Notes on Recording the Soundscape of K-Pop (Comprehensive Study Notes)

Overview and Context

• The chapter uses EJAE (Timbre EJAE/Kim Eun-jae) and the leak of her demo version of “Psycho” as a case study to explore K-pop’s soundscape and the production practices that shape it.
• EJAE’s demo leak occurred in December 2019, two days before SM Entertainment released Red Velvet’s title track “Psycho.”
• The demo had been uploaded to SoundBetter years earlier by EJAE to connect with other musicians; fans tracked it via SoundBetter links and EJAE’s SoundBetter portfolio.
• Andrew Scott (the song’s producer and co-writer) had tagged EJAE to promote the record; fans tracked the demo, leading EJAE to delete her account and report the leaks to SM’s A&R and EKKO Korea Music Rights.
• EJAE spent two days reporting leaks: “I’ve been reporting the leaked version all day long for the past two days. It was wildfire from then. There was nothing I could do other than to report endlessly.”
• Official release: “Psycho” became a major commercial/critical success (The ReVe Festival: Finale, 2019), topping charts and earning industry accolades, including the Golden Disc Award’s Digital Single Award in 2021. Ironically, the leak triggered broader interest in EJAE as an Asian/American woman producer.
• The chapter argues that discussions of K-pop have overly focused on visuals (e.g., Irene as a symbol of “original, visual”) and have neglected the sonic dimension; it advocates an aural turn grounded in sound studies.
• Key theoretical frame: soundscape (R. Murray Schafer) and sound objects (Pierre Schaeffer) as applied to K-pop, plus the concept of “object of sound” and Bakhtin’s polyphony/double-voicedness to highlight the social, political, and technological sedimentation of sound.
• The soundscape of K-pop is produced via technological mediation (studio booths, plugins, streaming) and distributed across global networks (remote collaboration, Audiomovers, time-space compression), making cyberspace a de facto recording studio.

Key Concepts in Sound Studies and K-Pop

• Soundscape (Schafer): sound as a layered construct comprising culture, place, acoustic space, and technology. In Kim’s terms, K-pop’s soundscape is the intersection of sonic practice, studio technology, and global digital platforms.

• Sound objects (Schaeffer) / object of sound (Chow): sound as an artifact produced by a network of human and nonhuman agents; emphasizes the materiality and politics of sound, not just sonic aesthetics.

• Ephemeral versus material: digitized sound challenges earlier notions of loss in sound capture; modern formats (e.g., MP3/MP4) enable plenitude and fidelity across copies, reframing sonic loss as potential gain.

• Sedimentation of labor: the production of a track is the cumulative result of many agents (singers, songwriters, producers, engineers, A&R, CEOs) whose decisions become embedded in the final sound object.

• Spatialization and three-dimensional sound: vocal positioning and ambience are deliberately manipulated to establish narrative and mood within the recording space.

• Visual bias in K-pop analysis: calls for decoupling sound from visuals to analyze the sonic practices that underpin global K-pop production.

• Temporal and spatial configurations: modern production involves fast, distributed workflows (remote recording, real-time mixing via cloud platforms) that compress traditional studio time and distance.

• The concept of “domestication” of demos: major labels frequently rework, rewrite, or tailor demos to fit a company’s desired timbre and market strategy, sometimes at the expense of the original creators’ control.

• Foundations and references: the chapter situates itself within sound studies (Sterne; Chow & Steintrager) and builds on analyses of K-pop’s industry structure (sociology of production, A&R dynamics, studio practices).

• Ethical and practical implications: trainee systems, body image pressures, and the toxic environment described by EJAE highlight ongoing ethical concerns about labor conditions, mental health, and industry norms.

• Real-world relevance: demonstrates how technology (digital audio workstations, remote collaboration, streaming) shapes contemporary pop production and cross-border collaboration, influencing global music markets.

• Notable terms and concepts (with examples):

  • Soundscape = layers of culture/place/space/tech integrated in sound production and reception.
  • Sound object = a sonically produced entity shaped by human and nonhuman actors across the recording process.
  • Spatialization = placing voice/musical elements in three-dimensional space for narrative effect.
  • Domestication of demos = corporate rewriting/modulation of demos to fit label style and artist fit.
  • Auto-Tune and its historical role = technological tool that transformed live vocal practice, with industry debates about authenticity.
  • Cyberspace as studio = remote, cloud-based collaboration enabling real-time or near-real-time production.

