we listen
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As terrible as war is, it often brings scientific discoveries to the masses in peacetime. One such discovery from World War II is the Sound Fixing and Ranging channel, or SOFAR channel for short. It's not a TV channel, but an ocean channel. In 1944, geophysicist Maurice Ewing discovered a hidden horizontal oceanic layer about 1,000 meters (3,300 feet) deep under the ocean's surface. It's sandwiched between warm, less salty and lighter upper waters, and cooler, more salty denser lower waters. What's unique about this layer is its ability to trap sound waves and channel them over vast distances.
PART I
The year '22 ushers in an exciting new technology. Here's what has been said about it:
"The newspaper that comes through your walls."
"Anyone with common sense can readily grasp the elementary principles and begin receiving at once."
"It will become as necessary as transportation. It will be communication personalized. There will be no limit to its use."
"Ding-dong, ding-dong
Ding-dong, ding-dong
Hark how the bells
Sweet silver bells
All seem to say
Throw cares away"
Peter Wilhousky / Mykola Leontovich
This time of year can be joyous, especially for holiday music lovers. Christmas tunes flow out of stores and TV sets, and holiday concerts fill December's weekends. But one carol, "Carol of the Bells," may be based on a centuries-old doom and gloom song.
"A hospital is no place to be sick."
Samuel Goldwyn
Buford T. Justice: Breaker, breaker for the Bandit.
Bandit: Come on back, breaker.
Buford T. Justice: Bandit I got a smokey report for you. Come on!
Bandit: Well, talk to me good buddy.
Buford T. Justice: You got trouble comin...
Bandit: Well what's your handle son, and what's your twenty?
Buford T. Justice: My handle's Smokey Bear and I'm tail-grabbin yo ass right now!
Smokey and the Bandit (1977)
Just when you thought CB radio was dead, the Federal Communication Commission passed a rule that might have every "Smokey and the Bandit" fan yearning for another sequel. The FCC is allowing FM transmission on CB radio!
Mickey Mouse: Mr. Stokowski. Mr. Stokowski! Ha! My congratulations, sir.
Leopold Stokowski: Congratulations to you, Mickey.
Mickey Mouse: Gee, thanks. Well, so long. I'll be seein' ya!
Leopold Stokowski: Goodbye.
In 1940, before the world would be plunged into a half decade of devastating conflict, a larger-than-life cartoon creator teamed up with a wild-haired orchestra conductor and unleashed a fantastical film that would forever change the way we experience movies. The morning after the gala event at the Broadway Theater in New York City, The New York Times critic Bosley Crowther said, "The music comes not simply from the screen, but from everywhere; it is as if a hearer were in the midst of the music." Even with all the wondrous characters, vivid animation, and whimsical storytelling of this new film, it was the sound that stole the show.
"There is no reason that function should not be beautiful. In fact beauty usually makes it more effective."
Spock
Function and beauty can coexist, especially in headphone design.
"If our condition were truly happy, we would not seek diversion from it in order to make ourselves happy."
Blaise Pascal
French mathematician, physicist, inventor, philosopher, writer and Catholic theologian
(1623-1662)
Are you working in a job that you love? Are you doing a skill that comes naturally to you? Can you imagine doing anything else? If you answered Yes, Yes, and...Yes, then you must be insanely happy. It could be healthy to daydream of doing something else, or even partake in different kinds of productive activities that are wildly different from your career. Studies of scientists have shown that the more varied their hobbies, activities, and other professional pursuits are, the more important and numerous their breakthroughs may be. Performing the same task over and over again becomes drudgery, no matter if you're a widget stamper in a factory or a recombinant DNA engineer in a lab. Our minds need diversion in order to focus when it's important.
"Music's always been at the heart of Apple. It's deep in our DNA. We've sold Macs to musicians since the beginning of Macs."
Tim Cook
Twenty years ago this month, Apple officially launched OS X. Apple finally had a legitimate PC killer that would kick the Mac vs. Windows debate into overdrive. In 2001, many studios and video editing companies were already using Macs as the foundation for their digital production systems when OS X dropped, but it literally changed the game.
"Simplicity makes me happy."
Alicia Keys
Comedian Jim Gaffigan has a classic gut-busting routine about Hot Pockets. After expounding on the unsophistication of eating them, he envisions the meeting with the jingle writer:
Do love that jangle.
Do you think they worked hard on that song?
