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Cassette culture
Cassette culture, or the cassette underground,〔Jones 1992, p.6〕 refers to the practices surrounding amateur production and distribution of recorded music that emerged in the late 1970s via home-made audio cassettes.〔Staub 2010, p.4〕 It is characterized by the adoption of home recording by independent artists, and involvement in ad-hoc self-distribution and promotion networks - primarily conducted through mail (though there were a few retail outlets, such as Rough Trade and Falling A in the UK) and fanzines.〔McGee 1992, p.vii-viii〕 The culture was in part an offshoot of the mail art movement of the 1970s and 1980s,〔Minoy 1992, p.61-62〕 and participants engaged in tape trading in addition to traditional sales. The culture is related to the DIY ethic of punk, and encouraged musical eclecticism and diversity.〔James 1992, p.ix-x.〕
==Initiating factors==
Several factors led to the rise of cassette culture. The development of the cassette tape recording format was important - the improvement of tape formulations and availability of sophisticated cassette decks in the late 1970s allowed participants produce high-quality copies of their music inexpensively.〔Produce 1992, p.4-5.〕 Also significant was the fact that bands did not need to go into expensive recording studios any longer. Multi-track recording equipment was becoming affordable, portable and of fairly high quality during the early 1980s. 4-track cassette recorders developed by Tascam and Fostex allowed artists to record and get a reasonable sound at home.〔Jones, 1992, p.9.〕 As well, electronic instruments, such as drum machines and synthesizers, became more compact and inexpensive.〔 Therefore, it became increasingly feasible to construct home-recording studios, giving rise to an increase of recording artists. Add to this the fact that college radio was coming into its own. For many years there were non-commercial college radio stations but now they had a newfound freedom in format - giving rise to regular cassette-only radio shows that showcased and promoted the work of home recording artists.〔Pareles, 1987〕 With the influx of new music from sources other than the major record companies—and the quasi-major medium of college radio to lend support—the audio boom was on.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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