Dawn ot the DAW tells the story of how the dividing line between
the traditional roles of musicians and recording studio personnel
(producers, recording engineers, mixing engineers, technicians,
etc.) has eroded throughout the latter half of the twentieth
century to the present. Whereas those equally adept in music and
technology such as Raymond Scott and Les Paul were exceptions to
their eras, the millennial music maker is ensconced in a world in
which the symbiosis of music and technology is commonplace. As
audio production skills such as recording, editing, and mixing are
increasingly co-opted by musicians teaching themselves in their
do-it-yourself (DIY) recording studios, conventions of how music
production is taught and practiced are remixed to reflect this
reality. Dawn ot the DAW first examines DIY recording practices
within the context of recording history from the late nineteenth
century to the present. Second, Dawn ot the DAW discusses the
concept of "the studio as musical instrument" and the role of the
producer, detailing how these constructs have evolved throughout
the history of recorded music in tandem. Third, Dawn ot the DAW
details current practices of DIY recording-how recording
technologies are incorporated into music making, and how they are
learned by DIY studio users in the musically-chic borough of
Brooklyn. Finally, Dawn ot the DAW examines the broader trends
heard throughout, summarizing the different models of learning and
approaches to music making. Dawn ot the DAW concludes by discussing
the ramifications of these new directions for the field of music
education.
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