Dissertations / Theses: '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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Pinto, Waldir de Amorim 1971. "O estúdio não é o fundo de quintal = convergências na produção musical em meio às dicotomias do movimento do pagode nas décadas de 1980 e 1990 = The recording studio is not the backyard: convergences in the record production amid the dichotomies of the pagode movement in the 1980s and 1990s." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284481.

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Orientador: José Eduardo Ribeiro de Paiva
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T03:50:36Z (GMT). No. of bitstreams: 2 Pinto_WaldirdeAmorim_D.pdf: 1276240 bytes, checksum: 8a86b876e4f1a39e8d680c931ea6e7b2 (MD5) Pinto_WaldirDeAmorim_Anexo.zip: 100462299 bytes, checksum: d1dd90b2bae3cd94ad8bcc39bca911d8 (MD5) Previous issue date: 2013
Resumo: Esta pesquisa teve por finalidade identificar convergências nos trabalhos de mediação dos produtores musicais envolvidos com o movimento do pagode nas décadas de 1980 e 1990. O samba apresentado nas rodas de pagodes nos anos de 1980, e que ficou comercialmente conhecido como pagode - ou "samba de raiz", mais recentemente -, é caracterizado por musicólogos como representante das comunidades restritas e da tradição do samba. Da mesma forma, os musicólogos costumam caracterizar os artistas que emergiram na década de 1990 - e que tiveram seus trabalhos classificados como pagode - como incorporadores de elementos estrangeiros e modernos ao samba, num "novo" pagode que ficou conhecido como "pagode romântico". A despeito destas dicotomias que envolvem o pagode, ao passar por um estúdio de gravação a música de ambos os segmentos (e períodos) reflete um processo de mediação; e as figuras dos produtores musicais são responsáveis por isso, no âmbito da indústria fonográfica. Utilizando-se da análise de fonogramas de artistas ligados ao pagode (de ambas as décadas) e de entrevistas semi-estruturadas com os produtores musicais daqueles artistas, foi possível identificar algumas estratégias, objetivos e padrões de produção musical que deixam as fronteiras préestabelecidas menos nítidas. Dessa forma pôde-se concluir que, além das dicotomias, há muitas convergências que permitem avaliar o pagode de maneira menos segmentária e mais independente do discurso moderno-tradicional, hibridoautêntico, nacional-internacional que vêm pautando os estudos sobre o assunto; e é quando se analisa o pagode sob o prisma do produtor musical que se identifica o mercado como diminuidor de fronteiras e integrador de pólos distintos
Abstract: This research aimed to identify convergences in mediation work of record producers during the movimento do pagode of the 1980s and 1990s. Samba made in the rodas de pagode in the 1980s, commercially known as pagode - more recently called rootsy samba -, is characterized by musicologists as the representative of restricted communities and samba tradition. Likewise, musicologists often characterize the artists that emerged in the 1990s - and had their work classified as pagode - as incorporators of foreign and modern elements to the samba, creating a "new" pagode which became known as "romantic pagode". Despite these dichotomies involving the pagode, passing the music of both segments (and periods) by a recording studio reflects a process of mediation and the figures of record producers are responsible for that within the music industry. Through the analysis of repertoire of artists connected with the pagode (in both decades) and semi-structured interviews with the record producers of those artists it was possible to identify some strategies, objectives and standards of record production that leave the pre-established boundaries less clear. Thus it can be concluded that besides the dichotomies there are many convergences for assessing the pagode in a less segmental speech - more independent of the modern-traditional, hybrid-authentic, national-international discussions that have been basing the studies on the subject. Analyzing the pagode through the prism of the record producers makes possible to identify the market as borders subtractor and distinct poles integrator
Doutorado
Fundamentos Teoricos
Doutor em Música

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Vâlcu, Bogdan F. "Studies in perpendicular magnetic recording /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3127623.

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May, Joseph L. W. (Joseph Lawrence William) Carleton University Dissertation Computer Science. "Recording studio automation - towards the virtual studio." Ottawa, 1990.

