- About the Companion Website: www.oup.com/us/ohss
- The Oxford Handbook of Sound Studies
- New Keys to the World of Sound
- The Garden in the Machine: Listening to Early American Industrialization
- Turning a Deaf Ear? Industrial Noise and Noise Control in Germany since the 1920s
- “Sobbing, Whining, Rumbling”: Listening to Automobiles as Social Practice
- Selling Sound: Testing, Designing, and Marketing Sound in the European Car Industry
- Sound Sterile: Making Scientific Field Recordings in Ornithology
- Underwater Music: Tuning Composition to the Sounds of Science
- A Gray Box: The Phonograph in Laboratory Experiments and Fieldwork, 1900–1920
- From Scientific Instruments to Musical Instruments: The Tuning Fork, the Metronome, and the Siren
- Conversions: Sound and Sight, Military and Civilian
- The Search for the “Killer Application”: Drawing the Boundaries around the Sonification of Scientific Data
- Inner and Outer Sancta: Earplugs and Hospitals
- Sounding Bodies: Medical Students and the Acquisition of Stethoscopic Perspectives
- Do Signals Have Politics? Inscribing Abilities in Cochlear Implants
- Sound and Player Immersion in Digital Games
- The Sonic Playpen: Sound Design and Technology in Pixar’s Animated Shorts
- The Avant-Garde in the Family Room: American Advertising and the Domestication of Electronic Music in the 1960s and 1970s
- Visibly Audible: The Radio Dial as Mediating Interface
- From Listening to Distribution: Nonofficial Music Practices in Hungary and Czechoslovakia from the 1960s to the 1980s
- The Amateur in the Age of Mechanical Music
- Online Music Sites as Sonic Sociotechnical Communities: Identity, Reputation, and Technology at ACIDplanet.com
- Analog Turns Digital: Hip-Hop, Technology, and the Maintenance of Racial Authenticity
- iPod Culture: The Toxic Pleasures of Audiotopia
- The Recording That Never Wanted to Be Heard and Other Stories of Sonification
Abstract and Keywords
This article focuses upon one form of digital music making that is created and shared among Internet users. Websites dedicated to this new form of musical production and consumption are generally part of social networking sites which may include the uploading and downloading of music as a feature. This article particularly deals with a website called “ACIDplanet”, in which much of the music is made by a special software program, ACID. This software turns a computer into a digital recording studio and enables users to make music by downloading repetitive samples of music, known as “loops.” The article presents an ethnographic study (conducted 2005–2007) of the working of this online music site. It is particularly concerned with three themes: how reputations are achieved in this online world, how musical identities are negotiated, and how much is in common between the online and offline world of musical identities and reputations.
Trevor Pinch is Professor of Science and Technology Studies at Cornell University, and author or co-author of several books including Analog Days: The Invention and Impact of the Moog Synthesizer (2002, with Frank Trocco) and The Golem at Large: What You Should Know About Technology (1993, 1998, with Harry Collins).
Katherine Athanasiades, Ford Foundation, New York
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