Lachlan Goold
Biographic Data
| ID | 2568985 |
|---|---|
| NAME | Lachlan Goold |
| GIVEN NAMES | Lachlan |
| FAMILY NAME | Goold |
| SIGNATURE | GOOLD L |
| AFFILIATIONS | University of the Sunshine Coast |
| ORCID | 0000-0002-8635-2466 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 7 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Challenges and frustrations for Indigenous Australians participating in the recording sector
This research explores the barriers to entry and the challenges and frustrations for Australian First Nations music producers. The proliferation of software-based technology in the recording studio sector resulted in notions of technological democracy. However, this democratization is often contested for not including women and various marginalized and minority groups. Through an Indigenous-led music production workshop project, the research team…
What studios think they do
Over a decade has passed since Eliot Bates examined ‘what studios do’. In the meantime, discussions surrounding decline and transformation in music production often depict a grim outlook for the future of large-format recording studios confluent with a burgeoning lower-cost, DAW-based DIY recording sector. This paper conducts a census of commercial recording studios along the east coast of Australia by gathering data from their websites. This app…
Music education as symbolic action
Back catalogue touring and the ephemeral archive
Who uses digital drugs? An international survey of ‘binaural beat’ consumers
The production of space and the changing character of the recording studio
The propagation of low-cost music production technologies changes the way recording artists experience the spatial environments and technology of the recording studio. Concomitantly dwindling recording budgets have led to large-format studio closures. Many artists are choosing do-it-yourself (DIY) recording practices with the help of a producer, or self-produced, in non-purpose-built and domestic environments. This research seeks to understand th…
The impact of the Queensland Government's Tackling Alcohol‐Fuelled Violence Policy on live music performances in Fortitude Valley, Brisbane, Australia
Hitchhiker’s guide to reality
In this article we explore a collaborative interdisciplinary Theatre and Music production as part of two undergraduate courses at the University of the Sunshine Coast, Australia, during COVID-19. Tertiary intuitions all over the world are currently being forced to adapt in radical response to the pandemic. The specific conditions of the authors’ experience prompted this collaboration where both teaching and learning occurred in an unstable, unpre…
Original live music venues in hyper-commercialised nightlife precincts
Nightlife precincts are constituted by intersecting cultural, market and regulatory forces. They are a vibrant part of the experience economy of the city and important sites for the performance of live music and arts. This article examines original live music venues in Fortitude Valley, an inner-city neighbourhood in Brisbane, Australia. The Valley is both a culturally significant site for original live music venues and a dense hyper-commercialis…
Original live music venues in hyper-commercialised nightlife precincts
Nightlife precincts are constituted by intersecting cultural, market and regulatory forces. They are a vibrant part of the experience economy of the city and important sites for the performance of live music and arts. This article examines original live music venues in Fortitude Valley, an inner-city neighbourhood in Brisbane, Australia. The Valley is both a culturally significant site for original live music venues and a dense hyper-commercialis…
The production of space and the changing character of the recording studio
The propagation of low-cost music production technologies changes the way recording artists experience the spatial environments and technology of the recording studio. Concomitantly dwindling recording budgets have led to large-format studio closures. Many artists are choosing do-it-yourself (DIY) recording practices with the help of a producer, or self-produced, in non-purpose-built and domestic environments. This research seeks to understand th…
Original live music venues in hyper-commercialised nightlife precincts
Nightlife precincts are constituted by intersecting cultural, market and regulatory forces. They are a vibrant part of the experience economy of the city and important sites for the performance of live music and arts. This article examines original live music venues in Fortitude Valley, an inner-city neighbourhood in Brisbane, Australia. The Valley is both a culturally significant site for original live music venues and a dense hyper-commercialis…
The impact of the Queensland Government's Tackling Alcohol‐Fuelled Violence Policy on live music performances in Fortitude Valley, Brisbane, Australia
Hitchhiker’s guide to reality
In this article we explore a collaborative interdisciplinary Theatre and Music production as part of two undergraduate courses at the University of the Sunshine Coast, Australia, during COVID-19. Tertiary intuitions all over the world are currently being forced to adapt in radical response to the pandemic. The specific conditions of the authors’ experience prompted this collaboration where both teaching and learning occurred in an unstable, unpre…
Who uses digital drugs? An international survey of ‘binaural beat’ consumers
The production of space and the changing character of the recording studio
The propagation of low-cost music production technologies changes the way recording artists experience the spatial environments and technology of the recording studio. Concomitantly dwindling recording budgets have led to large-format studio closures. Many artists are choosing do-it-yourself (DIY) recording practices with the help of a producer, or self-produced, in non-purpose-built and domestic environments. This research seeks to understand th…
Back catalogue touring and the ephemeral archive
What studios think they do
Over a decade has passed since Eliot Bates examined ‘what studios do’. In the meantime, discussions surrounding decline and transformation in music production often depict a grim outlook for the future of large-format recording studios confluent with a burgeoning lower-cost, DAW-based DIY recording sector. This paper conducts a census of commercial recording studios along the east coast of Australia by gathering data from their websites. This app…
Music education as symbolic action
Challenges and frustrations for Indigenous Australians participating in the recording sector
This research explores the barriers to entry and the challenges and frustrations for Australian First Nations music producers. The proliferation of software-based technology in the recording studio sector resulted in notions of technological democracy. However, this democratization is often contested for not including women and various marginalized and minority groups. Through an Indigenous-led music production workshop project, the research team…
Music History and Culture (5 works) · Sociology (4 works) · Cultural Industries and Urban Development (3 works) · Diverse Music Education Insights (3 works) · Geography (3 works) · Psychology (3 works) · Studio (3 works) · Archaeology (2 works) · Art (2 works) · Business (2 works)