So, I happened across this Washington Times article written by Scott Galupo called Music From a Closet. Very interesting read and some pretty good points. This article makes good coverage of the overall impact that technological advance has had upon the recording industry, but I feel the author left out another very important issue.
There is always a trade off in production quality and musicianship once the general public begins to start making their own home recordings. I have no argument with that side of the coin. But I see a huge upside to that trade off that the author fails to touch on.
For years, the potential for many talented artists and songwriters to get their material heard has been all but out of reach financially. But technology is cheap and that has leveled the playing field considerably. A whole new world of possibilities is now open to the array of sonic creativity and talent that might have remained undiscovered without such technology. It's revolutionary to see how artists are no longer hostage to the status quo set by big corporate record companies.
I also have one quick rebuttal to a point the author makes about chance collaborations that only occur when artists are working at the same time down the hall from one another in these vanishing big studios. What about the collaborations now possible among artists worldwide via the internet? I've done a bit of collaboration with another artist by shooting mp3 or wav files back and fourth and importing them into Pro Tools sessions. Now, if I could only get Colin Greenwood and Phil Selway to respond to my emails.
There is always a trade off in production quality and musicianship once the general public begins to start making their own home recordings. I have no argument with that side of the coin. But I see a huge upside to that trade off that the author fails to touch on.
For years, the potential for many talented artists and songwriters to get their material heard has been all but out of reach financially. But technology is cheap and that has leveled the playing field considerably. A whole new world of possibilities is now open to the array of sonic creativity and talent that might have remained undiscovered without such technology. It's revolutionary to see how artists are no longer hostage to the status quo set by big corporate record companies.
I also have one quick rebuttal to a point the author makes about chance collaborations that only occur when artists are working at the same time down the hall from one another in these vanishing big studios. What about the collaborations now possible among artists worldwide via the internet? I've done a bit of collaboration with another artist by shooting mp3 or wav files back and fourth and importing them into Pro Tools sessions. Now, if I could only get Colin Greenwood and Phil Selway to respond to my emails.
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