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

Published online by Cambridge University Press:  17 June 2022

Lachlan Goold Open the ORCID record for Lachlan Goold [Opens in a new window]
Lachlan Goold*
Affiliation:
Department of Music, Room K.2. 23A, 90 Sippy Down Drive, Sippy Downs, Maroochydore DC, Queensland 4558, Australia E-mail: [email protected]
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Abstract

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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Article
Information
Popular Music , Volume 41 , Issue 2 , May 2022 , pp. 238 - 256
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Copyright
Copyright © The Author(s), 2022. Published by Cambridge University Press

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All recordings created for this research are available at https://theoystermurders.bandcamp.com/ accessed 28 February 2020. One song on this album was completed by me at a studio not under analysis for this research – track 7, ‘Eliza Battle’.Google Scholar
All recordings created for this research are available at https://theoystermurders.bandcamp.com/ accessed 28 February 2020. One song on this album was completed by me at a studio not under analysis for this research – track 7, ‘Eliza Battle’.Google Scholar