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Home recording technology
By Samantha Wolf
s2699611
Subject: Info‐Tech Arts
Course code: 1712QCM
i Samantha Wolf
Abstract
This paper examines the history, development and effects of home recording technology on
musicians and music making. This paper finds that home recording technology has had, and will
continue to have, a democratising effect on music production, due largely in part to how inexpensive
the technology is, the influence of the Internet and the changing relationship between musicians and
consumers.
ii Samantha Wolf
Table of Contents
Abstract .......................................................................................................................... i
Table of figures ............................................................................................................... iii
Introduction .................................................................................................................... 1
Literature Review ............................................................................................................ 2
History and Development ................................................................................................ 3
Digitisation .......................................................................................................... 4
Creator and Consumer Roles ............................................................................................ 5
Conclusion ........................................................................................................................ 6
Reference List ................................................................................................................... 7
iii Samantha Wolf
Table of Figures
Figure 1 – Thomas Edison .................................................................................................... 3
1 Samantha Wolf
Introduction
Home music production technology has had a democratizing effect on the music industry
and music making. From its humble beginnings at the start of the twentieth century, recording
technology has developed to the extent that nearly everyone is capable of producing a professional
quality recording of their own music at home. Digital technology, the internet and easy to use,
inexpensive hardware have removed the financial and physical barriers that used to inhibit would‐be
artists and filter the music available for consumption. This has profoundly changed the way people
create, promote, distribute and consume music, to the extent that the roles of creator and
consumer in today’s society have been fundamentally altered.
2 Samantha Wolf
Literature Review
There is much existing literature on the impact of technology on musicians and the music
industry. There is a general consensus that technology has, and will continue to have, a significant
impact on music generally. However, the use of home studios is a relatively new development.
Consequently, there is little scholarly literature written about home studio technology. However,
there is a lot of non‐scholarly information about home studio technology available in newspapers,
magazines and on the internet, including articles by Price and Maney.
There are a number of sources outlining the history and development of recording
technology in varying degrees of detail. Grove Music Online contains a detailed, yet concise history
of the technology.
Theberge, Taylor and Ross examine the use of music technology in a much broader social
context, linking technology with consumer culture. Theberge goes into greater detail about specific
technologies, while Taylor emphasises the social context.
3 Samantha Wolf
History and Development
The development of recording and playback technology can be viewed as gradually lending
more control to the listener. The earliest sound recordings were developed in the mid to late 1800s,
and the first commercially available recording device was the phonograph, invented by Edison in
1877. (Mumma, 2007, Grove Music Online).
Figure 1 ‐ Thomas Edison
Retrieved from (2009) Thomas Edison earns a Grammy. Inventor’s Digest. Retrieved May 3rd, 2010 from
http://www.inventorsdigest.com/?p=2518
Improvements on this technology facilitated the invention of the player piano, electric
playback devices, magnetic tape, vinyl discs and cassette tapes (Mumma, 2007, Grove Music Online).
Recording technology, along with radio, enabled people to listen to music at their leisure in the
comfort of their homes. Because music was no longer confined to the elite concert halls, and no
longer only accessible to the wealthy, home playback technology had a democratizing effect for
audiences (Ross, 2007, p. 286‐7). However, music production costs remained high, and thus, the
recording, distribution and promotion of music was still largely in the control of large, rich
companies (Lavey, 2005).
4 Samantha Wolf
Digitisation
The advent of digital technology changed this forever. Digital recording technology led to the
introduction of the compact disc (CD) in the early 1980s (Mumma, 2007, Grove Music Online). The
CD solved all of the fidelity problems associated with vinyl records and cassette tapes, and unlike
other recording devices, the stored signal on a CD could be copied many times with no audible
difference in quality of sound (Mumma, 2007, Grove Music Online). Over the last few decades,
digital recording technology has developed to the point that anyone who owns a computer can copy,
store, edit, remix and listen to music, for little or no cost, without sacrificing the sound quality
(Taylor, 2001, p. 5). With the development of the Internet, one can create, edit and mix their own
music, and distribute it online, all without leaving their home (Taylor, 2001, p. 4‐5).
As a result of this technology, many musicians are completely bypassing record labels.
Before digital technology, if a musician wanted to produce a professional quality recording, he/she
had to use a professional, and expensive, recording studio (Maney, 2004). Musicians relied on large
record companies to advance the cost of hiring out the studio, which the musician would then pay
back. Thus, success for most musicians depended on signing a record deal (Maney, 2004). Because of
this, record companies had control of what music was recorded and promoted (Price, 2008).
