Professor of Computer Music University of Plymouth Plymouth, England, United Kingdom
This paper describes how models were created and employed (as accurately as possible, using available resources), to simulate the recording technology and instruments, available at different points in recorded music history, initially with two models, based on 1955 and 1965.
A series of explorative experiments in composing, performing and recording music were conducted with these models, in an effort to understand how the strengths and inherent limitations of the tools available affect both the composition and production process, and also the stylistic identity of the music created.
How do influences from different musical genres familiar to the composer, inspire and inform their creative decisions? How much of this influence is dictated by the limitations in the instruments and equipment used?