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Andrew, L., & Panayiotis, L. (2009). Audio recording of rock/metal music using personal computers. Journal of Communication and Computer, 6(3), 28–34.
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Berger, H. M., & Fales, C. (2005). ”Heaviness” in the Perception of Heavy Metal Guitar Timbres: The Match of Perceptual and Acoustic Features. In P. D. Greene, & T. Porcello (Eds.), Wired for sound: engineering and technologies in sonic cultures (pp. 181–197). Middletown: Wesleyan University Press.
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Berkers, P., & Schaap, J. (2016). Gender Inequality in Metal Music Production. London: Emerald.
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Brown, A. R., Spracklen, K., Scott, N. W. R., & Kahn-Harris, K. (Eds.). (2016). Global metal music and culture: current directions in metal studies. New York & London: Routledge.
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Herbst, J. (2024). Martin Birch – Catalyst: The Pivotal Role of Deep Purple’s Sound Engineer on the Classic Mk. 2 Albums. In A. R. Brown (Ed.), Who Do We Think They Are? Deep Purple and Metal Studies (t.b.c.). Equinox.
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Herbst, J. - P. (2019). Old sounds with new technologies? Examining the creative potential of guitar ‘profiling’ technology and the future of metal music from producers’ perspectives. Metal Music Studies, 5(1), 53–69.
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Herbst, J. - P. (2021). (No?) Adventures in Recording Land: Engineering Conventions in Metal Music. Rock Music Studies, t.b.c..
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Herbst, J. - P. (2021). Culture-specific production and performance characteristics: An interview study with “Teutonic” metal producers. Metal Music Studies, 7(3), 445–467.
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Herbst, J. - P. (2021). Nail the Mix: Standardization in Mixing Metal Music? Popular Music and Society, t.b.c..
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Herbst, J. - P. (2022). “Keeper of the Seven Keys”: Audio heritage in metal music production. Metal Music Studies, 8(1), 109–126.
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