Towards liveness: collective memory and reproductions of studio reverberation

References

• Anderson, Ben. 2004. “Recorded Music and Practices of Remembering.” Social and Cultural Geography 5 (1): 3–20. https://doi.org/10.1080/1464936042000181281.
   Web of Science ®Google Scholar
• Appadurai, Arjun. 1996. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis, MN: University of Minnesota Press.
   Google Scholar
• Askerøi, Eirik. 2013. “Reading Pop Production: Sonic Markers and Musical Identity.” Doctoral diss., University of Agder, Kristiansand. http://hdl.handle.net/11250/139730.
   Google Scholar
• Audioease. n.d. “Clearmountain’s Mix This! Echo Chambers.” Audioease Company Website. Accessed July 20, 2019. https://www.audioease.com/IR/VenuePages/mixthis.html.
   Google Scholar
• Beatles. 1964. “And I Love Her.” Track 5 on A Hard Day’s Night. Parlophone.
   Google Scholar
• Beatles. 1967. “A Day in the Life.” Track 13 on Sgt. Peppers Lonely Hearts Club Band. EMI.
   Google Scholar
• Benschop, Ruth. 2007. “Memory Machines or Musical Instruments? Soundscape Compositions, Recording Technologies and Reference.” International Journal of Cultural Studies 10 (4): 485–502. https://doi.org/10.1177/1367877907083081.
   Google Scholar
• Bijsterveld, Karin, and José van Dijck, eds. 2009. Sound Souvenirs: Audio Technologies, Memory and Cultural Practices. Amsterdam: Amsterdam University Press.
   Google Scholar
• Birdsall, Carolyn. 2012. Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933–1945. Amsterdam: Amsterdam University Press.
   Google Scholar
• Blesser, Barry, and Linda-Ruth Salter. 2007. Spaces Speak, are You Listening?: Experiencing Aural Architecture. Cambridge, MA: MIT Press.
   Google Scholar
• Blom, Ina. 2017. “Rethinking Social Memory: Archives, Technology, and the Social.” In Memory in Motion: Archives, Technology, and the Social, edited by Ina Blom, Trond Lundemo, and Eivind Røssaak, 11–38, Amsterdam: Amsterdam University Press.
   Google Scholar
• Burgess, Richard James. 2014. The History of Music Production. New York, NY: Oxford University Press.
   Google Scholar
• Burrell-Davis, D., E. Freisewinkel, and D. Hespe, dirs. 1967. Our World. Aired June 25, 1967. Aired internationally accross 24 countries. https://www.youtube.com/watch?v=s3LmQFt4pQc.
   Google Scholar
• Cogan, Jim, and William Clark. 2003. Temples of Sound: Inside the Great Recording Studios. San Francisco, CA: Chronicle Books.
   Google Scholar
• Cross, Gary. 2015. Consumed Nostalgia: Memory in the Age of Fast Capitalism. New York: Columbia University Press.
   Google Scholar
• Cunningham, Mark. 1996. Good Vibrations: A History of Record Production. London: Sanctuary.
   Google Scholar
• Dale, Dick. 1962. “Miserlou.” Track 1 on Miserlou/Eight Till Midnight. Deltone Records.
   Google Scholar
• Daniel, Francis. 1993. “A Room Acoustical Analysis of BMB Studio a.” Paper presented at AES 95th Convention, New York, NY, USA, October 7–10.
   Google Scholar
• Doyle, Peter. 2005. Echo and Reverb: Fabricating Space in Popular Music Recording 1900–1960. Middletown, CT: Wesleyan University Press.
   Google Scholar
• Doyle, Peter. 2013. “‘Burn Me up This Time fellas!’: When Movies Represent the Recording Studio.” Continuum: Journal of Media & Cultural Studies 27 (6): 900–912. https://doi.org/10.1080/10304312.2013.854865.