• Key numerical references and moments (selected):

  • Track and time notations used for context: Track 1 duration $6:27$; Track 2 duration $05:29$; Track 3 duration $02:40$; Track 4 duration $03:31$; Track 5 duration $03:23$.
  • Production timeframes and intervals (e.g., “three and a half to four hours” for a vocal take).
  • Early 1990s shifts (transition from analog to digital multitrack) and late 1990s Auto-Tune adoption, plus the turn of the millennium MP3/online distribution.
  • Seven-songwriters) for GOT7’s “Not by the Moon” collaboration and track lineage with topliners (e.g., Jay & Rudy) and producers (Isaac Han, Aaron Kim).
  • Industry adaptation to smartphone-era listening and low-end compression for MP3 listeners as described by David Kang.

Technology and Spatiality in K-Pop Production

• Recording technology evolution:
  • 1980s: Analog multitrack consoles; reel-to-reel tapes; LP era; high memorization of parts; no Auto-Tune; long takes; vocalists memorized lyrics.
  • 1980s-1990s: Collaboration between lyricists and composers; studio processes relied on live performance and preproduction planning; long hours and multiple takes.
  • 1990s-2000s: Transition to digital multitrack and MIDI; introduction of Auto-Tune; increased use of demo-to-final production workflows.
  • Late 2000s: Widespread use of Pro Tools; easy editing (cut/paste) and digitized workflows; rise of digitally produced demos that can replace live orchestration for some genres.
• Digital mediation and cyberspace:
  • Audiomovers and other streaming/mixing platforms allow real-time remote mixing and streaming, compressing time and space in production.
  • COVID-19 era did not halt the soundscape expansion due to distributed production networks and cloud-based collaboration.
• Distribution and listening culture:
  • MP3/MP4 formats enable portability and abundant copying without perceptible loss in digital copies, reframing what counts as a “loss” in sound studies.
  • Soribada (Korea) and Napster (US) catalyzed a shift away from physical formats toward digital distribution, affecting CD sales and the industry’s business model.
• Social and physical spaces of recording:
  • The studio remains a site of power relations among producers, songwriters, engineers, and corporate executives.
  • Physical acts (e.g., breathing in vocal takes) are often manipulated or erased in postproduction, which is framed as a political act within the production network.
• Conceptual synthesis:
  • The soundscape of K-pop is not only the audible product but also the process, coordinates, and power relations embedded in its creation across multiple geographies (e.g., EJAE in Virginia/NY, Cazzi Opeia in Sweden, Yoo Young-jin in Seoul).
  • The sound object embodies the sedimented agency of many actors, connecting geography to sound through digital mediation.

Track-by-Track Case Studies (Track 1–Track 5)

• Track 1. Geunyeoui useumsorippun (Only Her Laughter) — duration 06:27

  • Written by Lee Young-hun and Kim Myung-gon.
  • Context: pre-digital era, analog recording; Lee Moon-sae is a pioneer of K-pop ballads; his career in the 1980s helped define ballad aesthetics and the “gayo” tradition.
  • Recording practices (1980s): analog multitrack consoles; master disc; reel-to-reel tapes; vinyl LP dominant; performers memorized lines; no Auto-Tune.
  • Production arc: long initial development; preproduction with Y. Lee and M. Lee spent months discussing direction; demo recorded on reel-to-reel and then handed to Kim Myung-gon for arrangement.
  • Vocals: no fixed practice to memorize lyrics; singer would sing with eyes closed; the demo’s extended length posed challenges for radio (6:27 is longer than typical radio cuts).
  • Postproduction: mixing engineer optimized levels; master cut to LPs.
  • Historical significance: illustrates the pre-digital bottlenecks and the high degree of memorization and live performance fidelity prior to widespread digital manipulation.

• Track 2. Sangeo — duration 05:29

  • Written by Cho Kyu Chan.
  • Context and production ethos: “All songs on this album were recorded with a voice that did not use Auto-Tune” (bold emphasis in original).
  • Cho Kyuchan’s role: vocalist, producer, and songwriter; pioneering in blending genres and vocal techniques; later became a vocal producer for Lee So-ra.
  • Auto-Tune era critique: the track’s anti-Auto-Tune stance captures a pivotal shift in K-pop’s vocal production culture.

• Track 3. Byul (Star) — duration 02:40

  • Written by Sweetpea and Lee So-ra.
  • Studio collaboration: Cho Kyu Chan as vocal producer; Lee So-ra’s sixth album Nunsseupdal and Cho’s narrative-driven vocal design.
  • Spatialization and vivo-linguistic work: Cho directed vocal technique, sonic ambience, and three-dimensional placement of voice; Lee studied Cho’s instructions and documented movement using symbolic notation akin to Labanotation (to capture vocal dynamics, crescendo, vibrato, etc.).
  • Vocal technique adjustment: Cho advised Lee to discard “scooping” (sliding up to pitch) and sing straight to broaden spatial placement.
  • Studio discipline: Lee and Cho’s process involved deep preproduction planning, vocal technique coaching, and precise ambience/delay/reverb planning to support the album’s narrative arc.
  • Incident and collaboration dynamics: one recording night extended from 4 p.m. to 8 a.m.; occasional disappearances and last-minute adjustments illustrate the intense, iterative nature of vocal production.
  • Importance of vocal producer in shaping sound: Cho’s role extended beyond mere direction to include postproduction decisions that influence the track’s overall mood.