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Cookson, Richard David. "Transverse susceptibility studies of recording media." Thesis, University of Central Lancashire, 2002. http://clok.uclan.ac.uk/7714/.

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A highly sensitive transverse susceptometer has been developed for the investigation of magnetic recording media. The susceptometer was based on the design of Pareti and Turilli[4] with modifications to the solenoid and sensing coils. The modifications have resulted in an improvement in the signal to baseline ratio of a factor of 525, and a reduction in random noise. The increase in the sensitivity of the susceptometer allowed the investigation of Advanced Metal Particle (AMP) tapes and the measurement of the imaginary component of the transverse susceptibility (TS) proposed by Papusoi[5]. Also, a modification was developed which allowed the investigation of the non-linear TS, proposed by Chantrell et al[7]. The work reported for the latter two techniques was the first experimental demonstration of these measurements on magnetic recording media. Samples of Co-y-Fe203, Cr02, mixed y-Fe203 / Cr02 and AMP tapes were investigated, as were y- Fe201, Cr0 2 and AMP powders. The investigations suggested that the incoherent reversal mode was dominant in the systems containing Cr02, with coherent reversal dominant in the remaining systems. The anisotropy peaks measured using the non-linear IS were found to be less dependent on sample texture than those of the traditional linear measurement. In particular the anisotropy peaks of the non-linear TS for incoherently reversing systems appeared to be independent of texture and it was proposed that these were a direct measure of the anisotropy field distribution, although independent verification was not performed. The determination of magnetic coating thickness after Sollis and Bissell[6] was extended to allow the measurement of AMP tapes. A computer model was developed to investigate the error in the technique due to the particulate nature of the coating. The results of the model indicated that the error increased as coating thickness and volume packing fraction decreased. Correction factors were determined for MP3 and MP4 particle based systems. The detection of the imaginary component of TS and its close agreement with the theoretical predictions of Papusoi suggested that the dassification of TS as a 'stiffness' method of anisotropy field determination might be in error.

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Olson, Ted. "Recording Review of Old Hat Records." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1161.

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McConochie, Shaun Robert. "Magnetisation reversal studies of particulate recording media." Thesis, University of Central Lancashire, 1998. http://clok.uclan.ac.uk/7715/.

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Both an experimental investigation of the interaction effects within commercial particulate recording media and a numerical investigation of the reversal mechanism of particles within the media have been made. The particle systems investigated comprised three audio y-Fe203 tapes, three audio Cr02 tapes and a video metal particle tape. An absolute measure of the interaction effects within particulate tapes has been investigated by comparing the measured properties of isolated particles taken from the medium with the measured bulk properties of the medium. The results indicated negative interactions for all the samples investigated except the video metal particle tape, which indicated positive interactions. However, Al plots for all the samples however, indicated negative interactions. This is contrary to the absolute interactions measured in the video metal particle tape. A possible explanation for this inconsistency was the presence of highly localised alignment of particles, "a chaining effect", within the metal particle system. This effect allows for increased system coercivity without removing the general negative interactions characteristic of all acicular particulate media. A micromagnetic model was developed to study typical y-Fe203 and Cr02 particles measured experimentally in this study. Simulations were performed as a function of the applied field angle and the results compared to the experimental study. The simulations representing typical 'y-Fe203 particles indicated reasonable agreement at the lower applied field angles, while poorer agreement was observed at larger applied field angles. The simulations representing a typical Cr02 particle indicated reasonable agreement at the higher applied field angles, while poorer agreement was observed at low applied field angles. These inconsistencies for both types of particles investigated were accounted for by assumptions and simplifications within the model, particularly the absence of bulk crystalline imperfections, the degree of surface irregularities and the effect of an oversimplified particle shape. The micromagnetic model developed was also used to investigate the effect of model parameters on the reversal mechanism of the 'y-Fe203 particle simulation. It was found that the reversal mechanism was very sensitive to the size and shape of the model particle.

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Van, Dyne Steven R. "Case Studies in Classical Location Recording Using Improvised Techniques." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429807114.

