The recording process and traditional fiddle could be perceived as unrelated; however, the evolution of both in many ways could also be considered analogous. Correspondingly, the culminating recording of this project arranged, recorded, and produced tunes that emulated the evolution of the traditional fiddle and its recorded medium. This process included historically accurate arrangements, instrumentation, performance technique, and locations for recording. The double-sided album compared the usage of analog and digital recording and production methods based on the appropriate era for each composition. The “A” side of this project was recorded entirely with analog recording methods. The musical works for the “A” side were carefully selected based on performance style, technique, and historical significance. The recordings were then converted to digital samples for the “B” side, which were then used to create analogous remixes using contemporary production methods. For this project, the vinyl “A” side represents the historic foundation that provides a building block for the digital “B” side. This showcases the evolution of both traditional violin and recording by distinguishing the transition from analog to digital between sides. Applying historically accurate recording methods such as analog recording techniques to the styles of traditional fiddle performed in the analog era provides aural preservation of that history. Utilizing the historic works digitally provides an entirely new “instrument” that is used in contemporary settings while maintaining historic authenticity of the tunes. With an emphasis on both historical and technical accuracy, this recording project showcases the influence of technology on traditional fiddle performance. The following dissertation details the history, recording process, and digital remixing of selected musical works utilized in the production of Analogous
