Distortion in Music Production offers a range of valuable perspectives on how engineers and producers use distortion and colouration as production tools. Readers are provided with detailed and informed considerations on the use of non-linear signal processing, by authors working in a wide array of academic, creative, and professional contexts.
Including comprehensive coverage of the process, as well as historical perspectives and future innovations, this book features interviews and contributions from academics and industry practitioners. Distortion in Music Production also explores ways in which music producers can implement the process in their work and how the effect can be used and abused through examination from technical, practical, and musicological perspectives.
This text is one of the first to offer an extensive investigation of distortion in music production and constitutes essential reading for students and practitioners working in music production.
About the Author: Gary Bromham completed his PhD at Queen Mary University London where he researched the role of retro aesthetics in music production and how some of these features are used in intelligent music production systems. He co-produced the 1988 Icelandic Eurovision entry, made an album with jazz-funk band Mezzoforte, and worked with progressive artist, Bjork. He also collaborated with Andrew Ridgeley, of Wham, on his solo album, and subsequently worked with George Michael on some of his album, Listen Without Prejudice. Gary has written with a variety of artists and songwriters including Sheryl Crow, U2, Bow Wow Wow, The Tubes, Robbie Neville, Eddie Money and The Fixx. He is also a frequent guest speaker and external advisor at several universities in the UK, Norway, and Sweden; speaking on songwriting, production, and mixing.
Austin Moore is a senior lecturer and course leader of sound engineering and music production courses at the University of Huddersfield, UK where he is also the Music and Audio Production (MAP) research group leader. He completed a PhD in music production and technology, which investigated the use of non-linearity in music production with a focus on dynamic range compression and the 1176 compressor. His research interests include music production sonic signatures, Atmos in music production, and semantic audio. He has a background in the music industry and spent many years producing and remixing various forms of electronic dance music under numerous artist names and working as an engineer in studios. He has recently become active in the electronic dance music scene and is putting the finishing touches on productions which will be released at the end of 2022.
