With a truly international perspective, the The Art of Record Production sought to encourage and build on the natural synergy between professional practitioners and researchers to study the theory and practice of record production with reference to creative, technical and business interests. Comprising a mixture of seminars, industry panels and the presentation of some 32 key discussion and research papers, this inaugural two-day event afforded a rare opportunity to hear from key researchers and some of the industry's sharpest and most innovative players. The diverse range of topics under discussion

  • innovative practice of producers from John Culshaw's classical recordings in the 1950s to Timbaland's current work with Jay-Z;
  • how women producers work in this male dominated industry;
  • From the British vs. American 'sounds' of the 60s and 70s to Portuguese Fado and Vraja in northern India - studies of production techniques in differing musical genres and cultures;
  • Classical to pop - the producer as a key creative figure;
  • The milestone changes in production techniques and technology - what degree of influence have engineers and producers had on product development?

Has the recording replaced the score as the compositional output and what effect has this had on the role of the producer and on intellectual ownership? Drawing from industry, research and academia alike, speakers so far confirmed incl. Muff Winwood, Evan Eisenberg, Pip Williams, Mike Howlett, Goldie (tbc), Ted Fletcher, Tom Frederikse, Prof. Francis Rumsey, Dave Laing, Simon Frith, Michael Hass, Prof. Allan Moore (Surrey University), Albin Zak (Albany University, NY) Andrew Blake (King Alfred's College, Winchester), Paschall de Paor (Glamorgan University), Serge Lacasse (Montreal University), Tim Day (British Library Sound Archive), Colin Lawson (Royal College of Music), Paul Theberge (Carleton University, Ottowa). Industry support for the conference is growing daily, and so far has the backing of from the Music Producers Guild, the APRS, the Music Managers Forum, Apple, HHB, SPL, Apogee and Sonic Distribution.

A special event produced by the Music Producers Guild took place at the Apple store on the evening of Sat. 17 Sept

Invited speakers included

:Robin Millar Muff Winwood Pip Williams
Tom Frederikse Ted Fletcher Michael Haas

Simon Frith Allan Moore Colin Lawson Albin Zak
Paul Theberge Francis Rumsey Fran Nevrkla

Towards a Musicology of Production From the 1812 Overture to Eminem's Encore

How and why should we study record production? How has the role of the producer developed artistically from documenting a live performance to creatively re-constructing that performance?
What is the producer's place in the wider history of recorded music?

Transparency and Distortion Lo-fi on the hi-fi

What do we mean by recording quality? Is clarity more important than realism and if so how and why do we deploy technology to 'clean-up' recordings? Why do we seem to enjoy certain types of distortion and 'noise'?

Recording and Authenticity Live for one night only

Does production trickery negate the authenticity of a live recording and do different cultures place different value on this?

Production Techniques and Technology Digital dog bites back

What have been the milestone changes in production techniques and technology across the world, how have they altered the cultural concept of music and how and why have they been proliferated?

Recording Practice Mozart to Mylo to Mali Music

How have recording sessions developed and influenced the distinctive sounds of varying musical genres around the world or are recording techniques more a by-product of wider cultural issues?

What is the Product? What is the Art Object? The genuine ARTicle

How should attitudes differ to the written, performed and recorded versions of a piece of music and how is this affected by the rise of remix culture?

Has the recording process encouraged us to view particular forms of music as definitive?

Production and Perception Now that's what I call music

How do psychological theories relate to the way producers shape recordings do they consciously try to match our emotional states or preconceived notions of 'good music'?