Of course, this whole thread comes from the perspective that you are actually recording live
performances to begin. I would submit that many (if not most) home recordists are actually involved in the more electronic genres which don't in fact rely so heavily on live
performance. That is, you've got a whole lot of techno (or whatever the fuck they're calling it nowadays) and hip-hip and whatnot where most of the music is in fact sequenced to begin with. That is, a whole lot of what comes out of home recording situations starts out on the grid, perfectly in time and in tune to begin with, and in fact could not exist outside of
the studio. Ask those folks if they're "losing themselves" in
the studio.
But even short of the fully sequenced electronic music there has always been a large segment of the recording community who's entire intent is to use the studio itself as an instrument - to deliberately use the tools available in the studio to create things that could not exist in the "real world". From Les Paul to the Beatles and Hendrix to Eno, NIN, and on and on. Ask them if they "lost themselves".
But, part of what spurred me to post this was the idea that if you look into the more
studio focused and electronic genres I think that many of these folks have found that they get the "best", most satisfying results when they deliberately add some slop to what would otherwise come across as too sterile and machine-like. They add some amount of randomization or "humanization" to timing and/or pitch to keep things interesting. From experience I can say that even a tiny little bit can make a noticeable difference. Whether that difference is positive or negative depends entirely on what you're trying to do. Just thought it was an interesting perspective on the whole thing. We're talking about taking imperfect
performances toward perfection, while so many are trying to take "perfect" things and mess them up a bit.