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Olson, Ted. "The Three East Tennessee Location Recording Sessions." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1194.

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Olson, Ted. "Recording Review of Jazz: The Smithsonian Anthology." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1162.

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Olson, Ted. "Recording Review of Nilsson, The RCA Albums Collection." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1166.

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Chooruang, Komkrit. "Studies of signal and noise properties of perpendicular recording media." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/116976.

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Areal densities of perpendicular hard-disk drives over 500Gb/in2 have already been demonstrated, with 1Tb/in2 densities being forecasted in the near future. However, at these high areal densities the information bearing units on the magnetic storage medium are magnetically unstable at temperatures expected in hard-disk drives. To extend or bypass this limit, new developments in head and media technologies and understanding of their record, readout and noise performances are necessary. The aim of this project was to study the record, readout and noise properties of conventional and future perpendicular magnetic recording media, heads and their related technologies. The objectives were therefore to develop a flexible and robust experimental recording platform to test the performance of different heads and media, and develop the necessary readout theory to predict the replay performance. In line with the project objectives, a high-precision open contact recording tester was developed with 1nm resolution. The open nature of this system allows different heads and media combinations to be tested. A second, closed system was also developed based on a commercial perpendicular hard-drive, modified to serve as a spin-stand to provide signal and noise measurements in practical drive conditions. The readout process in perpendicular recording was modelled based on the reciprocity principle for a shielded TMR head to study the parameters that affect the readout signal performance, and for comparison with the experimental measurements. Measured signal roll-off curves showed a practical linear density of 450KFCI for the commercial perpendicular disk medium, and indicated that non-linear effects happen at linear densities approaching 550KFCI. These results were in agreement with the theoretical calculations of the replay process. Two-dimensional readout scans were found have similar or higher resolution than Magnetic Force Microscopy (MFM) images of the same recorded regions – indicating the versatility and precision of the developed contact tester. Inverse filtering employing the Wiener filter was used to extract the magnetic transition. The extracted transition profiles and transition extents from the replay signals had much higher resolution than MFM images measured for the same transition region, thus showing the applicability of the developed testers for in situ magnetic characterisation. The developed contact and non-contact testers allowed the investigation of a new proposed recording scheme, Shingled Magnetic Recording (SMR). Measured signal roll-off curves of shingled tracks indicated a rise in the signal amplitude at low densities. At higher linear densities the signal performance was the same as conventionally written tracks with guardbands. It was found that a 30% reduction in track width in SMR, increase the areal density by a factor of 1.58 above that in existing hard drives.

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Olson, Ted. "Recording Review of Woody Guthrie, American Radical Patriot." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1167.

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Unwin, Marion Elizabeth. "Broadband ferromagnetic resonance studies of magnetic recording media." Thesis, Keele University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414759.

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FMR spectroscopy is widely used for the characterization of many types of magnetic materials for use in an extensive range of applications. It is a powerful tool for probing both the magnetic properties and physical aspects of a material. In recent years in particular, there has been some interest in its use to study commercial recording media. However, there are a number of limitations inherent in the conventional method of observing FMR that restricts its usefulness and popularity as a research technique. The high, single frequency operation of the spectrometer makes broadband, frequency dependent measurements and studies of the unsaturated state of materials impractical. It also severely limits the quantity of data available making the analysis and interpretation difficult and prone to error. Additional complexities are encountered since the swept field technique means that a sample is subjected to a constantly changing magnetic environment which may not be ideal, especially for broad linewidth materials. A need, therefore, has been identified for an FMR technique capable of producing both swept field and swept frequency spectra over a wide range of frequencies. The design and development of a novel broadband FMR spectrometer is described in this thesis. The new technique has several advantages over similar methods presented in the literature. It can be applied over a very wide frequency range, dependent on the types of materials, for a variety of different FMR studies. The spectrometer itself is straightforward and easy to use and the resulting spectra (which show excellent agreement with equivalent conventional data) may be interpreted using the same models already used in FMR research. Most importantly, the simplicity of this spectrometer design means that it can be readily implemented in any reasonably equipped magnetics or microwave laboratory without the need for specific expertise or equipment. A preliminary broadband FMR study of magnetic recording media demonstrates the potential of the new technique both for more detailed characterizations of magnetic materials and for greater understanding of the ferromagnetic resonant effect itself.

