OUT OF THE

THE BENEFITS OF COMPUTER-FREE MUSIC-MAKING

Despite the numerous software versions of classic hardware synths, studio-filling orchestras and expressive live instrumentalists. A growing resistance to solely in-the-box music-making is common amongst many of the musicians we’ve spoken to over the last few years. Why are so many shunning the screen?

The modern age’s established music production model has been firmly computer-centric for a while now. Digital audio workstations in particular have completely transformed what, not too long ago, was a far more complicated process. Prior to the widespread take-up of software DAWs, the only way for producers to capture and mix their tracks to a releasable standard lay in the often complex chaining together of separate hardware mixers, sequencers, drum machines, preamps, compressors, synthesisers and other standalone hardware effect units. It required both patience, skill and a not insignificant home studio budget. Professional recording studios ruled the roost and home production was a priced-(and-skilled)-out hobby for all too many budding enthusiasts.

As with countless other facets of the modern world, advances in computer power have re-drawn that landscape. DAWs provided an easier way to not only get down musical ideas, but to develop and mix radioquality material. In conjunction with ever-more convincing software reproductions of pricey hardware and dexterous effects plug-ins.

The growing pace of CPU speed has also allowed for even more pristine sample libraries to be created. Take the orchestral powerhouses assembled by the likes of Spitfire Audio, Orchestral Tools and EastWest, which allow computer musicians the ability to carefully orchestrate and conduct their own virtual ensembles