Recording studio as an instrument  

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"...ever since Miles Davis and James Brown transferred their primary creative space from stage to studio, the most succesful musical form in the popular arena has been the dance-groove : where cycles of rhythm, circling ever back to their beginnings, allow for small shifts and changes within the structure to bring with them remarkable shock-force." (Hopey Glass in The Wire).

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In music production, the recording studio is often treated as a musical instrument when it plays a significant role in the composition of music. Sometimes called "playing the studio", the approach is typically embodied by artists or producers who place less emphasis on simply capturing live performances in studio and instead favor the creative use of studio technology in completing finished works. Techniques include the incorporation of non-musical sounds, overdubbing, tape edits, sound synthesis, audio signal processing, and combining segmented performances (takes) into a unified whole.

Composers have been exploiting the potentials of multitrack recording since the technology was made available to them. Before the late 1940s, musical recordings were typically created with the idea of presenting a faithful rendition of a real-life performance. Following the advent of three-track tape in the mid 1950s, recording spaces became more accustomed for in-studio composition. By the late 1960s, in-studio composition had become standard practice, and remained so into the 2010s. Despite the widespread changes that have led to more compact recording set-ups, individual components such as digital audio workstations are still referred to as "the studio".

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Unless indicated otherwise, the text in this article is either based on Wikipedia article "Recording studio as an instrument" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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