Relevant bibliographies by topics / Recording studios

Academic literature on the topic 'Recording studios'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Recording studios"

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Long, Marshall. "Acoustics of Recording Studios." Acoustics Today 9, no. 2 (2013): 8. http://dx.doi.org/10.1121/1.4817483.

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LL. "Bats copy calls in mini recording studios." New Scientist 246, no. 3279 (April 2020): 18. http://dx.doi.org/10.1016/s0262-4079(20)30801-0.

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Case, Alexander U. "Recording studios—Optimized, contrived, and augmented spaces." Journal of the Acoustical Society of America 137, no. 4 (April 2015): 2428. http://dx.doi.org/10.1121/1.4920859.

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Drury, G. M. "Professional video recording: alternatives for broadcast studios." Journal of the Institution of Electronic and Radio Engineers 55, no. 5 (1985): 183. http://dx.doi.org/10.1049/jiere.1985.0054.

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Thompson, Paul, and Brett Lashua. "Producing music, producing myth? Creativity in Recording Studios." IASPM@Journal 6, no. 2 (December 31, 2016): 70–90. http://dx.doi.org/10.5429/2079-3871(2016)v6i2.5en.

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Gibson, Chris. "Recording Studios: Relational Spaces of Creativity in the City." Built Environment 31, no. 3 (September 1, 2005): 192–207. http://dx.doi.org/10.2148/benv.2005.31.3.192.

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Brewer, Roy. "String musicians in the recording studios of Memphis, Tennessee." Popular Music 19, no. 2 (April 2000): 201–15. http://dx.doi.org/10.1017/s0261143000000118.

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ROY BREWERIntroductionFrom the mid-1960s to mid-1970s, Memphis, Tennessee was home of one of the most successful recording industries in the USA and its popular recorded releases began to rival those of Nashville, Los Angeles, New York and Detroit. Solo artists, song writers, session musicians and arrangers became overnight successes and a rebellious and influential upstart recording industry emerged. But the growth was too fast and, fuelled by zealous egos and competition, an infrastructure was never formed resulting in a musical and financial cataclysm from which the Memphis music community has yet to recover. This article is about those classically trained string musicians who were hired to play in the studios of Memphis during that era.
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Jacobs. "The Innovation of Re-Recording in the Hollywood Studios." Film History 24, no. 1 (2012): 5. http://dx.doi.org/10.2979/filmhistory.24.1.5.

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Herbst, Jan-Peter. "Recording studios as museums? Record producers’ perspectives on German rock studios and accounts of their heritage practice." Popular Music 40, no. 1 (February 2021): 91–113. http://dx.doi.org/10.1017/s026114302100009x.

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AbstractRecording studios are shrouded in mystery. Some have become sites of pilgrimage; other studios have been converted into heritage museums. These practices are driven by city authorities, commercial heritage institutions or music fans. This interview study gives a voice to an understudied group: record producers and studio owners as the people in charge of popular music creation. Three German rock and metal producers expressed their opinion on the usefulness of studio museums and explained their own heritage practices. Their insights demystify the ‘magical aura’ associated with recording studios, picturing these spaces as places of pressure and anxiety. Hardly convinced of the technologically deterministic ‘magical contamination’ of technical equipment, the producers see little sense in studios as museums. For them, the released record is what counts. To stay in touch with the community and to keep the memory of their work alive, they prefer to use social media.
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Van Schyndel, A. J. "Digital Voice Indexing for Professional Studios." Journal of Visual Impairment & Blindness 84, no. 10 (December 1990): 516–17. http://dx.doi.org/10.1177/0145482x9008401007.

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A self-contained voice-indexing system using digital recording techniques was developed in 1981 to provide high-quality voice indexing in a studio environment. One goal was to design a simple operating procedure that would not require a technician. A major revision has resulted in a prototype second-generation digital voice indexer. The original design concepts are described, as well as improvements in the new prototype.
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Dissertations / Theses on the topic "Recording studios"

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Wadsworth, Peter James. "Strawberry Recording Studios and the development of recording studios in Britain c.1967-93." Thesis, University of Manchester, 2007. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:86691.

