With the greater awareness of the 'Home Recording' market by equipment manufacturers, there is a growing danger that the 'end user' may find him or herself lambasted by more and more new products and greater and greater advances in the equipment technology, with the end result being technological overload!
As recordists, we all have a very close affinity to our equipment - without it we could not record. But ultimately, it must be viewed purely as a means to an end; that end being the realisation of creative ideas on tape. Nothing more, nothing less.
It is far too easy working at home, to be cajoled into thinking that your ideas are not as good as those of the professional recordist, but this is simply untrue. With superb quality recording equipment it is easier to create a better-sounding finished article, but that article may still lack the vital spark that makes it brilliant. The charts are full of good examples: records that are manufactured to a formula, lacking creativity and totally devoid of any signs of innovation — yet technically speaking they cannot be faulted.
As a primarily equipment-based magazine, it would be very easy for Home Studio Recording to imply that home recordings are lacking purely because they were not recorded on 'such and such a machine', and that without the said machine you'll never be any good. We here at HSR have not adopted that stance, purely and simply because it is wrong!
This exact feeling was transmitted to me by this month's Producer, Rupert Hine, when I recently interviewed him at his Farmyard Studio base. It was good to hear him talk about the need for all songs to have a 'centre', a fundamental idea or concept that can be used as the foundation upon which to build the recording. A recording without ideas, however is like a house without foundations: no matter how well cemented the bricks, it will always be in danger of collapsing.
The necessary techniques and skills required to operate recording equipment can all be learned, but usually through practice or trial and error, however. There is still an enormous demand for information on all aspects of the recording process, but there are very few places where people can go to learn about recording... or so we thought, until we began compiling this issue's 'Studio Course Guide'. If you've ever wanted to advance your recording knowledge by enrolling on a training course, degree course or whatever, then our special guide will provide you with the necessary information to make your selection. We feel sure you'll find it useful.
Editorial by Ian Gilby
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