No open-access location is known for this record yet.
No open-access location is known for this record yet.
In December 2008, music company EMI announced closure of its Olympic Studios in West London. Following this news, these comments were left on Music Week website: Recorded there on and off for 15 years. Know all staff very well. Is still best in UK and it will be very sad to see it go. It's a shame that music in UK all sounds like it is coming out of a game-boy and there is not enough demand to keep proper live studios open anymore. (personal communication, December, 2008). I am happy to see studios like these closing. They run out dated business models in an industry that has changed rapidly. The past has gone!! Long live new producers and engineers who work from computer based set ups creating great material and at a price that is appealing. (personal communication, December, 2008). The forum where these comments were posted included similar contributions either lamenting Olympic's demise or applauding EMI's decision to close studio. One poster on site ended her contribution by stating: 'My heart will skip a beat now every time I pass that place--the end of an era' (personal communication, December, 2008). As one of four British studios closing in 2008 alone, death of Olympic is indeed indicative of a wider problem facing traditional music recording (Coleman, 2009, para.17). For instance, Chris Gibson traces pressures that have either caused established studios to disappear completely or adapt themselves for other markets (2005, p.193). As indicated by statements at beginning of this paper, Gibson partially attributes this situation to rise of home recording technologies which enable artists to record their music without hiring a studio. This paper will focus on popularity of home recording technologies and their affects upon ways in which music is created. I will investigate how artists are using software and hardware in production of their music and whether use of this technology represents new freedoms in artistic innovation. The case of Olympic captures this moment of transition. In an article for The Independent newspaper's website, journalist Nick Coleman seems to have found a middle ground between studio's detractors and its enthusiasts: Olympic will not be taking its roster of former alumni with it--it is only a building. Jimi Hendrix ... is long gone. And Spice Girls ... and Led Zeppelin ... ought to be further gone than they appear to be ... So we won't be losing any music when Olympic goes, only a small part of music's historical hinterland. Nevertheless, there is something unquestionably sad about news. There is more to a great than machinery. There is what the studio means to musicians; what it means to very sound of music; and what a brings to story of music, as a component in a narrative shaped as much by myth as it is by reality (Coleman, 2009, para.19). This statement introduces key elements that are integral to debate surrounding traditional studio's demise and home recording's growth. To illustrate, in his references to Hendrix and Led Zeppelin, Coleman draws attention to nostalgia that seems to cover up overwhelming difficulties faced by older models of recording in 21st Century. Such changes include technological, economic and social developments which seem to have provided conditions more favourable to home than its predecessor. However, what extract also highlights is that there are certain musical and extra-musical factors that are unique to studios such as Olympic. Such factors provide a welcome complication to argument and it is an area that I will draw upon over course of this work. Having attended a three-day conference as part of Brighton's Great Escape music festival, I found that there was a consensus that home recording technologies were having an impact on ways in which music is created and consumed. …
Loading…
Stored only when both papers are in the corpus — 15 citations exist upstream.
Papers that cite the same references — the relational fallback while embeddings are still backfilling.
Imported from OpenAlex (CC0) — nothing here is generated.