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This thesis studies the development of the British recording studio from the mid-1960s to the early-1990s. Although there are now a growing number of academic studies of popular music they have, so far, largely failed to study the evolving process by which artists were able to reproduce their music for mass distribution. Consequently, this dissertation investigates the image portrayed of the studio and its utilisation and representation by a combination of human, technological and locational factors. The first part of the thesis constructs an overview of the recording studio industry, as based on contemporary trade journals, in order to produce a traditional historical narrative, so far absent from music’s historiography, which provides the framework in which to place more detailed research. The prominence given by the industry to the ‘progress of technology’ is then compared to the public perception of the recording studio, as shown by the extent and content of its inclusion in the popular culture media of the period, both print and film based. How far the process of producing recorded music managed to permeate through the presentation of a music industry that was becoming increasingly reliant on the image and personality of the artists themselves is then analysed. The second part of the thesis is based on Latour’s concept of actor-networks and deconstructs the recording studio into three main components; technology, architecture and the human element within it. Using one particular studio (Strawberry Recording Studios in Stockport) as being representative of the increasing proportion of small independents in the industry, the further deconstruction of these three components into their constitutional networks, provides the key theme of the dissertation. Consequently, studio technology can be viewed not simply in terms of functional machinery in the studio setting (of Latourian ‘black boxes’) but more as a confusing and intrusive element that was developed, shaped and created by the requirements of those in the studio. And, whilst contemporary society has always elevated the status of the performer in the music industry, the human element in the studio can also be shown to comprise the industrial and social interaction between a wide range of support staff, whose roles and importance altered over time, and the artists themselves. Finally, studio buildings were not just backdrops to the work taking place in them but were seen to extend their boundaries and influence beyond their immediate location through their architecture, interior design and geography. In other words, the recording studio might be seen as the combination of a number of fluctuating networks rather than just as a passive element in the production of recorded music. As a result of the content of the subject being studied, this thesis utilises a number of sources that, in Samuel’s terminology, moves the study away from a ‘fetishization’ of the traditional historical archive towards those of ‘unofficial learning’. Given the immediacy of the period being studied, the personal accounts of those involved in the studio, mainly through the use of oral history, form a major part of the research material.
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Lefford, M. Nyssim 1968. "Recording studios without walls : geographically unrestricted music collaboration." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/62095.

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Klepko, John. "Acoustical optimization of control room 'A' at the McGill University Recording Studios." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22439.

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The loudspeaker system and the room interface are the two main components in any listening environment. Research will be conducted focusing on the room component using Control Room 'A' of the McGill University Recording Studio in an attempt to optimize the monitoring situation. The sound field of the room will be broken down and analyzed in both time and frequency domains. The problem areas of the room will be identified and the surfaces altered by means of absorption, reflection and diffusion.
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Watson, John Lawrence, and not supplied. "An investigation into the identification of objective parameters correlating with the subjective functional performance of critical listening rooms." RMIT University. Applied Sciences, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080218.092220.

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The link to subjective parameters and objective parameters in the field of room acoustics has been the source of much research. This thesis surveys some of the available objective room acoustical analysis methods, quantify their advantages and disadvantages with respect to the measurement of acoustical qualities of professionally operated critical listing rooms, and implements these methods in a range of critical listening rooms. In conjunction with the objective room analysis, a subjective component of research was also performed. A series of anechoically recorded standard instrument sounds were presented to professional listeners in their critical listening spaces with the listeners asked to alter the sounds to taste: to
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Jackson, Christophe E. "Construction and characterization of a portable sound booth for onsite voice recording /." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2010r/jackson.pdf.

