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商品描述
A critical examination of the twenty-first century fetishization of professional audio technologies, and how it led to a new social formation: gear cultures. Gear: mixing consoles, outboard effects processors, microphones. These are professional studio recording-related technological objects--the tools of the recording industry--yet their omnipresence in the broader music industries and prosumer markets transcends the entrenched pro audio engineer guild. In Gear: Cultures of Audio and Music Technologies, authors Eliot Bates and Samantha Bennett ask: How does gear become gear? Why is it fetishized? And how is it even relevant in the predominantly digital twenty-first-century music technology landscape? This multisited, multicountry, multiplatform, and multiscalar study focuses on gear in the present day. The authors trace the life of gear from its underlying materialities, components, and interfaces through to its manufacturing processes, its staging in sites including trade shows and message fora, and its reception through (gear) canons, heritage, and obdurance. This book implements a meticulous multimode methodology drawing upon more than twenty-five first-hand long-form interviews with audio industry professionals--including gear designers, users, and publishers--as well as new findings drawn from multisited fieldwork, online discourse analysis, and visual ethnography. Gear examines the present-day prevalence of gear and the existence of its surrounding passionate, competitive, and sometimes bizarre gear cultures.
商品描述(中文翻譯)
對於二十一世紀專業音頻技術的迷戀進行批判性檢視，以及這如何導致一種新的社會形態：設備文化。
設備：混音台、外部效果處理器、麥克風。這些是與專業錄音相關的技術物件——錄音產業的工具——然而它們在更廣泛的音樂產業和消費者市場中的無處不在，超越了根深蒂固的專業音頻工程師行會。在Gear: Cultures of Audio and Music Technologies中，作者Eliot Bates和Samantha Bennett提出了問題：設備是如何成為設備的？為什麼它會被迷戀？在以數位為主的二十一世紀音樂技術環境中，它又有何相關性？ 這項多地、多國、多平台和多尺度的研究專注於當今的設備。作者追溯設備的生命歷程，從其基本的物質性、組件和介面，到其製造過程、在貿易展和信息論壇等地的展示，以及通過（設備）經典、遺產和持久性來接收。這本書採用了細緻的多模式方法論，基於超過二十五次與音頻產業專業人士的長篇一手訪談——包括設備設計師、使用者和出版商——以及從多地現場研究、線上話語分析和視覺人類學中獲得的新發現。 Gear探討了當今設備的普遍性及其周圍熱情、競爭，甚至有時是怪異的設備文化的存在。作者簡介
Eliot Bates is Associate Professor of Ethnomusicology at the CUNY Graduate Center. They have contributed as a performer, composer, and/or recordist/engineer to more than ninety albums produced in the US, UK, Turkey, and Italy, as well as several TV series and feature films. Samantha Bennett is Chair of the International Association for the Study of Popular Music (IASPM) and Professor of Music at the Australian National University. She is the author of Modern Records, Maverick Methods and Peepshow and coeditor of Critical Approaches to the Production of Music and Sound
作者簡介(中文翻譯)
艾略特·貝茲（Eliot Bates）是CUNY研究生中心的民族音樂學副教授。他們作為表演者、作曲家和/或錄音師/工程師，參與了在美國、英國、土耳其和意大利製作的超過九十張專輯，以及幾部電視劇和電影。
薩曼莎·班奈特（Samantha Bennett）是國際流行音樂研究協會（IASPM）的主席，也是澳大利亞國立大學的音樂教授。她是《現代唱片，特立獨行的方法》（Modern Records, Maverick Methods）和《窺視秀》（Peepshow）的作者，以及《音樂與聲音製作的批判性方法》（Critical Approaches to the Production of Music and Sound）的共同編輯。