   Web of Science ®Google Scholar
• Du Gay, Paul, Stuart Hall, Linda Jones, Anders Koed Madsen, Hugh Mackay, and Keith Negus. 2013. Doing Cultural Studies: The Story of the Sony Walkman. 2nd ed. London: Sage.
   Google Scholar
• Durkheim, Émile. 1976. The Elementary Forms of the Religious Life. Translated by Joseph Ward Swain. London: George Allen & Unwin.
   Google Scholar
• Eno, Brian. 2004. “Ambient Music.” In Audio Culture: Readings in Modern Music, edited by Christoph Cox and Daniel Warner, 94–97. New York: Continuum.
   Google Scholar
• Floyd, Pink. 1973. “Us and Them.” Track 7 on The Dark Side of the Moon. Capitol.
   Google Scholar
• Gallagher, Mitch. 2012. “Studio Legends: Alan Parsons on ‘Dark Side of the Moon’.” Premier Guitar, March. https://www.premierguitar.com/diy/studio-legends-alan-parsons-on-dark-side-of-the-moon.
   Google Scholar
• Halbwachs, Maurice. 1992. On Collective Memory. Translated by Lewis A. Coser. Chicago, IL: The University of Chicago Press.
   Google Scholar
• Ippolito, Jon, and Richard Rinehart. 2014. Re-Collection: New Media and Social Memory. Spring. Cambridge, MA: MIT Press.
   Google Scholar
• Kish, Daniel. 2009. “Seeing with Sound: What is It Like to ‘See’ the World Using Sonar? Daniel Kish, Who Lost His Sight in Infancy, Reveals All.” New Scientist, April 11.
   Google Scholar
• Kleiner, Mendel, Bengt-Inge Dalenbäck, and Peter Svensson. 1993. “Auralization—An Overview.” Journal of the Audio Engineering Society 41 (11): 861–875.
   Web of Science ®Google Scholar
• Landsberg, Alison. 2004. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York, NY: Columbia University Press.
   Google Scholar
• Latour, Bruno, and Lowe, Adam. 2011. “The Migration of the Aura, or How to Explore the Original Through Its Facsimiles.” In Switching Codes: Thinking Through Digital Technology in the Humanities and the Arts, edited by T. Bartscherer and R. Coover, 275–297. Chicago: The University of Chicago Press.
   Google Scholar
• Lawrence, Alistair. 2012. Abbey Road: The Best Studio in the World. London: Bloomsbury.
   Google Scholar
• LeRoy, Mervyn, dir. 1945. The House I Live In. Los Angeles, CA: RKO Radio Pictures.
   Google Scholar
• Levine, Lawrence. 1988. Highbrow Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard University Press.
   Google Scholar
• Levitin, Daniel J. 2006. This is Your Brain on Music: The Science of a Human Obsession. New York, NY: Dutton.
   Google Scholar
• Lewisohn, Mark. 1988. The Beatles Recording Sessions: The Official Abbey Road Studio Session Notes 1962–1970. New York: Harmony.
   Google Scholar
• Lipsitz, George. 1990. Time Passages: Collective Memory and American Popular Culture. Minneapolis, MN: University of Minnesota Press.
   Google Scholar
• Marx, Karl. 1980. Marx’s Grundrisse. edited by David McLellan. London: Routledge. (written 1857–8).
   Google Scholar
• Massey, Howard. 2015. The Great British Recording Studios. Milwaukee, WI: Hal Leonard.
   Google Scholar
• Nora, Pierre. 1989. “Between Memory and History: Les Lieux de Mémoire.” Representations 26, Special Issue: Memory and Counter-Memory (Spring):7–24. https://doi.org/10.2307/2928520.
   Google Scholar
• Olympic Studios Records. n.d. “Olympic Studios Records.” Olympic Studios Records, London. Accessed October 15, 2021. http://www.olympicstudiosrecords.co.uk.
   Google Scholar
• Proust, Marcel. 1992. In Search of Lost Time. Translated by C. K. Scott-Moncrieff and Terence Kilmartin. Rev./by D.J. Enright. New York: The Modern Library.
