Preservationsound.com is a collection of ideas and information about audio.
More specifically, the history of audio, and our relationship to audio. Audio, broadly defined, is the electrical representation of sound. Sound has existed for at least as long as anyone has been around to hear it, but audio is a relatively new technology. The ability to ‘capture’ sound and then ‘play it back’ divorced from its origin in time and/or space is the most basic function of audio technology. In addition to this role, audio technology can also be an instrument; a tool to create unique sounds that do not originate as acoustic sound. I do not mean to imply that these are separate functions; capturing and playing back sound will always change the sound, regardless of the intent of the audio operator. There is always a grey area between documentation and manipulation; every audio operation creates the potential for a new sound. We have developed a great many audio tools and technologies to maintain the ‘fidelity’ of audio: that is to say, maintain a ‘true-to-the-original-sound’ quality in our audio signals. We have also developed a great number of tools and technologies to enhance, distort, combine, separate, and generally manipulate audio. It is these tools and technologies that I am interested in exploring. I am interested in their effects, their methods, and their development. Most of all, I am interested in their potential to create meaning for the people who experience these new sounds. Sounds that have been brought across great distances, through spans of time, bearing the artifacts of the particular tools that have crafted them.
I will not be presenting a chronological narrative. I am not attempting to offer a comprehensive or thorough treatment of audio history. Instead I will focus each post on a particular subject: a technology, a technique, an individual, a recording, a piece of hardware. I will provide historical context, and offer my thoughts about what significance the subject may have. Some posts will be very broad in nature, and some will be fairly technical. Much of what I write about will stem from my own experiments with audio hardware and techniques. I hope you find the information useful.
great site!
Very interesting. I hope to contribute something one day!
You’ve got a great blog, dude! Althought, I disagree with the definition of audio ” as the electrical representation of sound” as long as they managed to capture and reproduce sound even before electricity was widely used. You know: wax cylinders, tinfoils, and such…
Cheers!
That is an interesting point. i’ll have to think about that… in the instance of wax cylinders, was there any current involved? magnets, coils, any fields generated? I imagine that electrical potentials were in use somewhere in the process? maybe not?
Hi Chris:
Until about 1926, all sound recording for cylinders and Berliner/Victor disks was done mechanically (acoustically). No electricity involved. The recording horns in major studios of that era, like Edison and Victor in NJ and EMI in England, were huge and the setups elaborate. There was even a recording violin made by Stroh, which had a horn attached to the soundboard in order to acoustically amplify the instrument.
Western Electric developed the means to use electricity to pick up sound with a microphone and amplify it into an electro-magnetic cutting head, to cut onto wax, in 1925-26 and licensed the system to record companies in 1926.
There are two excellent books on the early days of recording, which I highly recommend, both by Alan Sutton:
“A Phonograph in Every Home”
http://www.mainspringpress.com/book_phonograph.html
traces the beginnings of the recording industry
“Recording the ‘Twenties”
http://www.mainspringpress.com/book_rec20.html
takes the history into the transition from acoustic to electrical recording, and then into the Depression. Fans of jazz, blues and “hillbilly” (country) music will like the chapters detailing how these genres developed in the larger context of the recording and music businesses.
And I see he’s just finished the next installment (as of 2/12), “Recording the Thirties”:
http://www.mainspringpress.com/book_catalog.html
– Tom
Amazing. Wonderful blog, where did you get a Bob Fine Rate card!
Brad
Great site! Love the ARP Avatar ad! Remember staring longingly at that ad…
Hey Chris!
Thanks for the comment you made on my blog. Really enjoyed talking music with you on Saturday. Enjoy your Uncle Roy Ayers record. Hope to see you before I head out west.
All the best,
Amy