recorded HM music. This insight is drawn from the experience of those directly involved in its creation. A method for approaching the place of technology in music production is set-out and this could be utilised, or adapted, for further research within music production; it could also be applied more generally to explore technologically influenced creative production in the arts. For example, the use of digital processes in photography has had a similar impact on both the retail and creative industries in the sector; a similar pattern can be seen in the music industry due to relatively inexpensive editing methods compared to earlier analogue procedures. Therefore, a similar study could investigate the working practices of photographers, both within the capture and editing of photographic work. In addition to the transfer or application of this method, a data set has been created that captures the experience of HM music production from a phenomenological perspective, highlighting wider implications for recorded music production more generally.