"What do you got so far, Bill?"
"Uh... uh... (sings) hot pocket?"
"Thats good, thats very good.
The jingle is almost as good as your "By Mennen"
Our daily life has us ingesting "jangles" and other ear worms that have become part of our subconscious. Maybe you've heard these simple sounds over and over again:
"Liberty, Liberty, Li-berty, Liberty"
"Nationwide is on your side"
"Double-A, TOOT-TOOT, M C O"
These sounds are almost as familiar as a logo like the Facebook F, the Micheline Tire man, or the Disney mouse ears. These are all trademarked logos and visual advertising devices. Sounds can also be trademarked as well.
"Well-timed silence hath more eloquence than speech."
Martin Farquhar Tupper
For the first century of our nation's existence, a very select few ever heard their president speak. 130 years ago, technology changed that.
"It is easily overlooked that what is now called vintage was once brand new."
Tony Visconti
Which name will stick to a new technology? It's usually not the one given to it by the inventor.
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- Lt. Werner: What's going on? Why are we diving?
- 2nd Lieutenant: Hydrophone check. At sea, even in a storm you can hear more down here than you can see up there.”
Das Boot
In the near future, submarines might be using sound waves to communicate through ocean waves.
"Call me a relic, call me what you will
Say I'm old-fashioned, say I'm over the hill
Today' music ain't got the same soul
I like that old time rock 'n' roll."
Bob Seger
Digital media is doomed to disappear at some point. Records may outlast hard drives, CDs, tapes, and other formats we haven't dreamt up yet. But what about stone tablets? I take a look at some of the oldest surviving forms of written music. You might be surprised what some of them contain.
"I got a chain letter by fax. It's very simple. You just fax a dollar bill to everybody on the list."
Steven Wright
William G.H. Finch had a crazy idea. He liked efficiency, and he liked news. He imagined a future that would merge those together for the average American. Americans like Joe and Jane. When they woke up in the morning, this crazy idea goes, a box in their parlor had just printed out the latest news onto paper with stories and pictures, ready to be poured over while eating their breakfast. Wait – that kinda sounds like the here and now. What's crazy is that this brainchild was born in 1933.
"Well, folks, now we've got free baseball!"
Baseball announcer Skip Caray whenever a game went into extra innings
We're so used to living in a litigious society that when someone says "free," But now there are two exciting web sites for music lovers to explore that are...wait for it...free!
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"In radio, you have two tools. Sound and silence."
Ira Glass
As the world holes up in their houses during this coronavirus, as we absorb media like never before, as we listen to the news coming out of our television and radio speakers, we see and hear just how serious most of us are taking this. Journalists are broadcasting from their backyards, their sources are interviewed over Skype or Zoom, and the news now looks and sounds less-than-polished. It's like Sunday afternoons on FaceTime with the family three states away. These are the choices we are having to make these days: quality of content over quality of sound and video. But we don't know how good we got it.
In feature films the director is God; in documentary films God is the director.
Alfred Hitchcock
Should documentary sound be real? Manipulated? Fake? We dig into the controversy.
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"Once, during Prohibition, I was forced to live for days on nothing but food and water."
W. C. Fields
100 years ago, a restrictive law popularized a new American art form. PLUS, find out what's been going on in the studios of Dynamix Productions.
"I got rhythm, I got music, I got my man
who could ask for anything more?"
George and Ira Gershwin
Do animals have rhythm? I found myself wondering that as I watched my cat's tail thump. Because of some slight annoyance only a cat would have, Onslow thumped his tail rhythmically several times, then slowly stopped after about a minute. In fact, he did what we call in music, a retard. That is, his tempo slowed down in a methodical manner, each successive tap mathematically slower than the previous. I actually tapped my finger nearly in time with his tail as it came to a stop. So was he singing Brahms' Lullaby in his head, or was he just becoming less annoyed?
Researchers have been wondering for a long time if animals understand music. Specifically – can animals follow a beat? Charles Darwin, while writing about the evolution of music, postulated that music tapped deep into the roots of evolution and was spread across the animal kingdom. After all, frogs chirp in a rhythm, fireflies blink to a quasi-beat, and elephants can dance. But these delightful displays of disco-like rhythm can't really answer that question without more study.
