Music 4543: Producer As Composer

Spring 2016, MW 5:00–5:50, B011 [VCCM] & B012

Prof. Ted Coffey
coffey@virginia.edu
Office: 204 OCH
Office Hours: by appointment

Eli Stine, TA
ems5te@virginia.edu
Office Hours: by appointment

Overview:
This seminar examines the increasingly creative role of production in recorded music over the last 50
years. Materials, topics and themes include: (1) survey and analysis of key recordings; (2) theoretical and
practical understanding of technologies used in recording and production; (3) developments in music
production (such as the naturalization of 'illusion') in the context of broader technological and cultural
developments; and (4) creative studio projects. Enrollment is by permission of the instructor.

Goals:
To develop our ears for production. To learn recording and production techniques, and to apply them
to creative projects. To develop a sense of how production / arrangement / instrumentation interact,
and how 'sound' or 'vibe' is effected; to practice articulating all of this. To include production in analytic
writing about music. To consider the role of production in marking genre and identity. & more.

Attendance:
Attendance is critically important—in labs as well as in class. Two absences will lower your grade;
three or more absences will lower your grade significantly. If you must miss a class or lab, email the
instructor prior to the absence.

Grading:
Participation: 20%
Term Projects: 50%
Final Project: 30%

Main Texts (available online through Virgo -- use newest editions!):

Jay Hodgson, Understanding Records (2010)
Bobby Owsinski, The Recording Engineer's Handbook (2013)
Bobby Owsinski, The Mixing Engineer's Handbook (2014)
Albin Zak, The Poetics of Rock (2001)
Other readings are available on Collab, and there are several other books on reserve. [Go to the main
Virgo page and look under 'reserves'; search by my last name or course number.] Some we'll refer to
once during the term; others are general reference books; others are there for those who want to get
deeper into a record or band or producer.

For the most part, our readings will fall into one of three categories: technical, socio- / music-
theoretical, or coloristic. Their presentation in the week-by-week below is generally organized in this
order.

Also, if you're serious about this irrespective of University coursework, you should start reading
periodicals about mixing and recording. Tape Op is amazing, a cult favorite, and free. Another favorite is
Sound on Sound; the Music Library has a subscription. There are several others there, too.

Recordings:
Once upon a time we placed ca. 150 CDs associated with this class on reserve in the Music Library. This
was before students had their own sinister methods of listening to anything. In this class, though, there
will be times (most times) when listening to a record compressed via a lossy codec will produce a lossy
understanding of its poetics. We'll focus on one recording each week, with a few supplemental
recordings also on Reserve. We recommend you listen to the focus recording at least three times,
lossless format. The supplemental recordings indicated in the Course Outline provide great context and
are in themselves worthy if you have the time.

Studio Resources:

https://www.library.virginia.edu/services/reserve-equipment-computers/

There you'll find some of the Department of Music's resources. You can also use resources available at
the Digital Media Lab in Clemons. Computers loaded with DAW and other software are available to you
in the VCCM. We will also make use of a local studio, The Sound. There may be a modest materials fee
associated with use of The Sound. Finally, we have a new studio in Wilson Hall coming on-line this term,
suitable for small-scale recording projects and mixing.

Course Outline:
WEEK 1, Wednesday, January 20
Welcome, Course Overview, Critical Listening

HW: reading: Owsinski, Recording, ch. 1–3

Hodgson, Understanding, 1–30
Zak, Poetics, Intro. & ch. 1
Sonic Alchemy, 1–26 [Phil Spector]
Behind the Glass, 40–47 [Brian Wilson]
listening: "Be My Baby," Pet Sounds
+ All Things Must Pass, Plastic Ono Band
WEEK 2, Monday, January 25
Phil Spector, Brian Wilson; Microphones & Recording Basics

HW: reading: Owsinski, Recording, ch. 4–6

Hodgson, Understanding, 31–69
Zak, Poetics, ch. 2
Sonic Alchemy, 26–48 [George Martin]
Lewisohn excerpts
listening: Sgt. Pepper's Lonely Hearts Club Band
+ Revolver, Abbey Road
project: Mic. Placement Project Assigned

WEEK 3, Monday, February 1

George Martin & The Beatles; Microphones & Recording; DAW & Tracking Review

HW: reading: Owsinski, Mixing, ch. 1–5

Zak, Poetics, ch. 3
John Perry, Electric Ladyland, excerpts
Sonic Alchemy, 113–131 [Jimmy Miller]
listening: Electric Ladyland
+ Axis: Bold As Love, Beggar's Banquet thru Exile On Main St.
--> project: Mic. Placement Project Due :: Spatialization Project Assigned

