Recordings
In Measure for Measure, A Cappella Blog contributor takes a look at both sides of a controversial issue in collegiate a cappella. Please note that the views expressed by columnists do not necessarily represent those of The ACB as an organization, nor do they necessarily represent the view of individual columnists. The purpose of this piece is to explore issues and further civil, intellectual debate.
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The increasingly produced sound found on many a cappella recordings takes away from the art form that is a cappella.
True: When I listen to a cappella, I want to hear a cappella. If you can’t make the sound with your own body, it doesn’t have a place in the music. Some talented groups can make you forget there’s no instrumentation by how good they are, and that’s an awesome thing. However, when I can’t make out a human voice in the background of a song because of just how produced the recording is, it means that it isn’t a cappella for me anymore. Listening to a recording, I want to hear the same nuances, creativity and tricks a live performance will bring. If you’re going to fudge that, you’d might as well bring in the guitar, keyboards, and drum kit as well, and call yourself a band.
False: The beauty of a recording over a live performance is that you can clean up the messy parts of a song, and enhance the overall quality accenting what’s good, and covering what doesn’t work. When you’re listening to a recording, you shouldn’t be expecting the same sound you’ll get at a live show. You should be expecting an optimized listening experience, for which professionals have tweaked the music to make it better than the human voice could ever manage on its own.