In Sound City, Dave Grohl’s love letter to the legendary, hit-making studio in California, he and other musicians gush about the “real” process of getting guys in a studio and recording music live, on two-inch tape: “the human element of creating and recording music.” ProTools has its place, many of the artists say, but there’s nothing like analog.
We’ve heard this before, of course. Everyone from filmmakers to photographers are returning to (or, in the case of movies, never leaving) film.
For many, it’s a return to what is known. Analog is more familiar to those of a certain age. A lot of what Grohl and Christopher Nolan and other film fans seem to be saying is, “You missed the good stuff, the good old days.”
Those of us who adopted photography as a hobby or profession in the digital age don’t know what a dark room is like because we’ve never used one, and may never step foot in one.
(A side note: my college newspaper had a darkroom attached to it, behind this sweet swiveling circular door, and I did spend some time in there – but never to actually develop or print images. I remember photography students spending a lot of time in that room, and I’d catch glimpses of what they were working on when they brought their prints out into the light.)
We seemed to have this big upswing, in the ’80s (music), ’90s (movies), and 2000s (photography) toward digital art making. In the last decade, that digital tide has swung back, and more and more artists are experimenting with analog again. Call it the Maker Movement, call it hipsterism, call it whatever, but vinyl records and photo film seem to be doing okay again. Not great, but not dead.
So it is with blogging – away from federated, silo’d social media platforms and toward artists and writers owning their material.
Maybe we’re all learning that perfect isn’t the goal. The goal is to make something great, imperfections and all. Something human.
We’re all living in Analog City now.