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Neville, Richard John. "Micromagnetic and structural studies of CoPtCr longitudinal recording media." Thesis, University of Glasgow, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337504.

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Olson, Ted. "Recording Review of Georgia Yellow Hammers & Associates." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1170.

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Olson, Ted. "Recording Review of Lead Belly: The Smithsonian Folkways Collection." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1168.

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Olson, Ted. "Recording Review of The Sanctified Soul of Arizona Dranes." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1163.

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Olson, Ted. "Louis Armstrong: Ten Recordings of Consequence." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1187.

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Clarke, Michael Douglas. "Dynamic response and noise of recording media." Thesis, University of Central Lancashire, 1992. http://clok.uclan.ac.uk/20346/.

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A study of medium noise and Neutron Depolarisation in recording media has been made as a function of remanent magnetisation along the isothermal remanence and dc demagnetisation remanence curves. The measurements are discussed in relation to VSM measurements of the remanent characteristics. Medium noise measurements are presented for commercial particulate media, experimental barium ferrite media and commercial metal evaporated thin film media, while Neutron Depolarisation measurements are presented for commercial particulate media alone. The results show that medium noise is not a unique function of magnetisation, but is also dependent upon the magnetic rnicrostructure brought about through its magnetic history; a microstructure which is in turn also dependent upon the physical microstructure. This is seen through asymmetry in the observed noise during dc demagnetisation, and also in observed differences in noise between the two remanence curves In particular, a distinct difference is seen between the dc erased and ac erased states, where efficient flux closure and lower energy configurations are attributing factors to the lower ac erased noise. An effect which is also supported by Neutron Depolarisation results in these states. Through the choice of samples with distinctly different physical microstructures within each media type studied, the medium noise measurements show how important a role the physical rnicrostructure has in its effect on the magnetic microstructure, illustrating that the sensitivity of medium noise measurements as a natural probe of the magnetic and physical microstructures is an important source of information towards the general characterisation and understanding of magnetic recording materials.

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Swann, Angelika. "Corrosion studies of magnetically-active alloys." Thesis, University of Surrey, 1992. http://epubs.surrey.ac.uk/843183/.

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The technology of magnetic recording, which is involved in most aspects of modem life from credit cards to video tapes, is evolving at an ever quickening pace. As the industry strives to produce greater recording capacity and increased information density the demands on the development of improved magnetic storage and recording head materials cannot always keep up with the pace of change. The materials being considered are not only required to have the desired magnetic properties but also to have the necessary corrosion resistance in the operating environment. It is often the latter which can limit the rate of development of new devices since many of the new materials considered for magnetic storage applications consist of very reactive metals with low corrosion resistances. In establishing how research on the corrosion properties of new magnetic materials should be approached, two different experimental routes are explored in this thesis. These studies were a) a combined electrochemical and surface analysis study and b) a novel 'in-situ' SIMS study. The electrochemical study proved to be a very valuable route in obtaining information on the corrosion properties of the magnetically-active alloy FeMn and such a study can be highly recommended for the application to other magnetic materials. The complete electrochemical properties (anodic and cathodic) of FeMn were determined. A region of passivity was revealed through the application of the very sensitive solution analysis technique of ICPMS. The passive layer is associated with a manganese hydroxide rich surface layer. Passivity in the alloy is very vulnerable to corrosion attack by sodium sulphate active ions. The influence of temperature and pH was investigated. Only under low values of pH with the conditions investigated was the corrosion attack increased compared to neutral conditions. The application of sodium chromate inhibitor was found to enhance the passive layer formed. Using the second route the application of a novel 'in-situ' SIMS technique to look at the oxidation properties of magnetic metals and alloys was explored. The interpretation of the SIMS data for the oxidised and unoxidised components of cobalt was achieved and a model for the reaction of cobalt with oxygen at the initial stages of oxidation was successfully produced. At this present stage it is not possible to model the oxidation of more reactive metals than cobalt.