Enter Snowball. Snowball is a cockatoo that was brought to a bird rescue organization in 2007 that loves to dance to music. In fact, Snowball can dance to different tempos, rhythms, and songs. What started as a novelty turned into full-blown scientific studies and a new field of study. Scientists began observing how a variety of animals that are exposed to music behaved, and found that those that could vocally reproduce sounds they've never heard before (vocal learning) are more likely to be able to "entrain," that is respond to an external beat. These include parrots, elephants, and us.
The working hypothesis was that only vocal learners could entrain. But a rescued sea lion named Ronan clouded the picture. Researchers at UC-Santa Cruz used a thin evolutionary connection between walruses and seals (which can imitate speech) and their distant cousin, the sea lion (which can grunt or bark on command and at different speeds) to push the limits on the vocal learning theory. Ronan first learned to bob her head to simple metronome beats, but graduated to real music. EWF's "Boogie Wonderland" was a favorite, as well as Snowball's fave "Everybody" by the Backstreet Boys.
Primates, previously thought to have no response to music, began to show they could groove as well. Though great apes are nonvocal learners, wild chimpanzees and bonobos have been observed drumming their hands and feet on their bodies. Recent controlled studies had bonobos drumming in sync with humans, but the jury is still out on whether that's a result of them becoming too humanized while in captivity.
So now the working theories started to get out of step and lose their groove. Do animals need vocal learning neural circuits in order to have rhythm? We know the body can move with a beat, but what about the brain? Scientists began looking back at neural studies about rhythm to see. In 2005, researchers found that certain neural circuits will oscillate in time with external rhythmic tones. Subsequent studies have found the same thing occurring in other animals, like monkeys and zebrafish. To take it further, and deeper into the brain, researchers found that neural circuits used for motion control also process auditory rhythms. And they seem to store patterns for us to reproduce later. Even when one is at rest, the motor circuits are active and anticipating when the next beat will be.
So why would the brain want to connect hearing and movement? Maybe it goes way back in evolution to being chased: the anticipation of the next footfall behind you or the swing of the predator's claw toward you could save your life. Rhythm is all through nature, from birds flying in formation to the highly coordinated hunts of wolves. But cockatoos, elephants, and humans that can vocalize may have a more highly developed response to music. It's been theorized that creating and responding to rhythm is mostly a social behavior. Human, parrots, and elephants are social species that use vocalization to communicate. And vocalizations are rhythmic in nature. Our ancestors, it's thought, sang and danced as social ritual before refining language. The next question in this research is, how do we motivate other animals enough to reveal their true musical abilities? Can a fish perform synchronized swimming? Can a horse clomp to the theme song from Mister Ed? Can my cat learn to dance? Well, probably. But he doesn't want to, because he's... you know...a cat.
"These fellows blow their horns just to see the people jump, I believe."
Chicago Mayor Carter Harrison, 1902
At the turn of last century, the automobile was poised to overtake the horse as the preferred mode of personal transportation. But there were detractors to the coming sea change. Much as we see driverless cars as a potential danger today, "horseless carriage" opponents saw the drivers themselves as dangerous.
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"All that's to come
and everything under
the sun is in tune
but the sun
is eclipsed by the moon."
Roger Waters
from "Eclipse" on the 1973 LP release "Dark Side of the Moon"
For generations, humans have been trying to link sound and light together. We have succeeded.
"It's an interesting place to be. I recommend it."
Astronaut Neil Armstrong commenting about the moon
Every time I hear the timeless phrase Neil Armstrong uttered while stepping on the moon, I can't help but remember the first time I heard it. It was 50 years ago at about 11:00 PM on July 20, 1969. I was eight-years-old and had fallen asleep waiting for them to get out of their strange looking space craft. Our family was vacationing in a cabin on a lake in southern Ohio, and Dad had hauled our portable black-and-white TV from home. We had a lot of trouble getting any TV stations out in the country on that little box. I seem to remember him fiddling with the rabbit ear antennas and positioning all of us at different places in the room like chess pieces so the picture wouldn't flutter.
"Radio is a hungry monster that eats very fast."
Tyler Joseph
Everything today seems to be sped up. We speed to work, we speed to pick up the kids, we speed home, we speed around the kitchen, we speed watch TV, we speed listen to podcasts, we speed, speed, speed...then we speed sleep so we can get up and do it all over again. And as if on cue, much of what we watch and listen to is also sped up.