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Thesis (M.S.)--University of Alabama at Birmingham, 2009.
Title from PDF t.p. (viewed June 30, 2010). Additional advisors: Stephen A. Watts, Paul A. Richardson, John T. Tarvin. Includes bibliographical references (p. 36-38).
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Meynell, Anthony. "How recording studios used technology to invoke the psychedelic experience : the difference in staging techniques in British and American recordings in the late 1960s." Thesis, University of West London, 2017. https://repository.uwl.ac.uk/id/eprint/3837/.

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This thesis focuses on a time in the mid-1960s where practice in the studio changed from a formal arena where previously rehearsed songs were recorded, to a playground where sonic possibilities were explored and sound manipulation became normal practice. This abuse of technology and manipulation of reality became part of the creative process in the studio, providing soundscapes that resonated with the counter-cultural ethos of upsetting the established order, and were adopted by the mainstream during the 1967 ‘Summer of Love”. Following a discussion of current literature, practice as research is applied to demonstrate how interaction with historical technology reveals the performative nature of the tacit knowledge that created many of the aural effects under consideration. The research then focuses through the prism of two case studies, “Eight Miles High” recorded by The Byrds in Los Angeles in January 1966, and “Rain”, recorded by The Beatles in London in April 1966. Through re-enactment of these historical recording sessions, I recreate the closed envirnment of the 1960’s recording studio. By interacting with historical technology and following a similar structure to the original sessions, I investigate how the methodology was influenced by collaborative actions, situational awareness and the demarcation of roles. Post session video analysis reveals the flow of decision making as the sessions unfold, and how interaction with the technological constraints recreates ‘forgotten’ techniques that were deemed everyday practice at the time and were vital to the outcome of the soundscapes. The thesis combines theory and practice to develop an understanding of how the engineers interacted with technology (Polanyi, 1966), often abusing the equipment to create manipulated soundscapes (Akrich and Latour, 1992), and how the sessions responded to musicians demanding innovation and experimentation, circumventing the constraints of established networks of practice (Law and Callon, 1986) during the flow of the recording session (Ingold, 2013).
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Watson, Allan. "Sound practice : a relational economic geography of music production in and beyond the recording studio." Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10432.

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This thesis develops a relational geography perspective on creative work and practice, with a specific focus on the recording studio sector. Drawing on an extensive social network analysis, a questionnaire survey, and nineteen semi-structured interviews with recording studio engineers and producers in London (UK), the thesis reveals how recording studios are constituted by a number of types of relations. Firstly, studios are spaces that involve a material and technological relationality between studio workers and varied means of production. Studios are material and technological spaces that influence and shape human actions and social inter-actions. Secondly, studios are sites of relationality between social actors, including engineers, musicians and artists. The thesis reveals how the ability to construct and maintain social relations, and perform emotional labour , is of particular importance to the management of the creative process of producing and recording music, and to building the individual social capital of studio workers. Finally, the thesis argues that studios are sites of changing employment relations between studio workers and studio as employer. In the recording studio sector, a complex and changing set of employment practices have re-defined the relationship between employee and employer and resulted in a set of employment relations characterised by constant employment uncertainty for freelance studio workers. It is argued that the three types of relations revealed in this thesis, manifest at a multiplicity of geographical scales, construct recording studios as distinctive social and economic creative spaces. In conclusion, it is argued that a relational perspective is central to progressing geographical accounts of creative work and of project-based industries in general.
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Olson, Ted. "Recording Review of Charlie Poole with The Highlanders: Complete Recordings." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1165.

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Olson, Ted. "Recording Review of Parchman Farm: Photographs and Field Recordings, 1947-55." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1169.

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Olson, Ted. "Recording Review of Folksongs of Another America: Field Recordings from the Upper Midwest, 1937-1946." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1143.

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Books on the topic "Recording studios"

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PC recording studios for dummies. Hoboken, N.J: Wiley, 2005.

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Strong, Jeff. PC Recording Studios For Dummies. New York: John Wiley & Sons, Ltd., 2005.

