A long time ago (as recent as the late 1980’s) in a galaxy far, far away (New York, Nashville, Los Angeles and London) an Evil Empire (CBS and RCA Records, Sony, Geffen, Polygram) held an Iron Fist around the throats of its loyal subjects (musicians)…
The loyal subjects struggled to create art and commodities (recordings) but the Evil Empire controlled the expensive tools required to make these items (recording studios and equipment).
Without the Empire’s blessing (cash) the subjects couldn’t realize their (audio) visions and when the Empire did bestow a blessing upon a creative subject, their works (songs, LP’s, CD’s, music videos) were held in abeyance, manipulated by the Empire for their own gain (the labels charged the artist for the recordings and retained ownership of the masters).
There was no hope — or so the subjects thought.
Underground a Rebellion formed and it began to grow (indie labels sprouted).
The Princess of the Rebellion tapped upon the genius of men like Greg Mackie and Keith Barr, who manipulated matter in ways never before imagined (they designed and manufactured inexpensive mixing consoles and digital tape machines). The resistance became strong and the loyal subjects questioned their allegiance to the Empire (they started to record at home). The book of Jobs was written, and in it was a chapter heralding magical new technology (a Mac) with which to create.
Eventually, the Rebellion would win, marking the start of the Project Studio Revolution.
And so it is that you may now use a computer to record music.
Many of you who are reading this are too young to remember when recording at home was the realm of elite artists such as Prince, Paul McCartney or Todd Rundgren.
You don’t even think about it. I’ve spent more on tape for a project than you may have spent on your first car. Scary, it was.
Now life is happy and you don’t need a six-figure budget to record at home (hell you barely need a four-figure budget).
You probably already own a crucial component for recording: the computer.
And you’ll be happy to know that computers don’t really run out of tracks the way tape machines did in ¥é Ølden days. At my first studio, when we went from 8-tracks on a Tascam Model 38 to 16-tracks on an Otari MX-70, it cost us $17,000. In 1987 dollars.
Continue on and read how you can start a rebellion of your own.
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