Works Cited
Alridge, Derrick P., and James B. Stewart. “Introduction: Hip Hop in History: Past, Present, and
Future.” The Journal of African American History, vol. 90, no. 3, 2005, pp. 190–195.
JSTOR, www.jstor.org/stable/20063997. Accessed 20 Dec. 2025.
Hodgson, Jay. “A Field Guide to Equalisation and Dynamics Processing on Rock and
Electronica Records.” Popular Music, vol. 29, no. 2, 2010, pp. 283–297. JSTOR, www.jstor.org/stable/40926923. Accessed 20 Dec. 2025.
In “A Field Guide to Equalisation and Dynamics Processing on Rock and Electronica Records,” Jay Hodgson examines how equalization (EQ) and dynamics processing are used in contemporary rock and electronica recordings. The article analyzes common frequency ranges, compression strategies, and production conventions that contribute to clarity, balance, and perceived loudness in professional recordings. Hodgson emphasizes how these techniques shape timbre and texture, arguing that production choices function as aesthetic decisions rather than purely technical ones. Through detailed discussion of mixing practices, the article provides a practical framework for understanding how sound is sculpted in modern recorded music.
This source is directly relevant to my EP project because it informs my approach to mixing and production, particularly my use of EQ and compression to create a cohesive and polished sound. Hodgson’s analysis helps me make intentional decisions about frequency balance, dynamics, and sonic space across tracks, which is essential for maintaining consistency within an EP format. The article also supports my understanding of production as a creative process, reinforcing how technical choices contribute to the overall aesthetic and emotional impact of my recorded work.
Neumann, Friedrich. “Hip Hop: Origins, Characteristics and Creative Processes.” The World of
Music, vol. 42, no. 1, 2000, pp. 51–63. JSTOR, www.jstor.org/stable/41699313. Accessed
20 Dec. 2025.
Porter, William. “Recording Engineer.” Music Educators Journal, vol. 63, no. 7, 1977, pp.
68–69. JSTOR, https://doi.org/10.2307/3395212. Accessed 20 Dec. 2025.
In “Recording Engineer,” William Porter outlines the role and responsibilities of the recording engineer within the music production process. Writing from an educational perspective, Porter discusses the technical skills, listening practices, and collaborative functions required to capture and shape recorded sound effectively. The article emphasizes the engineer’s role as both a technician and a creative contributor, responsible for microphone placement, signal balance, and overall sound quality. Although written earlier than contemporary digital practices, the article provides foundational insights into the principles of professional recording work.
This source is relevant to my EP project because it helps frame my role in the recording process as an active creative participant rather than solely a performer or songwriter. Porter’s discussion of engineering fundamentals informs my approach to tracking and sound capture, particularly in making intentional decisions about recording quality and collaboration. The article supports my understanding of recording as a critical stage in shaping the final sound of my EP, even when working with modern digital tools.
Radbourne, Jennifer, et al. “The Audience Experience: Measuring Quality in the Performing Arts.” International Journal of Arts Management, vol. 11, no. 3, 2009, pp. 16–29. JSTOR, www.jstor.org/stable/41064995. Accessed 20 Dec. 2025.
