caa a22 4500 388112824 CHVBK 20180307125358.0 cr unu---uuuuu 161130e199910 xx s 000 0 eng 10.1017/S0261143000008916 doi S0261143000008916 pii (NATIONALLICENCE)cambridge-10.1017/S0261143000008916 Julien Olivier The diverting of musical technology by rock musicians: the example of double-tracking [Elektronische Daten] [Olivier Julien] In Rock Formation, Steve Jones notes that ‘popular music is, at every critical juncture of its history, determined by the technology musicians use to realize their ideas' (Jones 1992, p. 1). As far as sound treatment is concerned, the importance of that technology (or more precisely, the importance of the possibilities it offers at a certain time) is rather obvious - had he not possessed reel-to-reel tape recorders, Sam Phillips would have never been able to achieve the slap echo which was so characteristic of his productions in the 1950s. Copyright © Cambridge University Press 1999 Popular Music Cambridge University Press 18/3(1999-10), 357-365 0261-1430 18:3<357 1999 18 PMU https://doi.org/10.1017/S0261143000008916 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0261143000008916 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Julien Olivier NATIONALLICENCE 773 0- Popular Music Cambridge University Press 18/3(1999-10), 357-365 0261-1430 18:3<357 1999 18 PMU CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence SWISSBIB 224433857 BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge