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.

part I|90 pages

Technology of Distortion

chapter 1|10 pages

A History of Distortion in Music Production

ByClive Mead, Gary Bromham, David Moffat

chapter 2|15 pages

The Development of Audio Software with Distortion

ByEric Tarr

chapter 4|18 pages

Non-linearity and Dynamic Range Compressors

ByAustin Moore

chapter 5|26 pages

Low Order Distortion in Creative Recording and Mixing

ByAndrew Bourbon

part II|54 pages

Perception and Semantics of Distortion

chapter 6|16 pages

Understanding the Semantics of Distortion

ByGary Bromham

chapter 7|19 pages

An Ecological Approach to Distortion in Mixing Audio

Is Distortion an Expected, Rather than an Unwanted Artefact?
ByLachlan Goold

chapter 8|17 pages

Towards a Lexicon for Distortion Pedals

ByTom Rice, Austin Moore

part III|54 pages

Retrospective Perspectives of Distortion

chapter 9|13 pages

Hit Hardware

Vintage Processing Technologies and the Modern Recordist
ByNiall Coghlan

chapter 10|14 pages

Even Better than the Real Thing

A Comparison of Traditional and Software-Emulated Distortion in the Contemporary Audio Production Workflow
ByDoug Bielmeier

chapter 11|11 pages

‘It Just Is My Inner Refusal’

Innovation and Conservatism in Guitar Amplification Technology
ByJan-Peter Herbst

chapter 12|14 pages

A Saturated Market

ByAsk Kæreby

part IV|78 pages

Musicology of Distortion

chapter 14|12 pages

The Distortion of Space in Music Production

ByMatthew Barnard

chapter 15|17 pages

Distorting Jazz Guitar

Distortion as Effect, Creative Tool andExtension of the Instrument
ByTom Williams

chapter 16|17 pages

‘Got a Flaming Heart’

Vocal Climax in the Music of Led Zeppelin
ByAaron Liu-Rosenbaum

chapter 17|15 pages

The Aesthetics of Distortion

ByToby Young