A slow technology can be exciting

We think that many of the technical professionals who are part of the world of music production are exacerbated by the technological hypertrophy that is invading their studies for many years now. Those who were, at the beginning, experimentation and research tools on the way of sound quality, in the meantime have become the means to express an obsession with perfection without limits that loses sight of the return of the musical event in all its fullness. Here then we can see sputtered recording sessions that break up the musical deep, thus taking away its deep sense, and isolate the performer from the consonance with the whole. And then infinite post-production processes cut out and sterilize any imperfection to make up an abstract ideal of quality that loses the fundamental live effect denying the actual assumptions of music. These are but the effects of a nagging commercial pressure that pushes the exasperated pursuit of technologies that are sold as being more "innovative" almost exclusively to maintain profitable growth and then an industrial machine increasingly accelerated. We are convinced that the best part of the community of audio professionals is no longer prepared to endorse the correspondence between the level of quality of music products and the amount of energy-intensive digital instrumentation that is used during a production. We believe that many of them have already chosen, in their work, tools and manufacturing processes simpler than those required by mainstream productions (or those that mimic) and are satisfied with these choices. Because the pursuit of quality can also be done by subtraction, thus limiting the contribution of technology, emphasing instead the essence of music and its reproduction, so that the listener can "hear" the musical event in all its resonances. This can be achieved, for example, designing creative new tools for recording and listening taking a cue from old (yes it is not an insult) but still beautifully efficient technology, to reinvent them at the service of production with low energy impact. Or, from similar technologies, to develop recording setups able to find the difficult balance between respect for the performers and their music and a performance of great emotional level that makes the difference a successful project. We turn to those of audio engineers who are willing to address these challenges and to experiment with technology solutions that might live in this spirit.

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