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Wismayer, Matthew P. "Small angle neutron scattering studies of magnetic recording media." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/471.

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Hara, Hiroki. "Studies on The Micro-Lubrication of Magnetic Recording Media." 京都大学 (Kyoto University), 2003. http://hdl.handle.net/2433/148531.

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Kirby, P. R. "The evolution and decline of the traditional recording studio." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/3000867/.

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This thesis studies the development of the British recording studio from the early- 1930s to the present day (2015). This is an area of academic study that has received relatively little attention within popular music studies. Recording studios feature in artist biographies and in studies of music production, and attention has often been focused on iconic studios that are associated with successful artists from the rock canon, rather than exploring the wider sector. Human and economic geographers have focused on specific aspects of the studio sector, such as working practices, the impact of software and the impact of digital technology. This thesis seeks to bridge the gap between the work of popular music scholars and geographical researchers by utilizing a holistic approach, which examines the evolution of the sector using the production of culture perspective, specifically the six-facet model. The development of the recording studio in the UK has been shaped by the interplay between technological innovations, developments in audio production, changes in popular culture, and the structure and financial success of the recording industry. These factors have had a significant effect upon the development of the sector and the cultural products produced within it, consequently any nuanced understanding of the sector has to take all of these factors into account simultaneously. This study draws on a body of oral interviews conducted by the author with engineers, producers, studio owners, technology manufacturers and musicians. It also integrates published materials from a variety of disciplines. The growth and decline of the sector is explored chronologically; from its industrial beginnings as part of the manufacturing process, the emergence of an independent sector, the standardization of recording studios, the introduction of digital technology, and the evolution of the networked digital studio. Technological innovation in the recording sector is examined throughout the thesis and the development of the professional audio industry is also explored. The thesis examines how the studio sector evolved in tandem with the growth of the market for popular music, and explores the impact of digitization on the sector. A combination of affordable digital recording technology and a crisis in the market for recorded music has significantly reshaped the studio sector in the 21st century. The traditional recording studio is now no longer the main site of production, as small Internet connected DAW-based studios are the new studio paradigm. Consequently, the thesis examines how digital technologies and shifting market dynamics have influenced and shaped the current studio sector. Historicizing the evolution and subsequent contraction of the professional recording sector informs understanding of the recording sector in general, and offers an insight into the interplay between technology, practice and the market.

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Olson, Ted S. "Traditional Plus: A Journey through Doc Watson's Recording Career." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5528.

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Olson, Ted. "Recording Review of Sam Phillips and the Sun Records Legacy." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1164.

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Lyonblum, Ely Zachary Small. "An omnivorous ear : the creative practice of field recording." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/265801.

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“An Omnivorous Ear - The Creative Practice of Field Recording” offers new insights into the history of recording outside of the studio in North America, challenging the various working definitions of field recording in music studies, anthropology, and communications. I examine recording methodologies through the late 19th and 20th centuries as a documentary technique, a tool for composition, and an art object in the United States of America and Canada from the late 19th century to the present day. Within this geographical region, I focus on the invention of acoustic recording, the proliferation of the technology amongst the public, folkloric recording supported by governmental and academic institutions, as well a experimental artistic practices. Throughout the dissertation, I argue that ‘the field’ is a social construction mediated by the recordist and recorder. Chapter 2 focuses on how cultures translate collective and phenomenological experiences into histories through sound media. These include orality, writing, the inscription of sound waves onto media, acoustic recording, and radio as forms of sound media that each embodies distinct forms of social and political knowledge. Chapter 3 details the development of recording machines and their effect on listening practices. Chapter 4 locates practitioners of phonography within the development of portable recording equipment on the one hand and the ‘hi-fi’ cultural movement in North America on the other. Practitioners included folklorists Alan Lomax from the Library of Congress, Moses Asch of Folkways Records, and Harry Smith, creator of the Anthology of American Folk Music; Stefan Kudelski, creator of the NAGRA recorder; and media maker Tony Schwartz, among the first to create the sound documentary by editing field recordings. Chapter 5 explores the relationship between sound, music and the environment within the paradigm of the soundscape as theorized by the World Soundscape Project (WSP). I critique the research and compositional practices developed by WSP members, and the influence it has on ecomusicology and sound art. Chapter 6 outlines sonic ethnography, a methodology that borrows from the best practices of many of the individuals mentioned throughout the dissertation, and employs new compositional techniques to condense and manipulate social, political and historical narratives through sonic works. The dissertation concludes by arguing that field recording, can be used to critique aesthetic and cultural dilemmas of representation.

