The introduction of digital audio technology has unquestionable revolutionised they ways in which music is produced and consumed. The price of recording equipment is dropping and the accessibility to music production technology is forever increasing among musicians, practitioners and hobbyists. As a result, traditional methods may be challenged, and industry models questioned, with home recording becoming more appealing to many musicians who are choosing to learn and produce their own music from a bedroom. As this trend has become more prominent, we may observe the recording industry in a state of co-existence, with multiple methods of record production available. This purpose of this study is to examine the bedroom studio and evaluate the extent to which this new model of practice may challenge the tradition space of the professional recording studio in years to come. The investigation focuses specifically on technology and space, two mediums which have a close, deterministic relationship with one another. Through the use of secondary research, practice-based methods and primary investigations, this study evaluates the degree to which our modern perceptions of audio fidelity can be met in ‘Space A’- the professional recording studio, and ‘Space B’ – the home/bedroom studio.
PLEASE NOTE: You must be a member of the University of Lincoln to be able to view this dissertation. Please log in here.