![]() ![]() I use the concrete and conceptual lens of the interface-defined as the relational, experimental, and interactive processes that are constantly being negotiated between and among both technological platforms and devices, and social and cultural communities-as an analytical tool. In the age of what many have called “digital maximalism,” how do producers, designers, and consumers of sound navigate the increasingly thin lines between media formats, creative practices, and technological engagement within global capitalism? Moreover, how might these “interface aesthetics” reflect broader concerns about the place of the body and technology in increasingly shifting media ecologies? In this dissertation, I detail the increasingly networked environment through which digital audio producers work, from record production to sound in mobile media and video games. In turn, this logic of non-linearity and play has influenced both the design of digital audio software, as well as the use of hardware “controllers” for manipulating this software. The proliferation of “apps,” video games, and other forms of multimodal engagement with music production has introduced ludic structures into the creative process. Most noticeably, the shift from traditional recording studio environments to “ubiquitous computing” has allowed for the technical convergence of various media practices, from sound design to video games and multimedia art. ![]() With the rise of haptic interfaces for mobile computing, the techniques and practices of digital audio production have undergone significant changes. Concluding with thoughts on how the music industry could benefit from the wider implementation of surround technologies, the investigation summarises how public perceptions might be changed, and consumers be made more aware of the benefits of Surround Sound to the listening experience. The author questions why Surround Sound technologies have seen substantial implementation in film and visual presentation, but not so in music composition and production. Likening the potential of Surround Sound music in the music industry to that of 3D technology in the film industry, the author believes that Surround Sound technologies provide a definite avenue of expansion for the consumer listening experience. Discussing its past failings, the paper questions the future of Surround Sound music, looking at industry practitioners working to promote this relatively niche format. ![]() The following dissertation investigates the history of surround sound, and the specific production techniques utilised to create Surround Sound music. ![]()
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