The path to recording for composers of concert hall acoustic music is quite different to that of popular, media, electroacoustic or electronica composers. The common model involves the creation of the work; performance(s); only then, perhaps, recording. This paper looks at the relationships of contemporary composers to the recorded medium drawing on a series of one to one interviews. Research to date concludes composers face issues common to other genres, and most are keen to develop recordings. Barriers include finances, lack of opportunity, confidence and previous bad experience. Building composer-performer-producer-engineer networks based on mutual trust is a helpful model.
Creating A Rubato Layer Cake: performing and producing overdubs with expressive timing on a classical recording for ‘solo’ piano