Art of Record Production Conference
May 17-19, 2019
Berklee College of Music, 921 Boylston Street, Boston, MA 02215
Friday, May 17 • 10:30 - 11:00
Disruptive Creativity: a review of disruptive technologies used by independent music producers to predict next-generation…

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Disruptive technologies displace established technologies or create a completely new industry (Christensen, 2013). The main-stream music and recording industry has been slow to adopt these new technologies and prefers legacy methods of recording music that occurs in specialized recording spaces by large numbers of staff (Tough, 2009, Sobel, 2007). Conversely, independent music producers are vanguards for leveraging disruptive technologies specifically developed for home or independent recording and production studios. Independent music producers need tools that keep pace with client’s creative needs, allow for collaboration with a wide range of clients, and utilize cutting-edge tools for small spaces and budgets (Rumsey, 2016). Currently, the three most influential disruptive technologies developed for independent music producers are web-based music platforms, digital audio processing, and networked audio protocols. Web-based music platforms, such as SoundCloud, enable creation of online portfolios for musicians to share audio files, sell completed works, gather feedback, and grow networks. This platform enables independent music producers to better collaborate with musicians during the production processes (i.e. file transfer process). Digital audio processing tools, such as Slate Digital, are software based plug-ins that emulate high-end analog equipment at a much lower price point. This cost reduction is critical for independent music producers who tend to have smaller budgets as compared to large studios or production facilities. Networked audio protocols, such as Dante from Audiante, allow producers, musicians, and clients to collaborate from disparate locations via the internet. Networked audio allows independent producers to expand their collaborative network, foster community, and keep budgets manageable (Rumsey, 2017). This paper will review these three disruptive technology areas and discuss what characteristics next-generation disruptive technologies must have to aid independent music producers in their creativity, collaboration, and connectivity. References: Christensen, Clayton. The innovator's dilemma: when new technologies cause great firms to fail. Harvard Business Review Press, 2013. Rumsey, Francis. "Recording In The Light Of New Technology." Journal of the Audio Engineering Society 63, no. 12 (2016): 1053-1057. Rumsey, Francis. "Recording and Reproduction: Studio Myths and New Technology." Journal of the Audio Engineering Society 65, no. 9 (2017): 776-780. Tough, David T. Developing a consensus-driven, core competency model to shape future audio engineering technology curriculum: A web-based modified Delphi study. Tennessee State University, 2009. Sobel, R. (2007). Music schools: Are we incubating excellence? Music and Entertainment Educators Association Journal, 7(1), 177-186.

avatar for Doug Bielmeier

Doug Bielmeier

Associate Teaching Professor, Northeastern University
With fifteen years proven success as a studio & live sound engineer and an ever-growing client list, Dr. Doug Bielmeier has worked as a staff & freelance engineer in Washington, DC and Nashville, TN. Currently, Doug is an associate professor at Northeastern in Boston MA and a freelance... Read More →

Friday May 17, 2019 10:30 - 11:00 EDT
Classroom 411 (4th floor)