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Camara, Samba. "Recording Postcolonial Nationhood: Islam and Popular Music in Senegal." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1510780384221502.

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Walton, Sarah Ann. "MoÌˆssbauer spectroscopic studies of novel nanophase magnetic systems." Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243255.

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Lindh, Jonatan. "Trummor i studiomiljö : Om trumsound och hur de går att påverka vid inspelning." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2720.

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Detta arbete behandlar ämnet trumsound i en studiomiljö och hur jag som trummis kan påverka soundet. Syftet med arbetet är att förstå och utveckla de olika faktorer som tillsammans skapar ett sound och berör bland annat speltekniska områden som timing och dynamik, materiella områden som val av instrument och dess konstruktion samt akustiska områden som mikrofonplacering och rumsakustik. Efter att ha transkriberat och analyserat trumspelet på sex kända låtar spelade jag in mig själv i en studio där jag med hjälp av tidigare erfarenheter och nya idéer försökte återskapa trumspelet och trumsounden från dessa låtar så långt det bara var möjligt. Bifogat till arbetet finns transkriptioner samt två versioner på varje trumtagning där den ena är utan effekter och den andra är med effekter. Processen i studion dokumenterades i form av anteckningar och med en filmkamera som sedan tillsammans med det inspelade materialet blev underlag för min analys. Resultatet visar att ordentliga förberedelser och god kunskap om sitt instrument skapar förutsättningar för ett bra sound. Genom att välja instrument med passande ljudegenskaper samt ta tid till att stämma och micka upp trummorna noga krävs det mindre tid i efterediteringsarbetet. Eftersom uppfattningen av timing och dynamik är personlig så skapas också förutsättningar för unika sound genom musikerns sätt att tolka och spela musiken.
This study deals with the topic of drum sound in a studio environment and how I, as a drummer, can affect the sound. The purpose of the study is to understand and develop the various factors that together create a sound. The study involves technical areas such as timing and dynamics, material areas such as the choice of instruments and their design as well as the impact of microphone placement and the acoustics in a room. After transcribing and analyzing the drumming of six famous songs, I recorded myself in a studio and by way of previous experiences and new ideas I tried to recreate the drumming and the drum sound of these songs as far as possible. Attached to this study there are transcripts of the drums and two versions on each take where one is without effects and the other is with effects. The process in the studio was documented in the form of notes and a video camera which then became the basis for my analysis together with the recorded material. The result shows that accurate preparation and good knowledge of the instrument is a fundamental condition for a good sound. Choosing instruments with appropriate sound characteristics and taking time to tune and mic the drums makes the mixing phase shorter and easier. Because the perception of timing and dynamics is personal, the conditions for developing a unique sound are also created through the musician's way of interpreting and playing the music.

Inspelningar finns att ladda ned som bilagor till det skriftliga arbetet.

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Olson, Ted. "Recording Review of Long Gone Sounds: Recent Historical Releases from Tompkins Square Records [Mama, I'll Be Long Gone: The Complete Recordings of Amede Ardoin, 1929-1934 and Aimer et Perdre, To Love & To Lose: Songs, 1917-1934]." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1159.