WEEK 4, Monday, February 8

Hendrix, Stones; Mixing Boards Review

HW: reading: Owsinski, Mixing, ch. 6 & 7

EQ TBD
The Real Frank Zappa Book, excerpts
listening: We're Only in it for the Money
+ Trout Mask Replica, The Velvet Underground
project: Spatialization Project Assigned

WEEK 5, Monday, February 15

Zappa, Captain Beefheart, Velvet Underground; Filters & Effects

HW: reading: Owsinski, Mixing, ch. 8 & 9

Hodgson, Understanding, 71–116
John Harris, The Dark Side of the Moon, excerpts
listening: Dark Side of the Moon
+ Piper at the Gates of Dawn, Atom Heart Mother, Maggot Brain
--> project: Spatialization Project Due :: Nail the Sound Project Assigned

WEEK 6, Monday, February 22

Pink Floyd, Funkadelic; Filters & Effects

HW: reading: Owsinski, Mixing, ch. 10–12

Hodgson, Understanding, 117–147
 Behind the Glass, 142–154 [Tony Visconti]
Sonic Alchemy, ch. 6 [Eno]
listening: Remain in Light
+ Hunky Dory, Low, Another Green World, other selected tracks
project: Nail the Sound Project . . .

WEEK 7, Monday, February 29 -- hurrah!

Talking Heads, David Bowie, Brian Eno, Lou Reed (Transformer), Filters & Effects

HW: reading: Hodgson, Understanding, 149–187

watching: Classic Albums: Fleetwood Mac: Rumors
listening: Rumors
+ Tusk, Steely Dan Greatest Hits, Eagles Greatest Hits
--> project: Nail the Sound Project Due :: Sitting in the Mix Project Assigned

WEEK 8, Monday, March 7

Spring Break

WEEK 9, Monday, March 14

Eagles, Fleetwood Mac, AOR, The 'California Sound', Filters & Effects

reading: Sonic Alchemy, 267–277 [Arthur Baker, The Bomb Squad]

Dan LeRoy, Paul's Boutique excerpts
listening: Fear of a Black Planet
+ Paul's Boutique, Enter The Wu-Tang
project: Sitting in the Mix Project . . .

WEEK 10, Monday, March 21

Public Enemy, Beastie Boys, Wu-Tang Clan

HW: reading: Hodgson, Understanding, 189–234

Zak, Poetics, ch. 4
Sonic Alchemy, ch. 9 [Martin Hannett, Flood, Steve Albini]
listening: Unknown Pleasures
+ In Utero, Siamese Dream, TNT
--> project: Sitting in the Mix Project Due :: Straightjacket Project Assigned

WEEK 11, Monday, March 28

Smashing Pumpkins, Nirvana, Tortoise, Low (the band)

HW: reading: Bob Katz, Mastering Audio, excerpts

Zak, Poetics, ch. 5
listening: Dummy
+ Maxinquaye, Homogenic, The Downward Spiral
project: Straightjacket Project . . .

WEEK 12, Monday, April 4

Portishead, Massive Attack, Tricky, Bjork, Nine Inch Nails

HW: reading: Bob Katz, Mastering Audio, excerpts

Zak, Poetics, ch. 6
listening: Richard D. James Album
+ Ultraworld, Music Has the Right to Children, Come On My Selector
--> project: Straightjacket Project Due :: Quodlibet Project Assigned

WEEK 13, Monday, April 11

Aphex Twin, The Orb, Boards of Canada, Squarepusher

HW: reading: The Music and Art of Radiohead, excerpts

Zak, Poetics, ch. 7
listening: OK Computer & Kid A . . . & In Rainbows
project: Quodlibet Project . . .

WEEK 14, Monday, April 18

Radiohead to . . . 2016

HW: reading: TBD

listening: Flying Lotus, Animal Collective, Kanye West, Beyonce
--> project: Quodlibet Project Due :: Set Thee A Problem Project Assigned

WEEK 15, Monday, April 25

. . . to . . . 2016

HW: reading: TBD

listening: Grimes, Kendrick Lamar, St. Vincent, Tame Impala
project: Set Thee A Problem Project . . .

WEEK 16, Monday, May 2

Wrap

--> project: Set Thee A Problem Project Due :: Final Project Assigned

FINAL PROJECT -- DUE Wednesday, May 11 by 5:00 PM