18 of 18 people found the following review helpful
- Published on Amazon.com
A layman like me could have been intimidated by the charts and bar graphs that pop up every now and again to prove things like replay gain and compression but Greg Milner had me from the start. He starts out with a bang, comparing the creation of the universe to `cutting a record,' then laying out the quirky, fascinating history of the men--and their methods--who proved that Marconi was right and `no sound ever dies.' Like the scientists and inventors, showmen and audio geeks, Willy Lomans and record company suits who wanted to raise the bar--whether that bar be quality, authenticity, loudness, or sales--Milner is also obsessed, and not just with the trajectory--the wax cylinders, analog tape and binary code that plays us back--but with pondering age-old questions: what is art? what is reality? is there truth? It's a rollicking, uproarious, rock `n rolla' ride and Milner takes you with him inside the "sweet spot" of an Edison recording of Bake Dat Chicken Pie; behind the prison walls of the Louisiana State Penitentiary and Lead Belly's thrilling Irene; next to Ike Turner's broken amp and its grungy sound at Sun Studio; beside the pummeling drums of Springstein's Born in the U.S.A.; inside the mix of the master King Tubby; compressed in the eardrum splitting Californication of the Red Hot Chili Peppers. You are there. This is a brilliant, funny record that chronicles the amazing story of recorded (American) sound while raising important questions--to me anyway--like who owns sound? Do I want to hear what I hear, or better? Are the blockbuster Frankensteins of pop music today art? If you have the faintest interest in American music and what it says about our culture, run don't walk and read this book!
24 of 26 people found the following review helpful
Gregory M. Wasson
- Published on Amazon.com
"Perfecting Sound Forever" is both more and less than its title would imply. On the one hand, it is purportedly a history of the technology of recorded music. But it includes many lengthy sidetrips and stories which will engage readers who take an active interest in both the development and the application of recorded sound. For example, the author discusses at length the use of "sound tests" by the makers of the first acoustic recording and playback machines. In these tests (which were as much marketing techniques as much as "scientific" experiments), a singer or instrumentalist would pretend to be playing on stage, then walk off stage in the middle of the performance as a curtain was parted to show that the audience had been listening to an acoustic wax cylinder or disk played through a horn. Believe it or not, the audience was astonished to discover that it had not been listening to a live performance. Similar tests continued to be used right up until the present, always with the same result, which demonstrates the substantial psycho-acoustic element in the listening experience.
Many readers, including myself, will enjoy Milner's lengthy sidetrips describing in detail such historic applications of new recording techniques as John and Alan Lomax's trips to the rural South to record "authentic Negro music," discovering along the way the great blues singer "Huddie" Ledbetter, better known as "Lead Belly." Many of these stories are only tangentially related to the central story of the development of audio recording techniques. Others, such as Milner's discussion of Les Paul's pioneering use of over-tracking to achieve the sound he wanted, are more directly related to the main narrative. If you are not irritated by the author's wanderings off the "track" (sort of an audiophile's "Moby Dick"), and you have a reasonable understanding of the main outlines of the development of audio technology, you will probably thoroughly enjoy this book.
But be forewarned. As audio recording technology hits the crossroads intersectig it with the birth of rock 'n roll in the mid-fifties, there is almost no discussion of the application of audio technology to the recording of classical or jazz music. Milner confines his discussion to pop and rock almost exclusively thereafter. Although his discussion of the influence of the evolution of recording technology on the pop music field is important, if your tastes run to Miles Davis or Dmitri Shostakovich rather than hip-hop or The Red Hot Chili Peppers, you may find your enjoyment of the book substantially lessened.
That said, Miller's exploration of the uses made of digital recording technology, with its promise of greater sensitivity and higher fidelity, is fascinating. He describes in great detail the "misuse" of audio compression and clipping to achieve greater "loudness" even though the results on pop music paradoxically lessened the dynamic range and fidelity of the music being made. Milner paints a picture in which the democratization of the production of pop music made possible by the availability of ever more affordable devices to produce music - the "producer" could now record and remix from a garage instead of an acoustically pristine recording hall - contributed to the so-called "loudness wars" in which records were so compressed that the dynamic range of a pop song from beginning to end might be as little as 9 dB. Loudness got the attention of people flipping through the FM dials, and audiophiles were no longer the object of the producer's attention as the recording industry's prime demographic was hearing their favorite music through cheap stereo systems and later through MP3 devices such as iPods using low fidelity earbuds. The lesson seems to be that people get the music they deserve, and mediocre sound quality is perfectly satisfactory to the average listener.
