Author  |
Title |
Year |
Publication |
Volume |
Pages |
| Yan Yang |
Metal Music Production : Clarity and Cohesion |
2024 |
|
|
|
| Williams, Duncan |
Tracking timbral changes in metal productions from 1990 to 2013 |
2014 |
Metal Music Studies |
1 |
39-68 |
| Walch, Florian |
Imagining Future Extremes on the Record Player: Time Axis Manipulation as a Theory of Extreme Metal Creativity and History |
2025 |
The Routledge Handbook to Metal Music Composition: Evolution of Structure, Expression, and Production |
|
385-396 |
| Thomas, Niall; King, Andrew |
Production perspectives of heavy metal record producers |
2019 |
Popular Music; Cambridge |
38 |
498-517 |
| Thomas, Niall |
Innovation and tradition in metal music production |
2021 |
Metal Music Studies |
7 |
423-443 |
| Thomas, Niall |
Masters of Reality: The (De)construction of Reality in the Production of Metal Music |
2025 |
The Routledge Handbook to Metal Music Composition: Evolution of Structure, Expression, and Production |
|
397-410 |
| Olsen, Kirk N.; Thompson, William Forde; Giblin, Iain |
Listener Expertise Enhances Intelligibility of Vocalizations in Death Metal Music |
2018 |
Music Perception; Berkeley |
35 |
|
| Mynett, Mark; Wakefield, Jonathan; Till, Rupert |
Intelligent equalisation principles and techniques for minimising masking when mixing the extreme modern metal genre |
2010 |
Heavy fundametalisms: music, metal and politics |
|
141-146 |
| Mynett, Mark |
The Distortion Paradox: Analysing Contemporary Metal Production |
2016 |
Global metal music and culture: current directions in metal studies |
|
68-88 |
| Mynett, Mark |
Contemporary Metal Music Production |
2013 |
|
|
|