For years, top 40 radio stations sped their turntables up so that songs played faster, albeit at a slightly higher pitch, to fit more tunes within an hour. They claimed it gave more energy to the station's sound, but profit was definitely the motivator because one or two more commercials could be fit into an hour. They also sped up those commercials for the same reason. Think this is ancient history? Nope. Some stations still do it with digital software that plays the songs faster without the pitch problem. Commercials are also still sped up, and pauses and silence gaps in talk shows are digitally removed so that they can - guess what? – fit more commercials in the hour. What's friendly for the station isn't always friendly to the artist. When the Go Go's released "We Got the Beat" in 1980, sales weren't very good in the UK. The band felt the low sales were partially due to the sped up tape for the 45 RPM release.
Television isn't immune to the speed wars either. Cable TV networks are notorious for editing and time compressing programs to jam into a time slot and – play more commercials. I remember first spotting this television trickery when watching a very long movie in just two hours with commercials. They really want to sell us more U.S. Mint Gold collector coins and life insurance.
The broadcasters aren't the only one thinking about squeezing media. The 78 RPM record, or "single," as the record company muckity-mucks now call it, was typically 3-minutes. So songwriters were encouraged to write nothing longer than 3-minutes, preferably 2. That same philosophy carried over to the 45 RPM record (which actually held about 4 1/2 minutes). You can hear this push for short singles in early Beatles records. "Love Me Do" debuted in 1962 and was 2:22 long. The moppy-haired head-shaker "She Loves You" a year later was even shorter, clocking in at 2:18.
One trick in getting song lengths down was to get to the chorus early. Sticking with the Beatles (and why not?), "Can't Buy Me Love," "Help," and "She Loves You" all start off with the chorus before getting into the first verse. Another composition method that may shorten a song is AABA, which harks back to the Tin Pan Alley days of simple phrase construction. The first two phrases (A & A) are similar, the third phrase (B) is different, then the last phrase (A) is similar to the first two. Songs with this structure are "Over the Rainbow" and "Blueberry Hill."
The time signature will sometimes shorten a song, though mostly unintentionally. Instead of the traditional four beats to a measure, 3/4 time has only three. The waltz, in 3/4 time, is a centuries-old method of getting people off their feet to dance. It (and its cousin 6/8 time) has been used in pop tunes such as "Que Sera Sera (Whatever Will Be Will Be)," What the World Needs Now Is Love," and "Take It to the Limit" by the Eagles. And we can't forget about 7/8 time, like the classic "Money" by Pink Floyd.
They say that what goes around comes around. Today, streaming services such as Spotify are influencing how songs are written based on the artist payout structure. Because physical sales (CDs and records) of music are way down, more and more money is made from streaming sales. Those payouts are based on listens, specifically if the listener hears at least 30 seconds. According to "Switched on Pop" host Charlie Harding, the average song length has decreased from 4:30 in the 1990s to 3:42 in 2019. Instead of long intros, artists are now introducing part of the chorus early in the song to get the hook in the listener's ear so they stay around longer. Albums or collections of songs also contain many more short songs than they used to. More songs listened to mean more money for the artist.
Surprised that artists are manipulating your buying habits? Well, the music business is just that – business. As Paul McCartney commented on the fortunes that "Can't Buy Me Love" brought to the Beatles, he said 'It should have been "Can Buy Me Love."'
"It was easier just to say it out on a tape than trying to write it because it will take a lot of writing paper in order to get it straight."
Private First Class Frank A. Kowalczyk
Long Binh Post, Vietnam, 1969
Back when it was expensive, or impossible, to call someone long distance, friends and family members would send messages on records and tapes to each other through the mail. Not only was it more affordable, it was a more personal way to stay in touch with each other and have some fun doing it. When I digitize some of these audio letters for customers, and feel like I'm transported back in time that a way that a letter can't take me.
"Nostalgia is not what it used to be."
Simone Signoret
Record stores all over America will be opening their doors on April 13th for National Record Store Day. But cassettes are sneaking in through the back. These portable petite plastic packs from the past now have their own Cassette Store Day each year in October, and they're winning over some fans that also shop for vinyl. In fact, annual sales of music cassettes were up 23% in 2018, and 70% since 2016. Artists and studios are rethinking this ancient format and not only re-releasing albums popular during cassette's halcyon days, but new music as well. What's with the retro rewind?
"TV gives everyone an image, but radio gives birth to a million images in a million brains."
