V. Conclusions
"Rather than a diverting science fair project or invidious scheme to deny performers a livelihood, machine musicianship can strengthen and extend human ways of making music." [Rowe]
The question remains if the facts on history and technology are likely to prove what was predicted in the hypotheses from the 'Introduction'. In the following chapter it will be summarized what was discussed before, but avoiding the repetition of certain arguments in detail:
Music production changed
Indeed, music production changed because the digital concept was introduced to it. The trend of miniaturization and integration of components is visible throughout the evolution of media, paralleled and supported by equal phenomena in the development of computer technology, of DSP, and of controlling devices e.g. interface design. While in the beginning there were large hybrid systems, room-filling computers processing sequences to control yet analog synthesizers, there came microprocessors built into standalone devices later - one box with or without a keyboard added, but already with the power to simulate multiple instruments. And now it is one system running software, which is capable of constituting every possible sound generator, or processor, or mixing device on its own. Clearly, there are situations left, where musicians prefer analog equipment, but decisions made for that are rather one of taste then of necessity. Production 'in the box' is an option and a professional one as well.
Transition
It took more than 50 years to get there. And the discussion on sonic quality, on high-resolution, on practical real-time applications executed by a GPP in a PC have not just ended. Even if processing power keeps up with it at least to some extent, the demands are endless. The decision to give up the traditional approach to music production based on a recording chain, discrete storage media, mixing outboard and a fairly complex front-end, has not been made yet. The transition goes as far, as to the point where software emulation and original device would be used in the same studio room, complementing each other in subtle nuances. As of this moment, there is no doubt about the quality of digital audio, but the advantages of old and new together seem to be of greater value then a total reformation (not only in terms of economy).
Convergence
History shows how different stages of audio production slowly converge over time. It is a proportional process to miniaturization and component integration mentioned above. As shown in figure [A1] there were discrete subcategories to digital audio first, each bearing its own disciplines, requiring its own field of expertise. But as they follow the same arbitrary path as exemplified for signal processing, it means that 'Synthesis', 'Recording' etc. would be on the same level of integration right now. And they are, all in the DAW environment. That is what happened especially to digital audio. But looking on video editing/processing and the like it is obvious that they went the same way of vertical convergence. A step even further would be the integration of multimedia into one workstation environment - which actually happened not long ago.
Let's participate
The easier distribution of digitalized music enhanced the audition's aesthetical horizon, it seems. Popular culture is integrating the rather experimental concepts of electronic music. And even beyond - listeners try to participate, turning to home production and away from simply consuming the media flush. A strong motivation is the possibility to spend as much or as few on equipment as funding allows, while operating on a professional level right from the start. Software used to be cheaper and even do better than expensive counterparts from analog and digital outboard. The will to learn how to use a computer for music production should be the most important precondition by now. So digital technology would lead to active participation, would enhance creativity. From one point of view sample banks, preprogrammed sequences and effect presets etc. would mean to devalue the craft. From another, unprejudiced perspective it could be the entry to music production for people who never felt to be capable of.
All aspects mentioned are still open to further research. The timeline for instance would need enhancement and additional precision based on an intensive search in all available sources again. It would be of further interest to examine in detail how the main actors of professional audio actually developed up to now. Because that could lead to a better understanding, why the evolution of music production turned over to software in the end. And of course, just because the evolution progresses fast from there on, the subject would need to be updated over and over again anyway.
The End