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Newell, Philip Richard. Recording spaces. Oxford, Eng: Focal Press, 1998.

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Recording spaces. Oxford, Eng: Focal Press, 2000.

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Recording studio design. Boston, Mass: Focal Press, 2003.

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Recording studio design. 3rd ed. Oxford: Focal, 2012.

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Building a recording studio. 5th ed. Los Angeles: Synergy Group, 1996.

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Harris, John. Tips for recording musicians. Tonbridge, Kent: PC Publishing, 1995.

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The AudioPro home recording course: A comprehensive multimedia audio recording text. Emeryville, CA: MixBooks, 1996.

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The musician's home recording handbook: Practical techniques for recording great music at home. San Francisco: GPI Books, 1992.

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Book chapters on the topic "Recording studios"

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Romero, Sergio Ospina. "Recording studios on tour." In Phonographic Encounters, 17–39. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003006497-3.

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Loar, Josh. "Recording/Mixing/Mastering Studios (Project and Commercial) for Music, Film, Etc." In The Sound System Design Primer, 463–73. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315196817-48.

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Toft, Robert. "Studio Techniques." In Recording Classical Music, 143–52. New York, NY: Routledge, 2020.: Focal Press, 2019. http://dx.doi.org/10.4324/9781351213783-16.

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Haigh, Caroline, John Dunkerley, and Mark Rogers. "Studio techniques and working on location." In Classical Recording, 13–33. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Audio Engineering Society presents...: Focal Press, 2020. http://dx.doi.org/10.4324/9780429316852-3.

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Huber, David Miles, and Robert E. Runstein. "Studio Tips and Tricks." In Modern Recording Techniques, 573–90. Edition 9. | New York; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315666952-22.

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Huber, David Miles, and Robert E. Runstein. "Studio Acoustics and Design." In Modern Recording Techniques, 75–103. Edition 9. | New York; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315666952-3.

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Crich, Tim. "The Studio Setup." In Recording Tips for Engineers, 25–55. Fourth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315649085-3.

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"RECORDING STUDIOS." In Music in the 20th Century (3 Vol Set), 523–24. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-388.

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"Recording Studios in Urban Music Scenes." In Cultural Production in and Beyond the Recording Studio, 85–103. Routledge, 2014. http://dx.doi.org/10.4324/9780203728260-6.

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"Recording Studios in Project Networks (1)." In Cultural Production in and Beyond the Recording Studio, 104–18. Routledge, 2014. http://dx.doi.org/10.4324/9780203728260-7.

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Conference papers on the topic "Recording studios"

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Broerman, Eugene L., Mitchel A. Smolik, and Christine M. Scrivner. "Helmholtz Absorbers: Experiments in Controlling Resonant Pulsation Without the Use of Orifice Plates." In ASME 2007 Pressure Vessels and Piping Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/pvp2007-26246.

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Pressure drop has been used for more than half a century to control resonant pulsation in reciprocating compressor piping. Although avoiding these resonances is the preferred method, this is not possible in many high-speed/variable-speed installations. In these cases, resonant pulsation is often managed by using orifice plates to dampen the response. Helmholtz absorbers are an old technology, used to improve the acoustics of ancient Greek theaters and modern recording studios alike. Although their application in the field of piping acoustics has been well documented, this paper presents new ways in which they have not yet been applied. In this paper, experimental data is shown for a self-tuning Helmholtz absorber, or Side Branch Absorber (SBA) used to cancel a piping length resonance, and for a Virtual Orifice that is used to reduce cylinder nozzle pulsation. These devices open up new doors for controlling pulsation with reduced horsepower costs in reciprocating compressor installations.
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Salam, Muhammad T., Sebastien Desgent, Sandra Duss, Lionel Carmant, Dang K. Nguyen, and Mohamad Sawan. "New subdural electrode contacts for intracerebral electroencephalographic recordings: Comparative studies on neural signal recording in vivo." In 2011 IEEE Biomedical Circuits and Systems Conference (BioCAS). IEEE, 2011. http://dx.doi.org/10.1109/biocas.2011.6107772.