• Track 4. Psycho — duration 03:31

  • Written by Andrew Scott, EJAE, Cazzi Opeia, Druski, Yoo Young-jin, Kensie.
  • Backstory: the leaked English demo originated from SM’s songwriting camp in 2018; EJAE, Scott, and Cazzi Opeia collaborated in SM’s studio; the melody was drafted quickly (reported as about 30 minutes).
  • Studio process and topline development:
  • Track producer Scott proposed a track; Cazzi Opeia selected a track aligned with EJAE’s preference for R&B/pop.
  • A&R presence at the camp ensured EJAE’s involvement was acknowledged; a separate camp manager helped coordinate the session.
  • Initial verse melody was replaced with EJAE’s lines; hook/chorus crafted collaboratively; a rap section was added to satisfy idol-group conventions.
  • Lyrical concept and personal context:
  • The hook features “Nyquil” imagery and a narrative of emotional turbulence and mental health in a turbulent relationship; EJAE’s personal experiences influenced the English lyrics.
  • EJAE’s English lyrics focus on mental health and self-acceptance; Korean lyric adaptation aimed to express similar themes,
    reflecting industry pressures and personal therapy.
  • Industry context and personal history:
  • EJAE’s background as an SM trainee began at age eleven; the culture described as “toxic,” with weight surveillance and intense training regimes.
  • She describes being weighed weekly and pressured to lose weight (e.g., her height and weight during middle school) to fit company standards.
  • EJAE eventually studied at NYU’s Clive Davis Institute of Recorded Music and pursued solo artistry; she continued to train while seeking broader opportunities.
  • Production details and dynamics:
  • The demo was initially not intended for Red Velvet; there was consideration of sending it to Ariana Grande for a pop-market fit.
  • The English concept and melodies came primarily from EJAE; many topline melodies and hooks originated from EJAE’s ideas, including the chorus and post-hook.
  • Practical and ethical implications:
  • The track illustrates how personal trauma and industry pressures can influence a song’s lyrical and musical direction.
  • It also exemplifies the power dynamics in large labels where a manager or A&R may reframe a piece to fit label identity.

• Track 5. Not by the Moon — duration 03:23

  • Written by Park Jin-young (JYP), Isaac Han, Aaron Kim, Jay & Rudy, Lee Seu-ran, and OKIRO.
  • Isaac Han: LA-based producer and songwriter; cofounder of 8PEX and Tech Arts Group; partner with Neil Nallas; substantial work with GOT7, Suzy, and others.
  • Demo development workflow for idol groups (as described by Han):
  • Start with melodic ideas; track maker builds skeleton with chords, loops, bass, drums; topliners add melody and English/Korean lyrics; track is adjusted to fit the melody; vocals and melodies are iterated with voice notes.
  • The demo is pitched to A&R; if approved, further production changes can occur before final release.
  • Domestication and corporate intervention:
  • Park Jin-young’s involvement in Not by the Moon led to substantial alterations (the demo had initial concepts for another track, “Paranoid”);
    Park JYP requested many changes across chords and bass lines, ultimately reshaping the song’s concept.
  • Manny Maroquin, a renowned mixing engineer, was involved in the final mixing process; Park JYP’s involvement illustrates the power of a CEO/owner over the final product.
  • Team dynamics and sentiment:
  • Han’s account highlights the tension between preserving artists’ original ideas and a label’s desire to imprint its own signature on a track.
  • The production process resembles a factory line in some respects (distinct roles, external topliners, and internal A&R-driven approvals), yet it remains a deeply collaborative and human-driven process.
  • Structural notes about demo-to-release process:
  • The final product often incorporates changes to adapt to the group’s vocal strengths and the label’s aesthetic; the melody can be distributed across multiple members, with domesticating decisions affecting the tonal color of the track.
  • Additional context:
  • Not by the Moon’s demo underwent about 20 production changes before final release; Park Jin-young’s involvement is framed as both transformative and sometimes disconcerting for the contributing writers.