The author's thesis is that increasingly sophisticated production devices such as Pro-Tools and Auto-Tune, which allow the correction of pitch for a flat singer, and the assembly of "music" one note at a time rather than by capturing even a semblance of live ensemble musical performance, have paradoxically corrupted the quality of most modern recordings. It is interesting then that he winds up at the end of the book putting himself through the paces of a modern day "sound test." In a blind comparison of a uncompressed sound clip in almost CD quality, with an identical clip of the same music that has been compressed using a codec and bit rate unknown to him, the author tries to identify the compressed clip. You may be surprised at the results reported by Milner as he processes the music through his own psycho-acoustic equipment (his ears and his brain).
Overall, I can confidently recommend this book to anyone with more than a passing interest in the history of audio recording, and some of the more interesting stories that are part of that history. However, if reading page after page about lossless and lossy dynamic compression in MP3 players produces sleepiness instead of excitement, you might want to pick up an old copy of Aaron Copland's "What To Listen For in Music."
17 of 21 people found the following review helpful
Keith Otis Edwards
- Published on Amazon.com
I suggest that a practical test of a book's quality is how late it keeps you up, reading just one more page and then just another. "Perfecting Sound Forever" kept me up almost all night, and I resumed reading it as soon as I could the next day. It's that great.
Actually, it's at least four books in one. It begins as a concise history of the technology of sound reproduction. I've read many books on technological and industrial history -- some good, some worthless -- and this is one of the best for detailed information on Thomas Edison's only invention, the phonograph, as well as subsequent developments in sound reproduction. This early chapter is fascinating, because as awful as Edison's primitive machines sound to us today, they fooled audiences into thinking that the music was coming from a live soprano instead of from the big horn atop a wax cylinder that was actually making the noise.
As opposed to sound reproduction, the book also provides a brief history of music synthesis, at least where it relates to sound reproduction (i.e., sampling). This part is not as thorough as it picks up the story long after such pioneers as Raymond Scott and Robert Moog did their original work creating new analog sounds, but it also relates synthesizers to the curious and overlooked fact that, at least in pop music, people have come to prefer artificial sounds to authentic reproduction. For examples, how popular would the late Les Paul or the late Pink Floyd have been if their records had only presented accurate reproductions of them performing live?
"Perfecting Sound Forever" veers off on a tangent when it devotes a chapter to a biography of folk singer Lead Belly and the men who first recorded him, but this story is so well told that we don't mind the departure from the main topic. The following chapter resumes focus on recording technology, and it's the best history of tape recording I've read, because it's the most complete. Milner is a superb researcher, and this is even more evident in his account of the development of the now-ubiquitous ProTools recording and editing software.
The main part of the book will be of scant interest to older readers as well as those who only listen to classical music and jazz, as it discusses exactly why it is that today's pop (I mistakenly typed "poop" and had to delete an o) records sound so execrable, and unless you are as devoted to contemporary rock music as Milner apparently is, you may wonder, as I did, So what? He provides numerous examples of recordings which he denounces as being artificially made too loud by the use of compression and limiting. Not being familiar with many of the tunes which he names as examples of egregiously boosted sound, I listened to the snippets available at this site, and they didn't sound all that different from other modern rock. He blames the broadcasters for wanting records which blast out of the radio, so as to hold the listener's attention, but hasn't the goal of rock music always been to be as loud and obnoxious as possible? That's what adolescents, at all times and everywhere, enjoy -- annoying the elders with noise. That's why glass-packed mufflers were invented. None of the tracks which upset Milner sound any more dysphonious (I just made that word up) than what Jello Biafra (formerly of the Dead Kennedys) described as "The wall of abrasive noise" common to the punk era, or the Kick Out the Jams live album made by the MC5 in 1968. (Which was made on a two-track portable Ampex recorder with only two microphones. I was there.) Yes, all this music lacks dynamic variation, but that's hardly the only traditional musical value that's fallen by the wayside (i.e., in the ditch) over the years. Why no complaints about the lack of clever harmonic progressions or key changes (modulation) or melody or musicianship in general?
The thing I object to most about the book, though, is that Milner (who, in a late chapter, recounts how he had difficulty distinguishing the sound of uncompressed sound files from that of various compression methods such as AAC or MP3) continually maintains, as if it were fact, the superiority of old analog recordings over the sound of modern digital recordings, which to me is comparable to the hicks who would shout "Get a horse!" at early motorists.
When I worked in a record shop, I frequently (to my dismay) encountered this opinion, and yes, analog recordings do sound "warmer" just as vacuum-tube amplification does sound "warmer." But just what, exactly, does "warmer" mean? It means you have lost the top 6,000 Hz of your your frequency response, and anything shrill and sibilant is no longer there to annoy you. You want "warmer"? Turn the treble control all the way down.
