Over the course of audio recording history, we have seen the activity of sound recording widen in scope “from a technical matter to a conceptual and artistic one” (Moorefield 2010) and the producer’s role evolving from technician to “auteur.” For recording practitioners engaged in artistic and commercial industry and discourse, fluency in contemporary and historic sound languages is advantageous This paper seeks to find the best, most practically useful method to describe these characteristics in practice, identify a clear and suitable way to talk about and analyze these uses of communicative timbral gestures, as heard in modern music productions.”
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