Peggy Nooman
The recent presidential elections in Nigeria and Senegal stirred fond memories of my childhood. Specifically the "sounds" of Africa I remember growing up with. I haven't had the good fortune to go to Africa, but I've listened to it from afar. In the 1960s and 70s, radio was perhaps at its peak. AM radio stations played the hits, FM radio played the albums, and CB radios were in kitchens and cars. A lot of homes also had a shortwave radio. Today it's the internet that ties us all together. Back then, CBs connected us with our friends, AM and FM connected us with the country, and shortwave connected us with the world.
My favorite saying is, 'If it's too loud, turn it up.'
Tori Amos
You often hear the phrase "The shot heard 'round the world," referring to the first shot fired of the American Revolution in Lexington, Massachusetts. Or for us baseball fans, Bobby Thompson's dramatic game-winning home run when the New York Giants beat the Brooklyn Dodgers for a trip to the 1951 World Series. Both of these pale in comparison to the 1883 explosion of the Krakatoa volcano. Dubbed as the loudest sound in history, it was also the farthest traveled.
10:40 p.m. “I got about 2,000 college students coming from Walnut Street to 30th to Center City.”
10:46 p.m. “It’s endless, chief. Endless.”
11:11 p.m. “They’re on top of trash trucks. There is to be no one on top of trash trucks, guys.”
11:14 p.m. “We have multiple people on Broad Street swinging on light poles.”
11:20 p.m. “Climbing the trash trucks at 13th and Market.”
11:25 p.m. “I need to get the fire extinguisher out of my trunk. I got a fire on Broad Street just south of South. Someone lit a Christmas tree on fire.”
Philadelphia Police radio transcripts after the Eagles won the 2018 Super Bowl
Do you remember the old movies from the 1930s when a radio in a police car would blare out "Calling all cars! Calling all cars!" The diligent policemen would zoom away in their car with the siren screaming. The dispatcher had no idea if the radio cars heard the frantic call because two-way radios were uncommon and expensive. So from the late 1920s until after World War II, most police departments relied on their cruisers having radio receivers only. Today, police use digital radio systems that carry data, video, and other information.
"I bought a Dutch barge and turned it into a recording studio. My plan was to go to Paris and record rolling down the Seine."
Pete Townshend, The Who
What do you get when you combine a $150 microphone, a simple audio interface, a computer, audio recording and mixing software, and some musical talent? Maybe a hit record, even if it's made in an apartment living room in the middle of the night. The tools to produce quality music recordings are ridiculously good, affordable, and plentiful these days. It wasn't always like that. The Beatles, for instance, recorded the bulk of their music in London's EMI studios, a corporate juggernaut complete with tie-wearing audio engineers. In the U.S., record companies practically burned cash using session players such as Hal Blaine, Glen Campbell, and Carol Kaye of Wrecking Crew fame in commercial studios. In the 70s, The Porcaro brothers, Steve Lukather, David Foster, and other household musical names rode the session player wave until synthesizers and affordable recording equipment came along.
I'm conflicted on the topic of recording music at home. The business part of me frets about studios losing out on billable hours. The musician part of me relishes creating art in a non-pressure environment. But the history of artists recording radio-ready songs in their humble abodes goes back further than you might imagine. Let's explore how affordable home music recording for the masses came to be, but also look back at the origins of this revolution in recording.
Blank recordable phonographic discs first appeared in the mid-1930s as a way to instantaneously record sounds to disc. Some of these early direct-to-disc recorders were somewhat portable, at least enough to be carted around in the trunk of a car. John Lomax used a 300 pound one to crisscross the south recording folk songs from such legends as Lead Belly for the Library of Congress. I discuss John and his son Alan in my article "Recording History" here. Over time, direct-to-disc cutters shrank to the size of a small suitcase, but the convenience and quality of the next big recording technology would overshadow it.
Enter magnetic tape recording. Technically, it was invented at the turn of the century, but its development was in Nazi Germany. In 1945, when the Allies were divvying up the spoils of war, the U.S. chose the Ampex Corporation to manufacture the first American-made reel-to-reel recorders. Artists like Bing Crosby and Les Paul pushed the technology to its limits while inventing new techniques and recording methods along the way. Working out of his home, Les Paul and Mary Ford recorded a string of hit songs using crude overdubbing and half-speed effects. Paul was also fortunate enough to have the first 8-track recorder, again inventing recording methods that would be used for decades. I also wrote in detail about Les Paul in my article "Recording History."