Obviously, Milner is right when he points out how digital recording can be abused by excessive compression, and obviously some hideous-sounding and defective CDs have been released, but at least for those of us who listen to serious music, the comparison is absurd. I suppose that with the exotic playback equipment described in the book (a $90,000 turntable) LPs might sound a bit better, and I suppose that IF, of course, the surface noise, the ticks and pops, could somehow be removed from the LP, and IF the rumble inherent in a stylus dragging over any surface could be removed, and IF one could restore the lost frequencies of an LP (nothing below 40 Hz, scant above 16kHz and less with each playing as the microscopic bumps in the vinyl get flattened), and IF there were no tape hiss from the masters, and IF the LP is not an RCA Dynawarp® release, and IF the LP weren't based on the standard RIAA equalization curve, then yes, LPs would sound better than CDs. But that's like saying that IF your aunt had a dick she'd be your uncle.
Furthermore, if analog is so superior to digital, where were all the complaints when the nation recently switched to digital television broadcasting. If there were any who opined that the digital picture was inferior to the old analogue picture, I missed hearing them. Yet, somehow, with sound, we have all these golden-eared experts who claim to hear some delitescent beauty in the old LPs. Only, they (especially among the classical phonies) express what they hear only in metaphoric terms such as "warmer" or "richer" or "more compelling" or in Milner's words, "more intimately connected," "made the room shimmer," "more ideal."
Still worse, and the nadir of the book, is Milner visiting some qwack holistic psycho-babble healer who claims that digitally-reproduced music interferes with the body's accupressure points, and this is driving us all Stark! Raving! Mad! The healer then does the old Amazing Kreskin power-of-suggestion routine on Milner, in which Milner's raised arms helplessly fall at the very sound of the insidious digital demon-music.
Well, all this, in addition to his preference for puerile indie rock, does not recommend Milner's judgment to the reader, and it sorta negates all his opinions, of which there are too many in the book, but still, the research is superb, and whatever his other shortcomings, the guy sure can write.
5 of 5 people found the following review helpful
- Published on Amazon.com
I've done about 20 pro studio projects, some as producer, and I have an electrical engineering degree; please let me vouch for the extremely high information value here. I don't care that Milner mistook someone as saying slapback echo doesn't require tape to roll--that only assures me he's doing bona fide legwork and learning from sources, not spinning hobbiyst-level audio knowledge into innovation history as it could be imagined.
Just about every subject opened my eyes to industry driving forces I only dimly understood at the time. He gains access to an amazing collection of just the right key players and allows them to paint the big picture he sees rather than having to impose it: the studio, radio, and mastering engineers (he interviews two I've worked with: Bob Ludwig and Tardon "Feathered" Lawrence) and product inventors *who would know* tell us themselves.
The analog-versus-digital treatment is particularly lucid. It would be a stupid omission not to let people know there are analog bigots out there, and an error in sensitivity to assert they're all simply imagining things, but Milner is no analog bigot himself. He actually gained access to an industry standard digital compression algorithm listening test facility and took the challenge, honestly reporting it can be maddeningly hard to hear anything amiss even in lossy compression. Jeez, if that's not doing his job right, I don't know what you want. And it's the result I'd testify to: I don't listen to The Beatles 1 on a good system and say, yuck, mere CD quality sound; yet, I've heard exactly what he notes Neil Young and Steve Albini report--that dropping from a 24-bit source you know well to 16-bit (CD) can hit you as a vivid, heartbreaking loss of clarity. It's a complicated and still poorly understood subject, and he breaks it down in a way I find very effective.
I'd recommend this book as must reading for most music pros down to anyone who's logged a bunch of thought about audio recording.
7 of 8 people found the following review helpful
Ivor E. Zetler
- Published on Amazon.com
I found this history of sound recording a patchy affair. It is worth pointing out the following factors that might influence the potential purchaser. Firstly Greg Milner is an obvious vinyl and analog fan; he is quite dismissive of the digital era and spends many pages trying to prove his point. Secondly, if you are a classical or jazz music enthusiast, much of the lengthy discussion centred around rock music will be of little interest. Scant attention is given to later phases of orchestral recordings; surely a decent overview of the subject would have to cover this aspect in some detail.The fact that Milner omits any mention of the great John Culshaw/Decca or Mercury teams demonstrates a somewhat blinkered view of sound recording history. There is also scant mention of recent SACD technology, dubious as that might be.
The more interesting sections to my mind were those that cover the earlier recording eras, particularly the development of magnetic tape recording and multitracking. Milner's breezy writing is reasonable rather than brilliant. A definative history of this fascinating subject still remains to be written.