Perfecting Sound Forever: An Aural History of Recorded MusicIn 1915, Thomas Edison proclaimed that he could record a live performance and reproduce it perfectly, shocking audiences who found themselves unable to tell whether what they were hearing was an Edison Diamond Disc or a flesh-and-blood musician. Today, the equation is reversed. Whereas Edison proposed that a real performance could be rebuilt with absolute perfection, Pro Tools and digital samplers now allow musicians and engineers to create the illusion of performances that never were. In between lies a century of sonic exploration into the balance between the real and the represented. |
From inside the book
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An Aural History of Recorded Music Greg Milner. “disappeared” every time you played it. The machine was a neutral conduit. It heard everything, and added and subtracted nothing, issuing music so pure that Edison was confident it could ...
... recorded information without adding additional artifacts”—describes exactly what Edison wanted to do. He believed that a perfect recording could provide music that was truer, purer, realer than the musical event it documented. It could ...
... recorded music that people didn't have in 1915. The world is saturated with recordings. If you live in a society that is even semiindustrialized, recordings define the sound of your musical world. As the planet's population becomes more ...
... musical adventures” (and I've been there myself), yours is a lonely musical road. Recorded music began with a paradox, one that Edison explored and exploited relentlessly: How can a representation of music be as real and authentic as the ...
An Aural History of Recorded Music Greg Milner. even weirder because there is a very strong chance that the vocals were processed during the recording or mixing process with AutoTune, a software program that automatically corrects a ...
Contents
From the New World | |
Digital | |
Death and Other Dispatches from the Loudness | |
Liner Notes | |
Notes | |
Acknowledgments | |
Notes | |