But these machines were beyond the budgets of ordinary people. For much of the 50s, 60s, and early 70s, multi-track recorders were bulky, expensive, and hard to maintain. Recording tape for multitracks, usually 1" or 2", cost a small fortune. Consoles to record and mix on were also quite expensive. But things were changing. Microphones started to come down in price in the 60s, especially when Shure introduced the SM57. The "57" is now a staple for recorded and live music (and is still the preferred microphone for Presidential speeches).
As post war technological advancements matured, inventions such as the transistor and IC (integrated circuit) started to shrink electronics. Japan had rebuilt its factories and started to make major innovations in electronics. The Japanese company TEAC (later Tascam) almost single-handedly invented the home recording market in the early 1970s with affordable 4-track recorders that used miserly 1/4" tape (I used the TEAC 4-track in my very first recording experiences in the 70s). By the late 70s they had introduced an 8-track 1/2" recorder. In later years Tascam would sell other firsts, like the first 8-track reel-to-reel / mixer combo, the 4-track cassette recorder, the R-DAT, and the MiniDisc multitracker.
In the early 80s, another Japanese company, Fostex, rocked the world when they introduced an 8-track reel-to-reel recorder that used 1/4" tape. They later squeezed 16 tracks onto 1/2" tape and 24 tracks onto 1" tape – with SMPTE and MIDI sync to boot. The G24s was the ultimate affordable tool of small studios until digital recording came along.
In the 80s synthesizers, samplers, drum machines, and sequencing software started to take over the music world. Much of the performance was done in the musician's home on the keyboard while a computer acted as a modern piano roll and recorded data from key presses and the sustain pedal. With simple mixers and affordable recorders, all that had to be added were live performers in a studio.
Some classic albums have been wholly or partially recorded and mixed in home studios with this early affordable technology. Tom Sholz cut most of the guitar and drum parts to Boston's first two albums in his basement on a Scully 12-track 1" machine. Tascam's 4-track cassette recorder was the center piece for Bruce Springsteen's Nebraska, Wu-Tang Clan's debut album Enter the Wu-Tang (36 Chambers), and Iron and Wine's debut The Creek Drank the Cradle.
Today's cheap but effective music creation tools, such as GarageBand, are available to the masses like never before. So hold off angrily pounding on your neighbor's door in the middle of the night. Maybe that glass-rattling thumping bass might be the next Grammy-winning album being made.
Read about Tom Scholz creating the first two Boston albums in his home in Guitar World.
Mix Magazine talks with Scholz about the classic song "More Than a Feeling."
Tascam is the subject at the Museum of Magnetic Sound Recording.
Fostex gives their fascinating history on their corporate web site.
Mix Magazine's behind-the-scenes look at session musicians during the heyday of the LA recording scene in the 1970s.
"Hostilities will cease along the whole front from 11 November at 11 o'clock."
Marshal Foch, the French commander of the Allied forces via radio atop the Eiffel Tower.
This week marks 100 years since the end of the war to end all wars, known today as World War One. In 1918, on the 11th hour, on the 11th day of the 11th month, 1,500 days of fighting came to an end. The armistice was agreed upon just six hours earlier in a railway car halfway between Paris and the Western Front. What's remarkable is the speed at which most troops were informed of the impending armistice. This war, like in so many other ways, forever changed the world of communication.
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"Hello from the children of Planet Earth"
From the gold records aboard the twin Voyager spacecraft
Vinyl is the format that won't die. It'll probably still be around after humans are extinct and our sun has gone supernova. Perhaps in eons, Voyager spacecraft with the golden records aboard will meet distant stars and future vinyl lovers. But in this eon, people will not stop pushing vinyl to its limits. Mad scientists and crazy artists like putting something other than music on it - or in it. More on that later.
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"Treat the recording studio as a laboratory for conceptual thinking — rather than as a mere tool."
Brian Eno
When I was young in the...cough...60s and 70s, the only real glimpses I got inside a recording studio was through television and movies. There was a smattering of documentaries and behind-the-scenes footage of studios and radio stations. I was always straining to see the control board and tape machines, or marveling at the cavernous studio on the other side of the glass. It was absolutely riveting to peek inside them and see how a record was made. The 8-foot long mixing console was often shot through a fisheye lens. Long-haired musicians were sunk down into a couch smoking cigarettes (?) and listening to their masterpiece. And there were close-up shots of that big fat 2-inch tape rolling past the heads of the recorder.
