Sperandio is referring to digitally doctored music as the new contemporary sound. Years ago, when recording a cappella music in a studio, an entire group would stand around microphones and sing. Now, with the ability to manipulate the music digitally, there is no need for so many people; in fact, its a hindrance.
The groups that Sperandio works with record their music part by part, recording the background and laying the base line down separately. Usually, it doesnt require more than two to four people, as recording with a large group of people can cause problems.
If you record a whole group, the alto line will bleed on to the recording of the tenor line, and if you want to digitally fix the pitch later, it wont be possible with the two lines blended into one, says Sperandio. Even groups that dont usually produce their music are taking this contemporary digital approach so they can fix the sound later.
One reason digital recording became so popular was because people are able to access songs by many a cappella groups via the Internet, and want to emulate the impressive digital sound they hear from professional groups. Groups aspiring to have their tracks chosen to be included in each year's BOCA (Best of College A Cappella) are turning out more carefully recorded and intricately produced recordings.
People are realizing that they can do more things [in terms of a cappella recording] than they thought they could, and they want to imitate the peer groups that they look up to, reflects Sperandio.
The downside to this trend is that the line between professional and collegiate a cappella is starting to blur. A lot of times, college groups have more money and time than professionals, adds Sperandio. Unfortunately, the new digital recording has led to a decline in the trend of traditional recording. Traditional recording, according to Sperandio, consists of a group singing all the way through a song, instead of recording it by parts so it can by digitally manipulated later.
Another aspect that has added to the decline of traditional recording was the invention of AutoTune.
It is a loved-and-hated program, explains Deke Sharon, an arranger and member of the House Jacks. It allows an engineer to alter pitch. It can lock a singers pitches to the scale of choice.
With AutoTune, a singer who was previously out of tune can be in perfect tone, without a single noticeable artifact. According to Sharon, this has caused much debate in the a cappella community, and among die-hard a cappella fans. The rise in popularity of using AutoTune has caused people to question whether a group is worthy of praise if their album is digitally altered.
Some critics even like to argue that a groups singing ability is no longer as important as the size of their bank account or recording fund, Sharon says.
However, regardless of the morality of the latest recording trends, Sperandio points out, there arent any rules in a cappella.
A cappella is an art, after all, Sperandio says. Certain things are important to different groups; and what separates the good groups from the great groups is how they apply things like [digital recording].
Emily Yahr is a sophomore at University of Maryland. She is a sophomore journalism and psychology major. She spent the summer of 2005 as an intern at the Cleveland Jewish News
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