Shane Dabinett, The Role of DAW in the production of Techno music

Music, English and Theatre PGR seminar series: presenting a talk on the DAW, its place in the composition and production of Techno music and mediation by the visual interface

This research will provide an overview of the history and development of the Digital Audio Workstation (DAW) since its inception with the Soundstream in 1977, and DAW development throughout the 1980s with digital editing software, the tracker and the first DAW (being Cubase 1.0 in 1989). This will continue through the 1990s with the types of personal computer that enabled its progression and development. The research will also address some of the key theoretical issues of the technology, visual interface aesthetics and affordances of the DAW. The focus of music style of the project is the composition and production of Techno music and how the visual interface mediates the production of Techno.

The theoretical framework for this project will focus on the social constructivist theoretical framework from Science and Technology Studies that will include the argument for social constructivism as discussed by, for example, Raymond Williams (1974) rather than Marshall McLuhan’s (1963) argument of Technological Determinism. The project will analyse and discuss musicianship, democratisation, mediation and remediation along with virtuality.

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