Review of acoustically related design factors for three recent Los Angeles area music studios.

The design of a professional-quality music recording studios involves a specific set of challenges, namely the need to provide high levels of sound isolation, rigorous noise and vibration control for building support systems, and the provision of acoustically appropriate room finishes. The optimization of design solutions for each of these challenges depends upon project-specific requirements, including aesthetic objectives, base building constraints and the musical genres being recorded. This paper reviews how these challenges were successfully addressed in three recent Los Angeles area music recording/broadcast studio projects. Projects reviewed include a recording studio at University of California, Los Angeles, where challenges included the need to accommodate all musical genres, from jazz, to orchestra, to drum ensembles. The two other studios were both for broadcast organizations: KCRW, an influential NPR-affiliated music-orientated radio station and for the commercial radio broadcaster SiriusXM. The paper includes discussion of why and how various acoustical techniques were utilized, including use of "floating" construction and live room variable acoustics. Solutions for successfully incorporating significant areas of glazing into live rooms and accommodation of audiences are also discussed, along with the various acoustical room finishes that were applied.

DANGDORA KOVI: SIKLUS KEHIDUPAN WANITA DAYAK SOPUNTAN DALAM KARYA TARI

Karya berjudul “Dangdora Kovi” adalah video tari yang bersumber dari ritual upacara adat yang dilakukan wanita suku Dayak Soputan dalam siklus kehidupan yaitu lahir, tumbuh, dan dewasa. Tradisi dalam suku Dayak Soputan merupakan suatu kebiasaan yang dilakukan dalam setiap peristiwa ataupun proses kehidupan, yang mengandung nilai, makna, serta tujuan tertentu. Gerak tari berangkat dari pola tradisi dengan pengembangan motif gerak nyerilit, seliung, ngancet, dan kepupeq yang dirangkum ke dalam tiga segmen. Pola iringan menggunakan instrumen Sapeq dan Gong, dan hutan dipilih sebagai tempat pementasan karya. Sinematografi adalah sebuah ilmu terapan yang membahas tentang penangkapan gambar dan sekaligus penggabungan gambar tersebut, sehingga menjadi rangkaian gambar yang memiliki kemampuan menyampaikan ide dan cerita, yang dilengkapi dengan konsep Ten Tools, menjadi teknik yang digunakan untuk menciptakan panggung baru dalam seni pertunjukan tari dengan penggunaan kamera untuk mengarahkan presepsi penonton terhadap visual yang dilihat. ABSTRACTTradition in the Dayak Soputan tribe is a custom carried out in every event or process of community life, that iscontains certain values, meanings, and goals. The dance work entitled "Dangdora Kovi "comes from the life process of Dayak Soputan women in their tradition, The stylists link the life processes of Dayak women in their tradition to customs dangdora, above becomes a sequence that is applied into the structure a single dance work entitled Dangdora Kovi, by applying management traditional ceremonial rituals, personal experiences, and ideas of dance stylists with forms movements which are summarized into dance videos. The presentation of the work "Dangdora Kovi" departs from the traditional pattern with development of motive motion nyerilit, seliung, ngancet and kepupeq. This work presented the ceremonial procession, personal experiences, and ideas of the stylists which is summarized into three segments, namely birth, growth and adulthood. This work carrying midi music (recording), using Sapeq and Gong as basic instruments of dance music. The forest is the selected place as the background staging works. Cinematography is an applied science that discusses capture images and at the same time combining these images, so that it becomes a series of images that have the ability to convey ideas and stories, equipped with the concept of Ten Tools, the technique used for creating a new stage in the performing arts of dance with use a camera to direct the audience's perception of the visuals they see.

Linthead Pop

Charles Cleveland “Charlie” Poole was a banjo-playing mill laborer who lived an eventful life before passing at age 39 from one alcohol binge too many. He was arguably the most important musician to emerge from the stringbands populating mill towns across the North Carolina Piedmont -- a working-class hero as well as an important crossroads figure in the 1920s evolution of old-time music into what became bluegrass and country music, recording songs that remain bluegrass-festival standards to this day. And yet he has never been inducted into the Country Music Hall of Fame.

Proses Produksi dalam Industri Musik Independen di Indonesia

This research focused on production process in the music recording industry independently by musician, Andien Aisyah. Previously Andien Aisyah worked with Major Label. The concept used in this research is concept of production, and associated with the production process on the recorded music by Andien. The research method used in this research is descriptive qualitative research. The results of the analysis of the production process recording music album by Andien independently has several similar stages to the production process previously with Major Label. In the production process between Major Label and Indie Label there is a difference that is in the pre-production stage, the difference is from the freedom of creativity to create music that will be produced. The freedom is a reason for Andien to move from Major Label to Indie Label. The freedom of creativity on the music recording independently is a form musician resistance against the Major Label which restrict the creativity of their musical works.

Overlapping Singer Identification in Music Recordings

Singer identification (SID), which refers to the task of automatically identifying the singer(s) in a music recording, is of great help in handling the rapid proliferation of music data on the internet and digital media. Although a number of SID studies from acoustic features have been reported, most systems are designed to identify the singer in recordings of solo performances. Very little research has considered a more realistic case, which is to identify more than one singer in a music recording. The research presented in this chapter investigates the feasibility of identifying singers in music recordings that contain overlapping (simultaneous) singing voices (e.g., duet or trio singings). This problem is referred to as overlapping singer identification (OSID). Several approaches to OSID are discussed and evaluated in this chapter. In addition, a related issue on how to distinguish solo singings from overlapping singing recordings is also discussed.

The The skillset of professional studio musicians in the German popular music recording industry

Among the professional roles in the recording industry, studio musicians have received relatively little academic attention. Who has played on a record and who has developed the rhythms, melodies and fills are secrets that remain hidden behind closed studio doors. Since the little public media available mainly recollects memories of past stars or musical developments from more than twenty years ago, little is known about more recent biographies, individual skills and working practices of average studio musicians from different parts of the world. Against this backdrop, the present study explored the skillset of studio musicians in Germany’s popular music recording industry. The interviewees provided rare insights into their careers, expressed their views on technological developments and depicted their economic realities. With increasing power and affordability of music production resources, new business models for studio musicians were developing along with a change of skills. For a long time, the successful studio musician had incredible playing skills, stylistic flexibility and was an excellent sight-reader. These requirements seem to have shifted; today’s musicians must have a broader skillset and be experts beyond their instruments. A repertoire of ideas and sounds to be offered spontaneously in a recording session are highly valuable next to empathy, social skills and a likeable and humble personality. The musicians must be both unique and flexible to serve a project and compete with the many fellow musicians and programmers of computer instruments.