“The only real way to disarm your enemy is to listen to them.”
Amaryllis Fox
Writer, peace activist, former CIA Clandestine Service officer
These days, it seems nothing is secret. We can't talk on the phone, cruise the internet, or walk down the street without being snooped on electronically. Enemy anxiety, especially since 9/11, has driven governments to monitor everything being said. Think it's bad now? During World War II it was even worse. Everyone had to be careful about what they were saying and who was listening because "loose lips sink ships." There wasn't the level of electronic communications in the 1940s as today, but the groundwork was being laid for modern tech that we use every day. Even snooping technology.
"I have been at work for some time building an apparatus to see if it is possible for personalities which have left this earth to communicate with us."
Thomas Edison, 1920
What if you nonchalantly recorded something around your house, let's say a music practice session. Then when you played it back, you clearly hear someone whispering. You didn't hear it when you recorded it, so what was it? Many unfamiliar sounds throughout history can be attributed to nature, machinery, and even hoaxes. As our post-industrial society grows, so does the list of unexplained sounds, like trumpet sounds from the sky, humming cities, and ocean whistles. The proliferation of audio and video technology has generated its own tally of the strange. Specifically, weird voices that have been inadvertently and unknowingly captured. These recordings and transmissions sound eerie but have a very unsexy-sounding name: "Electronic Voice Phenomenon," or EVP.
"I will never be an old man. To me, old age is always 15 years older than I am."
Francis Bacon
Dynamix turns fifteen years old this month. Well technically sixteen, because I incorporated a year earlier and did small jobs out of my basement until I could step out on my own. When I did, I couldn't have timed it better.
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"Cooking is like music: you can tell when someone puts love into it.”
Taylor Hicks
The transition from mono to stereo music recordings in the late 1950s had its challenges. Find out how Rudy Van Gelder and other recording engineers worked out the details.
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"I used to judge the quality of music by whether I could make a 90-minute cassette and not repeat any artists."
John Hughes
What? Another old audio format is making a comeback? Yessiree! If you want to be hip, then dust off your old Sony Walkman. But like me, you've probably dumped all your old cassettes along with your floppy disks and Trivial Pursuit. These days, my pocket can carry the same amount of music that drawers and drawers of cassettes can.
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"I hate modern car radios. In my car, I don't even have a push-button radio. It's just got a dial and two knobs. Just AM."
Chris Isaak
Maybe you haven't noticed, but AM radio has pretty much sucked the last twenty years or so. Maybe you didn't notice because you weren't listening. A lot of people aren't, and the FCC is out to change that. The FCC? You bet – this isn't your father's FCC. We're so used to hearing "FCC" and "restrictions" in the same breath, that broadcasters were pleasantly surprised last October when the FCC announced an "AM Revitalization" initiative.
"Before anything else, preparation is the key to success."
Alexander Graham Bell
"Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!"
Alan Parsons
Echo, reverb, delay, and ambience. There's a difference between them (see "Tech Notes" below) and they're often confused with each other or used incorrectly. But each one has an important place in recording with technology often dictating their use.
Aaron Copland, 1970
WIth the recent news that the Library of Congress is inducting 25 entries into the Library of Congress National Recording Registry, I was excited to see U2, Linda Ronstadt, and Isaac Hayes get their due. Perusing the list, I saw a very influential (at least personally) album - Copland Conducts Copland: Appalachian Spring (1974).
I was a music major in college and always found Aaron Copland to be the quintessential American composer. He seemed to capture what Americans idolize about America: hope, boldness, charm, intrepidness, looking forward but not forgetting the past.
Emile Berliner
Analog rules!
When commercial radio really took off in the 1920's and 30's, it was fueled by advances in recording. You could even say that each drove the other. Early music recordings were mostly documents of what was already being played to live audiences - classical, early jazz, folk, etc. As bands got bigger and louder, the music got more exciting. Dixieland was new, records were all the rage, and radio was just beginning to transport the new sounds across the country, just like the transcontinental railway brought the ideas of the gilded age to America a half-century earlier.
The quest to create a 3D visual experience has revved up, sputtered, and stalled for almost a century. But the journey for a 3D experience in sound has steadily evolved for more than eight decades.