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Review of Long Gone Sounds: Recent Historical Releases from Tompkins Square Records [Mama, I'll Be Long Gone: The Complete Recordings of Amede Ardoin, 1929-1934 and Aimer et Perdre, To Love & To Lose: Songs, 1917-1934]

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Samsukha, Paras. "Wireless Multichannel Recording/Stimulation System for Neurodynamic Studies of Aplysia." Case Western Reserve University School of Graduate Studies / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1232670698.

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Polk, Darrel Maurice. "Home Studio Owners' Strategies to Compete in the Recording Industry." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6856.

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The purpose of this multiple case study was to explore strategies that well-established home recording studio owners in a city in the southeastern United States have used to compete in the recording industry. Four home recording studio owners served as participants. Each participant owned and operated a home studio business in the target area for longer than 10 years. Porter's 5 competitive forces model and Christensen's disruptive innovation theory were the conceptual lenses for this study. Interviews, direct observations, and website documents were the 3 data collection sources used to achieve methodological triangulation. The data were analyzed using Yin's 5-step thematic approach to qualitative data analysis: compiling, disassembling, reassembling, interpreting, and concluding. Four themes emerged from the analysis of the data: doing business and making money with friends, keeping the family safe and the studio secure, decoupling the clock from the creative process, and linking strategy to personal goals. The findings of this study may contribute to positive social change by economically empowering aspiring entrepreneurs to become small business owners and create new jobs that help strengthen their local economies.

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Thompson, Paul. "Creativity and collaboration in the recording studio : an empirical study." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2033799/.

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There is increasing evidence that creativity is the result of a dynamic system of interaction where the individual is only one part. Csikszentmihalyi describes a ‘creative system’ that includes three main elements: the domain, the field and the individual (Csikszentmihalyi: 1988, 1997, 1999 & 2004). During creative work, the individual must draw from the domain in order to select a suitable arrangement of ingredients from this body of knowledge and symbol system. This selection of ingredients is then presented to the field, the social organization that recognises, uses and alters the domain, to decide upon its creativity and inclusion into the domain (Csikszentmihalyi, 1997). In the context of rock music this occurs when the completed record is released to the public and the field of rock record production (TV, radio, popular music press, other musicians, engineers and producers etc.) decides upon the record’s novelty and its relevant addition to the domain through an often complex and iterative process. However, little has been written from a creative system’s perspective about what happens inside the recording studio before the record is released. Consequently, the interaction of the creative system’s main elements during smaller acts of creativity, such as the individual generation of ideas, and the collaborative exchanges that take place during group creativity, have been relatively underexplored. This thesis explores the creative process of making a rock recording inside the recording studio using the framework of the creative system. Ethnographic methods such as participant-observation, video and sound recording were used to observe the interaction between the performing musicians, the engineer and the record producer as they collaborated during the recording process. This helped to reveal the complex interaction between the participants and the creative system’s main elements during the creative tasks of performing, engineering and producing. Importantly, it helped to show for the first time that this interaction occurred on both an individual level and a group level, and highlighted how a creative-systems approach can be used to gain a more detailed and in-depth understanding of musical creativity more generally.

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Olson, Ted. "Recording Review of Woody Guthrie: Woody at 100, The Woody Guthrie Collection." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1160.

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Olson, Ted. "The Top Ten: Curated List of Classic Appalachian Recordings." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1210.

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Champion, Eric J. "Digital magnetic recording systems utilizing magnetoresistive (MR) playback technology : theoretical studies /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9732699.

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Findlay, R. P. "MO studies of Tb-Fe-Co thin films : laser annealed and on a variety of different substrates." Thesis, Keele University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242385.

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Olson, Ted. "Transforming Tradition in Appalachia: Three 1920s-Era Field Recording Sessions and Their Legacies." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1108.

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Olson, Ted. "Recording Review of Legends of Old-Time Music: Fifty Years of County Records." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1171.

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Sivaswamy, Senthil Roppel Thaddeus A. "Microfabricated electrode arrays suitable for stimulation and recording in cardiac electrophysiological studies." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SPRING/Electrical_and_Computer_Engineering/Thesis/Sivaswamy_Senthil_58.pdf.

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Dissertations / Theses on the topic 'Recording studios'

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