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Thomas, A. H. "Ferromagnetic resonance studies of assemblies of fine magnetic particles." In International Conference on Storage and Recording Systems. IEE, 1994. http://dx.doi.org/10.1049/cp:19941134.

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Chooruang, Komkrit, and Mustafa M. Aziz. "Experimental studies of shingled recording using contact recording test system." In 2013 10th International Conference on Electrical Engineering/Electronics, Computer, Telecommunications and Information Technology (ECTI-CON 2013). IEEE, 2013. http://dx.doi.org/10.1109/ecticon.2013.6559498.

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Shiong, Albert Tan Chok, Maria Anastasia Suriadi, and Zhang Qide. "Studies on Air Flow Induced Vibration in a Simplified Hard Disk Drive using LES." In 2006 Asia-Pacific Magnetic Recording Conference. IEEE, 2006. http://dx.doi.org/10.1109/apmrc.2006.365925.

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Erol, İhsan Emre, Tamer Bayrak, and Deniz Yengin. "Use of Virtual Reality Technology In the Digitalization Process of Education: Four Model Museum." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.034.

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Along with the developing technology and the social risks human faces, the society’s trends towards digital technology is inevitable. Undoubtedly, the interest of individuals in digital technologies has directly affected all sectors. The transformation of societies depending on their technological needs and conveniences offered by technology has formed new supply-demand balances, and sectoral changes have occurred in line with the demands of the society that was formed by the supply-demand balance. From a sectoral point of view, communication and related technologies have also been affected by all these transformations. Major developments in communication technologies have also led to changes in all sub-disciplines that are dependent on it. These changes have been so great that it has become necessary to explain separately and academically each of them. As a new and spreading technology, virtual reality technology is considered as a new opportunity by means of its key concept definitions and the successful implementation of both communication and educational processes. Especially, considering the qualities of generation Z, and the fact that the education processes are for generation Z; the probability of success of an education process by using virtual reality technology can be expected to increase. In this context, a study named “Four Model Museum” was carried out within the body of Istanbul Aydın University Faculty of Communication, New Media Applications and Research Center, which uses virtual reality technology and targets Public Relations undergraduate students. Within the scope of the study, the curricula prepared for Public Relations students were examined and four Models in Public Relations, which were considered as suitable subjects, were selected. Scenarios were prepared in the context of selected topics and sound were recorded in recording studios of Istanbul Aydın University, department of Radio, Television, and Cinema. Adhering to the scenario, 3D models, coatings, and finally, virtual reality software were developed. In this study, the scenario and content of the virtual reality education software named "Four Model Museum" were examined and analyzed within the framework of communication science.
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Trinh, Tan D., Sukumar Rajauria, Robert Smith, Erhard Schreck, Qing Dai, and Frank E. Talke. "Laser Current Studies in Heat-Assisted Magnetic Recording." In ASME 2019 28th Conference on Information Storage and Processing Systems. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/isps2019-7511.

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Abstract In heat-assisted magnetic recording (HAMR), optical power from a laser diode mounted on the slider is used to heat up a nanometer scale area on the disk surface to approximately 450°C, facilitating the writing process. Controlling optical power or current that is applied to the laser diode in HAMR is a critical task. In this study, a fully integrated system of HAMR heads and disks is used to study laser current as a function of the magnetic write width (MWW), the operating radius, and the head-disk clearance. Our experimental results show that the laser current is a linear function of the magnetic write width and the head-disk clearance. As the operating radius increases from the inner diameter to the outer diameter of the disk, the laser current increases by approximately 20%.
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Xu, Shuxiang, Zhenkun Luo, Zhongming Xie, Weining Li, and Ping Ma. "Experimental studies of wide-angle eye holographic recording." In Soviet-Chinese Joint Seminar on Holography and Optical Information Processing, edited by Andrei L. Mikaelian. SPIE, 1992. http://dx.doi.org/10.1117/12.140339.

