The Oxford Handbook of Music Making and Leisure Roger Mantie (ed.), Gareth Dylan Smith (ed.) https://doi.org/10.1093/oxfordhb/9780190244705.001.0001 Published: 2017 Online ISBN: 9780190244736 Print ISBN: 9780190244705 CHAPTER https://doi.org/10.1093/oxfordhb/9780190244705.013.20 Pages 81–98 Published: 10 January 2017 Abstract Keywords: DIY, do-it-yourself, home recording, home studio, project studio, audio engineering, tape recording, digital audio workstation, self-suxiciency, ease of access Subject: Music Education and Pedagogy, Music Series: Oxford Handbooks 5 DIY Recreational Recording as Music Making  Adam Patrick Bell This chapter presents a portrait of DIY (do-it-yourself) recreational recording as it exists currently, using the personal example of a band’s music making processes. It also examines the evolution of DIY recording from its genesis to its current iteration (e.g., digital audio workstation) to illustrate how present practices have been informed and inuenced by past practices. While DIY recording may not always be recreational by nature, the chapter focuses specically on DIY recording as a leisurely pursuit. The ethos of DIY, self-su}ciency, is summarized by the idea that music making is all about producing your own music using whatever resources are available to you. Interspersing autoethnographic excerpts with an analysis of select primary and secondary historical documents on recording (home studio, project studio, tape recording, audio engineering), this chapter charts the development of DIY recreational recording as a process-based music making practice tethered to the tenets of ease of access and ease of use. CLICK-click-click-click, CLICK-click-click-click, CLICK-click-click-click, CLICK-click-click- click …And so we meet again, it’s just us now: metronome, music, me. So far, so good. I think I’m in the pocket with this track; this ought to be the take. Wait … I swear the metronome’s clicks are slowing down. What the …? ABRUPTLY the music stops blaring through my headphones and I snap out of my trance of concentration. Arching out of my slouch over the snare drum to sit up straight, I look up to see my bandmate, Martín, giving me a hand signal that I have never seen before but I intuitively and correctly interpret as, “You messed up. Start over.” “Sorry,” I say, to which Martín responds ever so nonchalantly, “Nah, it’s cool, we’ll do another one.” That was Take 1. Downloaded from https://academic.oup.com/edited-volume/27952/chapter/211529772 by University of Western Ontario user on 03 November 2022