However, with today’s technology, a musician can create professional quality recordings using their
home computer and inexpensive software (Price, 2008). This has eliminated the need for a musician
to sign a record deal (Maney, 2004). As a result of this, record companies no longer have control
over the music that is being recorded, played, promoted and distributed. Effectively, digital
technology and the Internet have taken the global music industry away from record labels and
handed it to the masses, thus democratizing the music industry (Price, 2008).
5 Samantha Wolf
Creator and Consumer Roles
This technology has redefined the previously distinct roles of creator and consumer.
Theberge states that ‘digital musical instruments are hybrid devices: when one uses them, he/she is
not just producing sounds, but also consuming technology’ (pp. 2‐3). Therefore, technological
innovations change concepts of what music is and can be, and also change the relationship between
musical practices and consumer practices (Theberge, 1996, p. 3) For example, in any of the visual or
performing arts, the audience receives and interprets a completed work. However, with equipment
such as turntables, mixers and samplers, the audience can edit and remix, and thus recontextualise,
a previously ‘complete’ work (Levay, 2005). This activity rejects the idea of individual ownership, and
blurs the distinction between creator and consumer (Levay, 2005). Whereas the roles of musician
and audience used to be clearly defined, with home music production technology, almost anyone
can become a creator, as well as consumer, of music.
Despite the democratising effect of home recording technology, as Goodwin points out,
these new technologies aren’t ‘classless’ (p. 161). Anyone who wants to make professional quality
recordings at home will still need to invest in equipment and software, and the amount of money
spent will make a difference; for example, the sound of a department store Casio sampler compared
to an expensive sampling computer in a professional studio (Goodwin, p. 161). Additionally, there is
still some technical expertise required to operate some of this equipment. Goodwin states that
‘there is a new generation of technicians, engineers and programmers needed to implement ideas of
musicians who have no idea how to use the supposedly democratising technology’ (p. 161) However,
some musicians have opted to train themselves in this new technology, especially rap and dance
musicians (Goodwin, pp. 162‐163). As a result of this, the roles of ‘musician’ and ‘producer’ aren’t as
clearly defined (Goodwin, p. 163).
6 Samantha Wolf
Conclusion
The development of inexpensive home recording and production technology has enabled
almost anyone to create professional quality recordings at home. Combined with the Internet, a
musician can promote and distribute his/her music online to audiences around the world. This has
allowed musicians to overcome hurdles that previously prevented them from having their music
recorded and promoted. Additionally, home recording technology has removed the distinctions
between the audience and the musician, and the musician and the producer, so that almost anyone
can be both a consumer and a creator of music. Therefore, home recording technology has had, and
will continue to have, a democratising effect on music making. (1,200)
7 Samantha Wolf
Reference list
Goodwin, A. Rationalization and democratization in the new technologies of popular music. In S.
Frith (2004). Popular music: The rock era. (pp. 147‐165). London: Routledge.
Levay, W. (2005). The art of making music in the age of mechanical reproduction: The culture
industry remixed. Retrieved April 20th, 2010, from
http://www.nyu.edu/pubs/anamesa/archive/spring_2005_democracy/02_levay_remix.pdf.
Maney, K. (2004). Recording studio on your laptop could make you a rock star. In USA Today.
Retrieved April 20th, 2010, from http://www.usatoday.com/tech/columnist/kevinmaney/2004‐08‐
24‐homerecording_x.htm.
Mumma, G., Rye, H., Kernfeld, B., Sheridan, C. (2007). Recording. Grove music online. Retrieved April
10, 2010 from http://grovemusic.com.
(No author) (2009) Thomas Edison earns a Grammy. Inventor’s Digest. Retrieved May 3rd, 2010 from
http://www.inventorsdigest.com/?p=2518.
Price, J. (2008). The democratization of the music industry. Retrieved April 23rd, 2010 from
http://www.huffingtonpost.com/jeff‐price/the‐democratization‐of‐the_b_93065.html.
Ross, A. (2007). The rest is noise. New York: Farrar Strauss and Giroux.
Taylor, T. (2001). Strange sounds: Music, technology and culture. New York: Routledge.
Theberge, P. (1997). Any sound you can imagine. Hanover, NH: University Press of New England.
Thomas Edison earns a Grammy. Inventor’s Digest. [Image]. (n.d.). Retrieved May 3rd, 2010 from
http://www.inventorsdigest.com/?p=2518.