   Google Scholar
• Ryan, Kevin L., and Brian. Kehew. 2008. Recording the Beatles : The Studio Equipment and Techniques Used to Create Their Classic Albums /By Kevin Ryan & Brian Kehew. Houston, Tex: Curvebender.
   Google Scholar
• Schafer, R. Murray. 1977. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, VT: Destiny Books.
   Google Scholar
• Schmidt Horning, Susan. 2013. Chasing Sound: Technology, Culture & the Art of Studio Recording from Edison to the LP. Baltimore, MD: The John Hopkins University Press.
   Google Scholar
• Schwarz, Ori. 2014. “The Past Next Door: Neighbourly Relations with Digital Memory-Artefacts.” Memory Studies 7 (1): 7–21. https://doi.org/10.1177/1750698013490591.
   Web of Science ®Google Scholar
• Southall, Brian, Peter Vince, and Allan Rouse. 2011. Abbey Road: The Story of the World’s Most Famous Recording Studios. 2nd ed. London: Omnibus.
   Google Scholar
• Stanyek, Jason, and Benjamin Piekut. 2010. “Deadness: Technologies of the Intermundane.” The Drama Review 54 (1): 14–38. https://doi.org/10.1162/dram.2010.54.1.14.
   Web of Science ®Google Scholar
• Sterne, Jonathan. 2015. “Space within Space: Artificial Reverb and the Detachable Echo.” Grey Room 60 (Summer): 110–131. https://doi.org/10.1162/GREY_a_00177.
   Google Scholar
• Sterne, Jonathan. 2020. “Software Passes the Test When the User Fails It: Constructing Digital Models of Analog Signal Processors.” In Testing Hearing: The Making of Modern Aurality, edited by V. Tkaczyk, M. Mills, and A Hui, 159–185. Oxford: Oxford University Press.
   Google Scholar
• Sterne, Jonathan, and Akiyama, Mitchell. 2012. “The Recording That Never Wanted to Be Heard and Other Stories of Sonification.” In The Oxford Handbook of Sound Studies, edited by T. Pinch and K. Bijsterveld, 544–560. Oxford: Oxford University Press.
   Google Scholar
• Sturken, Marita. 2008. “Memory, Consumerism and Media: Reflections on the Emergence of the Field.” Memory Studies 1 (1): 73–78. https://doi.org/10.1177/1750698007083890.
   Web of Science ®Google Scholar
• Tarde, Gabriel. 2012. Monadology and Sociology. Translated by Theo Lorenc. Melbourne: re.press.
   Google Scholar
• Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.
   Google Scholar
• Théberge, Paul. 2004. “The Network Studio: Historical and Technological Paths to a New Ideal in Music Making.” Social Studies of Science 34 (5): 759–781. https://doi.org/10.1177/0306312704047173.
   Web of Science ®Google Scholar
• Thompson, Emily Ann. 2002. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933. Cambridge, MA: MIT Press.
   Google Scholar
• Tkaczyk, Viktoria. 2015. “The Shot is Fired Unheard: Sigmund Exner and the Physiology of Reverberation.” Grey Room 60 (Summer): 66–81. https://doi.org/10.1162/GREY_a_00179.
   Google Scholar
• Waves. 2018. “Inside the Waves Abbey Road Chambers Plugin (Mini-Documentary).” Filmed in London. Waves Audio. https://www.youtube.com/watch?v=kWSxWztDxf4.
   Google Scholar
• Waves. n.d.-a. “Abbey Road Chambers.” Waves Company Website. Accessed June 24, 2019. https://www.waves.com/plugins/abbey-road-chambers.
   Google Scholar
• Waves. n.d.-b. “About Us.” Waves Company Website. Accessed July 1, 2023. https://www.waves.com/about-us.
   Google Scholar
• Wilentz, Sean. 2012. 360 Sound: The Columbia Records Story. San Francisco, CA: Chronicle Books.
   Google Scholar