Home recording is no longer the reserve of geeks and professionals. The cheapest PC can now run programmes with the same processing power as that of the most glamorous studio of the late Nineties, allowing anybody to record, produce, and mix their own material for next to nothing. Free recording programmes can be downloaded from a raft of sites, and if you buy a Mac you get Garageband as part of the package. What is more, there is a certain romanticism attached to home recording: the success of Bon Iver’s 2007 For Emma Forever Ago no doubt rested partly on it being the product of a three month retreat into the Wyoming wilderness with nothing but a guitar and a laptop. Take that for catharsis.
But despite the freedom technology has given musicians, and the unique and interesting sound it can lend a recording, home-production has done strange things to the concept of a ‘good recording’. Of course, much of such a concept is subjective; if the recording moves you, or makes you want to dance, or makes you want to meet the artist, or does the song justice, then it is doing its job. But there are other factors. Producers and engineers talk about ‘listener’s fatigue’ – if the treble is too accentuated then the track will sound very good for a short amount of time, then become tiring to listen to. Similarly, mixing – the process through which all the seperate parts or tracks are made to sit together properly is essential if the recording is going to be balanced. Neither of these processes can be done well without some unbearably costly equipment.
It is easy to point out the recordings that suffer from this syndrome. Bird Brain, the first album by alt-folk blogosphere darling TuneYards, was recorded with a PC, a dictaphone, and a copy of a free programme called Audacity. It’s pop at its most enthralling and on first listen the lack of equipment seems to be a virtue: revving engines are chopped up to become beats, distorted voices are twisted into keyboard melodies. But after the fourth or fifth song the trashiness begins to jar, and by the album’s close not even her sublime song-writing and instrumentation can disguise the fact that the recording, no matter how inventive, is plain annoying. This is never more obvious than if you go and see her live, where the songs sound almost orchestral.
Now, by this logic it would seem that home production is a ‘bad thing’: it’s unlikely that any one recording at home will be able to afford the equipment needed to avoid the recording being trashy or muddled. But this isn’t necessarily true: recording at home can give character – something unique that being in a studio sometimes smooths out too much. The risk though is that bad quality recordings become the norm, meaning that we cease to appreciate what good, well-engineered recordings have: depth.