Turning Tables: Engineering the Vinyl Revival

  • DOI: https://doi.org/10.18177/sym.2018.58.sr.11389

 

Abstract

With all forms of media in the world seemingly destined to become digital, a growing segment of the music industry is pushing to ensure analog is not forgotten through a recent revival of vinyl records. As compact disc sales continue to decline and digital downloads and on-demand streaming services struggle to compensate for former profits, vinyl is experiencing a surprising revival. While vinyl has long been a mature medium, technical knowledge related to vinyl production has become more and more obsolete. Though recording engineers have largely been freed from format-specific restrictions, preparing a recording for vinyl requires an intimate knowledge of the format, its capabilities, and its limitations. The sound quality of a vinyl record relies simultaneously upon a recording’s quality and the manufacturing process, and special efforts must be made in order to deliver music that will transfer successfully to vinyl. Through images, videos, and recorded examples, I will discuss the innate qualities of the vinyl format and its corresponding manufacturing process.

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Last modified on Tuesday, 23/10/2018

Shane Hoose

Shane Hoose is active as a recording engineer, composer, and percussionist. He holds degrees in music from the University of Iowa (Ph.D.), Bowling Green State University (MM) and Ball State University (BM). As an engineer he has recorded all styles of music. Most recently, he has recorded multiple album projects utilizing analog recording technology, including The Westbrook Trio’s Postmodern Man and Idylwild’s Faces. Hoose is an active clinician in the area of music technology and has recently given presentations at conferences of the Technology Institute for Music Educators, College Music Society, and the Music and Moving and the Moving Image Conference at New York University. Dr. Hoose serves as Assistant Professor of Music Industry/Recording Arts at Eastern Kentucky University.

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