Space, Time, Creativity, and the Changing Character of the Recording Studio: Spatiotemporal Attitudes Toward 'DIY' Recording

Goold, Lachlan

doi:10.5204/thesis.eprints.116473

Cited by 1 publication

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“…There are many studies on the architectural spaces of large-format studios, the studio's interaction with the microphones and music and the way that interaction has changed over time (see Bates 2012;Hennion 1989;Williams 2006). DIY recording has seen some investigation (see Auvinen 2016Auvinen , 2017Théberge 1997;Watson et al 2009), without attention to the recording space specifically (Goold 2018). This research combines participant observation with a practice-led approach to provide a platform to qualitatively test theories of space as experienced by artists engaged in the recording process.…”

Section: Methodsmentioning

confidence: 99%

“…DIY recording has seen some investigation (see Auvinen 2016, 2017; Théberge 1997; Watson et al . 2009), without attention to the recording space specifically (Goold 2018). This research combines participant observation with a practice-led approach to provide a platform to qualitatively test theories of space as experienced by artists engaged in the recording process.…”

Section: Methodsmentioning

confidence: 99%

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The production of space and the changing character of the recording studio

Goold¹

2022

Pop. Mus.

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The propagation of low-cost music production technologies changes the way recording artists experience the spatial environments and technology of the recording studio. Concomitantly dwindling recording budgets have led to large-format studio closures. Many artists are choosing do-it-yourself (DIY) recording practices with the help of a producer, or self-produced, in non-purpose-built and domestic environments. This research seeks to understand the differences in creative agency and recording experience for performers in various recording environments. I use a practice-led approach to record performers in DIY recording spaces, large-format recording studios and a hybrid combination of both environments. I then use a Lefebvrian theoretical lens to analyse participant interviews and field notes. This research suggests that artist attitudes towards the choice of recording space are variable, with each participant preferring a different aspect of large-format and domestic spaces depending on which facet of those spaces they are considering. Despite this, the participants seem to experience DIY recording as broadly positive for creativity but respond with views that emphasise freedom from time constraints, a reclamation of power, fewer economic burdens and freedom to experiment. The research indicates that the DIY studio is emerging as a new paradigm in the recording field and defines the current era of music-making.

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