When elements of an interface resemble real objects is called skeuomorphism. Skeuomorphism was announced dead by Forbes in 2007 and yet it’s still thriving in music production software.

Skeuomorphism and flat design, a brief history.

This visual language used in computer interfaces proposed in the early 80’ was intended to make early computer interfaces much easier to use for all kinds of audiences. How? The idea was to use objects recalling the real world in order to create affordances, a set of objects that’s shape suggests its use.

After 30 years, software companies recognized that there was no need for that. The main reason was that there’s now a whole generation that grew up with computers, and the visual reference wasn’t needed anymore. That’s when the flat design appeared on the stage.

Unlike skeuomorphism, flat design doesn’t emulate the real-life properties of objects, but it creates flat metaphors by using two-dimensional elements and bright colors.

The first successful flat design case study was iOS 7 by Apple in 2013.

In 2014, Google was next with the material design. Soon, everyone started following the new user interface industry standard.

Now, we can argue that skeuomorphism was completely dead. In fact, came back in less obvious forms, mixing itself with the flat design (neo-skeuomorphism).

Skeuomorphism in the music production industry

There is an industry, though, where skeuomorphism still thrives in full force. Many of the digital tools, the so-called plugins, that are used in music production still resemble their real-world counterparts.

Brands like Universal Audio, Soundtoys, Native Instruments and so on, still use a lot the skeuomorphic language in their design. Why? I suppose, consciously or not, these brands didn’t want to make the jump too early. There might be significant biases which still influence the perception of their customers.

These biases are rooted in the appearance of a professional, high-end recording studio.

Producers and musicians, still associate quality with a physical piece of hardware.

Even though the capacity of digital software to recreate hardware quality improved exponentially, most of musicians and producers would still prefer a physical counterpart of a product. So, when it comes to plugins they still have to resemble the hardware high-end recording studios have.

If you know a particular piece of audio gear was used in producing your favorite album, you might want to see it on your desktop as it is. Making it flat, would probably take away most of its value.

The identity of music production tools still relies on their visual appearance.

How many people could recognize a compressor by the sound it produces, without seeing it? Probably not so many. The skin of the plugin is the only element of differentiation for the audience. Assuming they all would be flat, it might be hard to recognize which compressor your favorite producer used in his last YouTube video.

These are, in my opinion, the reasons why skeuomorphism is still widely used across music production software.

The wind of change

However, there are some companies that are gradually changing this scenario. Below you can see some examples.

What this could mean? Will skeuomorphism disappear from music production interface design, as it did from others industries interfaces?

The environment where music production happens shifted from high-end recording studio to DIY home recording studio.

Making music at home has never been so affordable, thanks to the recent cost dropping of recording studio gear. For this reason, high-end studios are not technically needed to record music anymore. Sure, they still serve a purpose, but thanks to the advancement of technology, the processing power of a studio is now available to all customers.

“This can all be done correctly with the minimum amount of software, which is why you can have a kid make a dance hit on a laptop”.

Deadmau5, electronic music producer

With the term “bedroom music producer” becoming more and more ubiquitous, a high-end studio with its physical equipment might soon become a distant memory.

As in 2007 when Apple introduced their flat design, there was a generation that grew up with computers, now there might be a generation of music producers that didn’t catch the time when one needed more than a laptop to make music.

As skeuomorphism disappeared from interface design, I assume the same might happen to music production software because quality will be less and less associated with how the plugin looks.

To sum up

As audio recording technologies become more accessible, music producers and musicians might be more willing to convert to products that enable better experiences rather than resembling devices of the past.

For music producers, who might have never been to a high-end studio, it might not be that important which compressor they use on their tracks, and even less whether knobs are resembling real ones or are designed as a flat metaphor.

“I think technology has become the great equalizer. I think we are all on an even playing field, and now it’s about skill. Now it’s about who’s just good.”

Oak Felder, music producer