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Heelp with dissertation
Hi guys how are you all doing?
I need a hand on ideas to put in my dissertation.
So it’s in regards to creating music on an ipad and that you could achieve good results “industry standard” tracks.
If you ever have to write one, what would be your key points?
Has anyone created music that are on any streaming platforms? What do you consider to be a successful result?
Would anyone be down for an interview?
Thanks for the help in advance.
Comments
Isn't a dissertation supposed to be your own work?
Definitely is. I’m just curious to see how other might go about it. That’s all
@dokwok2 sounds like @Paa89 is looking for interviews or anecdotes as part of their research. @Paa89 whats your main research question at this point? What have you dug up in your literature review? I’m an academic librarian so this is interesting to me
"good results" and "industry standard tracks" feel like different things. Or they can be.
Consider how many classic/beloved rock and roll tunes (and soul, blues, jazz, country, etc) were recorded to 1, 2 or 3 track machines. Like, basically every piece of recorded music up until the latter half of the 60s. Those are easily considered "good results" but maybe not "industry standard" by today's standards. No one is talking about the lack of high-end definition on the bass in "Johnny B Goode" or that Otis Redding's vocals distort a bit in "Try a Little Tenderness" or...
In other words, I don't think it's about the recording technology when it comes to 'good results' since we're talking about music and feelings and all that business. It's about the entire chain up to and including the recording technology. When you add up a good song, good performer(s), good arrangement, good mic(s), good pre(s) and a good room = does the recording technology matter at all (so long as it's not in the way)? It starts to matter when you begin to replace some of those 'good' elements with so-so elements or bad elements—turd polishing, so to speak—because now we're into editing the original performance, not just capturing it.
Soapbox, dismounted. Sorry.
Didn’t Gorillaz record an entire album on an iPad? Maybe check out some info on that.
I’d be interested in perceptions of mobile music production tools vs the standard tools, what makes an artist interested in producing on mobile, perceptions of daw vs dawless, dichotomy of mobile use (fully mobile vs. some mobile vs. no mobile), obstacles from artists trying to produce in mobile, etc.
Regarding people to talk to, Henny the Bizness is a known producer who’s on iOS. Think Madlib was rumored to have done have done some work on iOS but doubt he’ll ever open up about it
What’s interesting to me is that in the past the ‘new music tech’ (thinking synthesizers, then samplers, then digital audio workstations) was usually out of reach to most because of cost, connectivity with a studio, and possibly time to learn. Someone starting out would make do with cheaper and/or older technology.
Now, possibly the newest progression of music tech in the past 10 years would be a fully mobile platform with DAWs, instruments, effects. But the hardware is actually very in reach for many, ubiquitous as a non-music tool, and the apps are pennies on the dollar for what the desktop cost would be, and yet it’s perceived as toyish.
Some more thoughts: interested in the marketplace as well. Why the onslaught of poorly designed and low functionality music apps on iOS and Android when there’s a much smaller and more focused market on desktop. Likely the business model is different; you can make money through ad revenue and in-app purchases in a different way than on desktop, as well as likely the time it takes to get an app to market on mobile is quicker than on desktop. May contribute to the ‘stigma’ of producing on iOS.