] Mr. Pierce is part of a quiet revolution in music-making:
] the move from professional studios to home recording.
] Making an album used to mean booking a fixed amount of
] very expensive time in a well-equipped but unfamiliar
] room; now, it can be a matter of rolling out of bed and
] pressing a button. Whether it's Mice Parade's indie-rock,
] Aesop Rock's underground hip-hop, the twilit ballads of
] Keren Ann, the mercurial California rock of the Eels or
] sweeping Top 40 contenders from Moby, more and more music
] is emerging not from acoustically perfect
] state-of-the-art studios, but from setups tucked into
] bedrooms and basements or simply programmed onto a
] laptop. This dynamic also parlays into the vast overabundance of musical content available, and the relatively poor way in which the recording industry has leveraged it. |
