aPPendix1
A b o u t t h e I n t e r v i e w s ,
w i t h a L i s t o f
I n t e r v i e w s C i t e d
It was with the understanding of technology as an enabler of the project
of mixing “Brazil” into the language of cosmopolitan pop that I viewed
recording studios as important sites for conducting my field research. (In
fact, a key labor performed in such studios is referred to as mixing, whereby
recorded tracks are electronically modified through equalization, panning,
reverberation, compression, special effects, and so on, and combined to a
stereo “mix.”) The larger recording facilities in Rio de Janeiro in the 1990s
included Compania dos Técnicos (Company of Technicians), Estúdios
Mega (Mega Studios), Nas Nuvens (In the Clouds), Estúdio ar (ar Studio),
Impressão Digital (Digital Impression), and Discover. Discover, founded by
Guilherme Reis, was the first all–Pro Tools (i.e., computer- based) facility in
the city, and Guilherme was probably Rio’s biggest enthusiast of hard disc
recording before it became accepted as the norm in the first decade of the
present century. While I spent considerable time in studios, however, the
facilities were not in themselves my primary object of study. My concern
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