Historical Trajectory: From Analog to Digital and Beyond

• 1980s: Analog age in Korea’s recording studios; emphasis on rehearsed performances; long takes; no digital editing; high fidelity to live performance; large emphasis on the physicality of recording and vocal delivery.
• 1990s: Emergence of MIDI and digital multitrack; introduction of Auto-Tune (later in the era); the era of three-member groups and the rise of dance/pop ballads.
• Late 1990s–2000s: Auto-Tune becomes pervasive; the K-pop idol production system becomes more compartmentalized (track maker, topliner, lyricist, vocal producer, etc.); demos increasingly used to pitch to A&R; high-level corporate domestication of demos begins.
• 2000s–2010s: The rise of digital distribution and streaming; Napster-like file-sharing influences (global) and Soribada (Korea) accelerates the shift away from physical formats; the industry leans into visual-centric aesthetics, but sonic workflows become more global and digital.
• 2010s–2020s: Full-digitized recording studios, cloud-based collaboration (Audiomovers, etc.); remote vocal direction and real-time mixing redefine how songs are produced across borders; K-pop’s sonic practices are deeply embedded in global networks and time-space compression.
• Industry-wide implications: the demarcation between demo and final track becomes more fluid; corporate influence on the final concept grows; the commodification of the demo (and its sound) becomes a strategic object within label decision-making.

Theoretical and Ethical Implications

• Visual-centric bias: K-pop analysis has historically prioritized visuals and choreography; the sonic dimension remains underexplored but is essential to understanding global appeal and production culture.
• Sound as political and social sedimentation: sound objects encode the labor and power relations of a network of actors; erasure of certain voices (e.g., hidden or uncredited contributors) can reflect broader dynamics of the industry.
• Breath, silence, and power: the erasure of breath sounds (and other vocal cues) through digital processing can be seen as a political act that reflects control over vocal performance and narrative space.
• Trainee culture and body politics: EJAE’s testimony about weight surveillance and demeaning feedback highlights ongoing ethical concerns about trainee systems, mental health, and well-being.
• Domestication vs. authorship: the tension between writers’/artists’ original creative visions and corporate branding raises questions about authorship, ownership, and the ethics of “domesticating” demos for market fit.
• Technological mediation and labor: digital tools enable new forms of collaboration but also reconfigure labor, necessitating critical examination of who benefits from the final product and how credits/royalties are allocated across a global production network.
• Real-world relevance: the case studies illustrate how technological changes (e.g., AI-assisted tools, cloud-based streaming, and remote collaboration) influence creative decision-making, labor practices, and the economics of pop music.

Practical Takeaways for Exam Preparation

• Understand the core concepts:
  • Soundscape: layers of culture/place/space/technology shaping sonic practices.
  • Sound object: a sonic artifact embedded with the sedimented labor of many actors.
  • Spatialization: deliberate placement of voice and sound in three-dimensional space to convey narrative meaning.
  • Domestication: corporate shaping of demos to fit a label’s brand and market strategy.
• Be able to discuss how technology changed K-pop production:
  • Analog to digital transition; automation (Auto-Tune) and digital editing (Pro Tools).
  • Remote collaboration and cyberspace as a production environment.
  • The shift in audience listening habits due to MP3/streaming and smartphone listening.
• Track-specific insights you can quote or paraphrase:
  • Track 1 (Lee Moon-sae era) showcases the pre-digital studio ethos and the importance of memorization and live performance discipline.
  • Track 2 emphasizes anti-Auto-Tune sentiment and the value placed on natural singing in certain K-pop circles.
  • Track 3 demonstrates the role of a vocal producer in shaping vocal technique and spatial ambiance, including Labanotation-like documentation.
  • Track 4 reveals the intimate relationship between personal trauma, English lyricism, and the final product’s narrative arc; it also exposes trainee-system pressures.
  • Track 5 illustrates the modern demo-to-release pipeline in idol production, including the influence of a CEO’s vision on chords, bass lines, and overall concept.
• Link to broader themes: the materiality of sound, the politics of collaboration, and the ethics of global pop production.

LaTeX-formatted recap of key relations and quantities

• Soundscape as a combination of layers:
  ext{soundscape} = Lc a0+a0Lp a0+
  0La + 0Lt
  where $Lc$ = culture, $Lp$ = place, $La$ = acoustic space, $Lt$ = technology.
• Sound object concept (simplified):
  ext{sound object} = ( ext{recorded sound}) owtie ( ext{labor sedimentation})
• Three-dimensional spatialization concept:
  ext{spatialization}
  ightarrow ext{positioning of voice in 3D space (audio rendering)}
• Track durations (selected examples):
  ext{Track 1} = 6:27, ext{ Track 2} = 5:29, ext{ Track 3} = 2:40, ext{ Track 4} = 3:31, ext{ Track 5} = 3:23.