ABSTRACT
This chapter deals specifically with the practice of musicians who use digital technologies to simulate the sounds of instruments like organs, guitars, brass, winds, drums and percussion. It considers the developing space between making music and the 'human touch' in this context and explores the ambiguities of this space. The chapter expresses that commercial music production is under the spell of the imperative of technological innovation. Arts policy, education and apprenticeship, sound engineering and marketing have all contributed to the attraction of digital creativity. A widespread fascination with automatic musicking machines entered the North American domestic market in the early twentieth century. Recordings simulate live recordings, which in turn simulate live performance. With digital music networks, as with computer images, there is no tangible relationship between the physical gestures of the artist and the sound qualities of the work.
