2013
DOI: 10.1111/area.12037
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‘Running a studio's a silly business’: work and employment in the contemporary recording studio sector

Abstract: This paper is concerned with work and employment in the recording studio sector of the contemporary musical economy. More specifically, it aims to begin to address the lack of attention paid to the issue of individual subjectivity in the cultural workplace, through an empirically informed account of how the changing economic conditions in the recording studio sector are impacting on work as seen from the perspective of those working in the sector. The sector is one marked by a continued move towards more tempo… Show more

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Cited by 12 publications
(12 citation statements)
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References 46 publications
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“…Geographical research on creative labour has tended to characterise it either in terms of ‘cool’ jobs in ‘buzzing’ places (Florida ; Pratt ) or precarious, often poorly paid working conditions (Watson ; Reimer ; Oakley ). This article argues for a subtler consideration of the complex combination of factors at play within the cultural ecology of art‐making.…”
Section: Introductionmentioning
confidence: 99%
See 1 more Smart Citation
“…Geographical research on creative labour has tended to characterise it either in terms of ‘cool’ jobs in ‘buzzing’ places (Florida ; Pratt ) or precarious, often poorly paid working conditions (Watson ; Reimer ; Oakley ). This article argues for a subtler consideration of the complex combination of factors at play within the cultural ecology of art‐making.…”
Section: Introductionmentioning
confidence: 99%
“…This constitutes an important oversight given that volunteering is often relied upon – if not factored in economically – for large‐ and small‐scale cultural organisations alike. For example, geographical study into the uneven working conditions of people in the music recording studio sector has revealed a culture of freelance contracts and internships that effectively constitute free labour (Watson ). Nevertheless, volunteers can perform important roles in‐between that of worker and visitor, despite tensions in social policy agendas, such as welfare‐to‐work in conjunction with the troubled rhetoric of the Big Society, which have threatened to devalue all non‐monetised labour (Hardhill and Baines , 7).…”
Section: Introductionmentioning
confidence: 99%
“…Since the digital revolution, creative labourers have invariably moved to become transnational freelancers utilizing networking technologies-file transfer protocol (FTP) servers and cloud connectivity-to liaise directly with their clients, at times at a considerable distance (Watson and Beaverstock, 2016). As the Internet has altered the way data are stored and transmitted the places where creatives work and relate in have transitioned in line with similar professions (Watson, 2013).…”
Section: The Digitalization Of Creativitymentioning
confidence: 99%
“…Since as early as the 1950s, developments in musical tastes and recording technologies have been challenging the economic viability of the recording studio sector of the musical economy [1]. Reviewing the Indonesian music industry, the Association of Indonesia Music Recording Industry stated that the music industry controlled 85% of creative industries in the domestic market, while the monetary value generated from this subsector reached 4.8 trillion in 2012 and five trillion rupiahs in 2013 [2].…”
Section: Introductionmentioning
confidence: 99%