Recent decades have seen the proliferation of digital music production technologies, led by digital audio workstations (DAWs) such as Pro Tools and Live. The companies behind them, including Avid and Ableton, resemble music distributors in their ongoing process of platformization—that is, in making themselves the foundation of an increasing range of interactions and transactions. The article discusses economic, social, and cultural aspects of platformization before zooming in on key DAW enterprises and the ways in which they have extended their presence across adjacent markets, including record production, live performance, audiovisual media, instrument manufacturing, sample sales, and music education. These companies have gone beyond selling tools to reorganizing the music industry and rearticulating what is needed to prevail in it, thereby intervening in labor market relations in ways that should not remain hidden “backstage.”

中文翻译：

---

音乐制作的平台化：数字音频工作站如何转变为劳动力市场关系的平台


近几十年来，以 Pro Tools 和 Live 等数字音频工作站 （DAW） 为首的数字音乐制作技术激增。他们背后的公司，包括 Avid 和 Ableton，在他们正在进行的平台化过程中类似于音乐发行商，也就是说，使自己成为越来越多的互动和交易的基础。本文讨论了平台化的经济、社会和文化方面，然后重点介绍了主要的 DAW 企业以及它们在相邻市场扩展影响力的方式，包括唱片制作、现场表演、视听媒体、乐器制造、样品销售和音乐教育。这些公司已经超越了销售工具，重组了音乐行业，并重新确定了在音乐行业中取得成功所需的东西，从而以不应该隐藏在“后台”的方式干预劳动力市场关系。