Anders Reuter
Biographic Data
| ID | 3694437 |
|---|---|
| NAME | Anders Reuter |
| GIVEN NAMES | Anders |
| FAMILY NAME | Reuter |
| SIGNATURE | REUTER A |
| AFFILIATIONS | Independent |
| ORCID | 0000-0002-4969-7932 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Who let the DAWs Out? The Digital in a New Generation of the Digital Audio Workstation
Pop is increasingly assimilating the compositional practices of hip-hop and EDM (electronic dance music). This shift is driven by a new generation of Digital Audio Workstations (DAWs). These are less based on a recording studio logic and more a combination of controlling loops and the networked logic of ubiquitous computing (ubicomp) culture. Via new media theory, this article discusses how the practices of hip-hop and EDM are digitalised in the …
Pop as Process: The Digitalization of Groove, Form and Time
Pop music production is increasingly dominated by practices from hip-hop and EDM. The shift is hosted by a new generation of the digital audio workstation (DAW) that not only connects with but also reflects contemporary ubiquitous computing culture. This article examines the temporal consequences of this digitalization of pop production and how it challenges traditional interpretations of the relationship between groove, repetition and teleology.…
Who let the DAWs Out? The Digital in a New Generation of the Digital Audio Workstation
Pop is increasingly assimilating the compositional practices of hip-hop and EDM (electronic dance music). This shift is driven by a new generation of Digital Audio Workstations (DAWs). These are less based on a recording studio logic and more a combination of controlling loops and the networked logic of ubiquitous computing (ubicomp) culture. Via new media theory, this article discusses how the practices of hip-hop and EDM are digitalised in the …
Who let the DAWs Out? The Digital in a New Generation of the Digital Audio Workstation
Pop is increasingly assimilating the compositional practices of hip-hop and EDM (electronic dance music). This shift is driven by a new generation of Digital Audio Workstations (DAWs). These are less based on a recording studio logic and more a combination of controlling loops and the networked logic of ubiquitous computing (ubicomp) culture. Via new media theory, this article discusses how the practices of hip-hop and EDM are digitalised in the …
Pop as Process: The Digitalization of Groove, Form and Time
Pop music production is increasingly dominated by practices from hip-hop and EDM. The shift is hosted by a new generation of the digital audio workstation (DAW) that not only connects with but also reflects contemporary ubiquitous computing culture. This article examines the temporal consequences of this digitalization of pop production and how it challenges traditional interpretations of the relationship between groove, repetition and teleology.…
Computer Science (2 works) · Music History and Culture (2 works) · Art (1 works) · Audio signal (1 works) · Computer hardware (1 works) · Dance (1 works) · Digital audio (1 works) · Digital signal processing (1 works) · Electronic dance music (1 works) · Engineering (1 works)