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Further reading

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  • Bradley, D 1992. Understanding rock 'n' roll: popular music in Britain 1955-1964. Buckingham: Open University Press.
  • Burgess, R 1997. The art of record production. London: Omnibus Press.
  • Carter, D 2005. Well past time: notes on a musicology of audio recording production. Paper presented at the 'Art of Record Production' conference, University of London.
  • Cox, C and Warner, D 2004. Audio culture: readings in modern music. London: Continuum International Publishing Group
  • Cunningham, M 1996. Good vibrations - a history of record production. London: Sanctuary.
  • Doyle, P 2006. Echo and reverb: fabricating space in popular music recording, 1900-1960. Wesleyan University Press: Hanover, NH.
  • Eisenberg, E 2005. The recording angel: music, records and culture from Aristotle to Zappa. New Have, CT: Yale.
  • Gracyk, T 1996. Rhythm and noise: an aesthetics of rock. London. Tauris/Duke University Press.
  • Horning, S 2004. 'Engineering the performance recording engineers, tacit knowledge and the art of controlling sound.' Social studies of science, Volume 34, No. 5, 703-731.
  • Jones, S 1992. Rock formation: music, technology, and mass communication. London. Sage.
  • Jones, S 2003. The continuum encyclopedia of popular music of the world: Volume II: Performance and production. London: Continuum. 196-197
  • Kealy, E 1992. 'From Craft to Art. The case of sound mixers and popular music' in Frith, S and A Goodwin (Eds). On record: rock, pop and the written word. London. Routledge. 207-220.
  • Keightley, K 1996. "Turn it down!" she shrieked: gender, domestic space, and high fidelity, 1948-59.' Popular Music. 15: 2. pp149-177.
  • Millard, A 2003. 'Gramophone.' The continuum encyclopedia of popular music of the world: Volume I: Media, industry and society. London: Continuum.
  • Moorefield, V 2005. The producer as composer: shaping the sounds of popular music. Cambridge, Mass.: MIT Press.
  • Morton, D 2000. Off the record: the technology and culture of sound recording in America. New Brunswick: Rutgers.
  • Porcello, T 2004. 'Speaking of sound: language and the professionalization of sound-recording engineers.' Social studies of science. 34: 5. pp703-731.
  • Potter, J 2003. 'Crooning'. The continuum encyclopedia of popular music of the world: Volume II: Performance and Production. London: Continuum. pp662-666
  • Relic, P 1997. 'Stereolab's Tim Gane of the moog=exploration equation'. Grand royal. 4. pp82-83.
  • Russell, T 2007. 'Country music on location: 'field recording' before Bristol'. Popular Music 26: 1. pp23-31.
  • Schmidt Horning, S 2004. 'Engineering the performance recording engineers, tacit knowledge and the art of controlling sound.' Social studies of science, Volume 34: 5. pp.703-731.
  • Théberge, P 1997. Any sound you can imagine: making music/consuming technology. Hanover, NH: Wesleyan University Press.
  • Théberge, P 2003. 'Microphone.' The Continuum Encyclopedia of Popular Music of the World: Volume II: Performance and Production. London: Continuum. pp662-666.
  • Théberge, P 2003a. 'Recording Studio'. The continuum encyclopedia of popular music of the world: Volume I: Media, Industry and Society. London: Continuum.
  • Warner, T 2003. Pop music - technology and creativity: Trevor Horn and the digital revolution. Aldershot: Ashgate.