billhare wrote:the argument I was having at the time was that it was called a "computer-generated album played with keyboards", and I was saying that processing-wise, it was actually quite analog in its execution - something that could have been done (and WAS done) 50 years prior to "Code Red".
This is where some people chime in and say they don't care how you did it, they only care what it sounds like. I find it fascinating that we care about the difference between process and outcome, but I think it makes sense, especially for a cappella, which in some ways is defined by limitations. And it's not just us. Photographers are having the same discussions, with all the same arguments being made.
We also sometimes quibble over the number of people involved in creating an album. We romanticize the performer-as-artist and seem to prefer when the performer is also the composer, arranger, and studio engineer. This wouldn't matter if we just wanted a good outcome, but we care about the process.
As for analog effects, I can't help but think of the Doctor Who theme, made in 1963 using a few analog oscillators and filters, plus a lot of tape splicing. Today, Ms Derbyshire probably would have used a computer, but she made do with what she could build.