Off the Record: The Technology and Culture of Sound Recording in America
When, in 1877, Thomas Edison and his associates invented the phonograph, he thought that it would be used primarily as a device for making home recordings, not as a tool for listening to recordings produced by others--a development, John Philip Sousa complained in 1906, certain to spell the end of "talent and taste."In the more than a century that has passed, new technologies have come to make it ever easier for both the mass and individual production of recorded sound. David Morton traces the development of these audio-recording technologies, from wire spools to eight-track and DAT tapes, paying special attention to those that are available to the individual consumer. He notes that many of these technologies evolved to improve the quality of "highbrow" music despite the fact that most listeners used the resulting flood of audiophile goods to listen to anything but classical. He also follows the fortunes of voice-based recording devices such as the Dictaphone, which met with curious resistance (middle managers felt that the use of the machine was beneath them, while stenographers saw it as a threat to their specialization). Morton's sweeping survey ends just shy of the new era of MP3 and home-CD recording technologies, but fans of the new formats will doubtless be interested to see parallels with standards introduced in earlier years.--Gregory McNamee