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Chalioris, C., V. Tsioukas, M. Favvata, and C. Karayannis. "RECORDING HISTORIC MASONRY BUILDINGS USING PHOTOGRAMMETRY - TWO CASE STUDIES." In 4th International Conference on Computational Methods in Structural Dynamics and Earthquake Engineering. Athens: Institute of Structural Analysis and Antiseismic Research School of Civil Engineering National Technical University of Athens (NTUA) Greece, 2014. http://dx.doi.org/10.7712/120113.4602.c1597.

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Shen, Y., G. Q. Zhang, W. B. Yu, and Z. Z. Guo. "Studies on holographic recording performance for different doped LiNbO3crystals." In International conference on Communication Technology and Application. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/cta140691.

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Reports on the topic "Recording studios"

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Edward K. Miller. High Bandwidth Transmission and Recording Systems: Studies and Improvements. Office of Scientific and Technical Information (OSTI), November 2006. http://dx.doi.org/10.2172/914427.

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Alawaji, Yasmine, Abdulsalam Alshammari, Ricardo Carvalho, Nesrine Mostafa, and Jolanta Aleksejuniene. Accuracy of Estimating Periodontitis and Its Risk Association Using Partial-Mouth Recordings for Surveillance Studies. A Systematic Review and Meta-Analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, June 2021. http://dx.doi.org/10.37766/inplasy2021.6.0032.

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Job, Jacob. Mesa Verde National Park: Acoustic monitoring report. National Park Service, July 2021. http://dx.doi.org/10.36967/nrr-2286703.

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In 2015, the Natural Sounds and Night Skies Division (NSNSD) received a request to collect baseline acoustical data at Mesa Verde National Park (MEVE). Between July and August 2015, as well as February and March 2016, three acoustical monitoring systems were deployed throughout the park, however one site (MEVE002) stopped recording after a couple days during the summer due to wildlife interference. The goal of the study was to establish a baseline soundscape inventory of backcountry and frontcountry sites within the park. This inventory will be used to establish indicators and thresholds of soundscape quality that will support the park and NSNSD in developing a comprehensive approach to protecting the acoustic environment through soundscape management planning. Additionally, results of this study will help the park identify major sources of noise within the park, as well as provide a baseline understanding of the acoustical environment as a whole for use in potential future comparative studies. In this deployment, sound pressure level (SPL) was measured continuously every second by a calibrated sound level meter. Other equipment included an anemometer to collect wind speed and a digital audio recorder collecting continuous recordings to document sound sources. In this document, “sound pressure level” refers to broadband (12.5 Hz–20 kHz), A-weighted, 1-second time averaged sound level (LAeq, 1s), and hereafter referred to as “sound level.” Sound levels are measured on a logarithmic scale relative to the reference sound pressure for atmospheric sources, 20 μPa. The logarithmic scale is a useful way to express the wide range of sound pressures perceived by the human ear. Sound levels are reported in decibels (dB). A-weighting is applied to sound levels in order to account for the response of the human ear (Harris, 1998). To approximate human hearing sensitivity, A-weighting discounts sounds below 1 kHz and above 6 kHz. Trained technicians calculated time audible metrics after monitoring was complete. See Methods section for protocol details, equipment specifications, and metric calculations. Median existing (LA50) and natural ambient (LAnat) metrics are also reported for daytime (7:00–19:00) and nighttime (19:00–7:00). Prominent noise sources at the two backcountry sites (MEVE001 and MEVE002) included vehicles and aircraft, while building and vehicle predominated at the frontcountry site (MEVE003). Table 1 displays time audible values for each of these noise sources during the monitoring period, as well as ambient sound levels. In determining the current conditions of an acoustical environment, it is informative to examine how often sound levels exceed certain values. Table 2 reports the percent of time that measured levels at the three monitoring locations were above four key values.
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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