• Medium sez: Guitar heroes who lit the fuse include Hendrix, Hampton, and Verlaine.
• It’s been 3 years since the Alan Lomax Archive went online. 17,400 recordings by the world-famous traditional folk music recording pioneer are available for your listening at the click of a button (streaming and/or download), sorted by Song, Artist, Genre, Location and Culture.
• The Atlantic considers why an electric guitar sounds like an electric guitar.
After discussing happy amplifier accidents, and a myriad of stompboxes, they never get to the answer. Maybe the article should be called “Why my Strat doesn’t sound like your strat”.
• An article about the Power of music therapy includes a list of several recent films. (Written by a professor of music therapy at Berklee.)
• Production tactics for Mozart’s boldest opera has-uhm-entered a new phaser. Fascinating. [SLYT]
• BMI forces small restaurant to replace live music with a jukebox.
• Over at NewMusicBox, you might want to check out article Biting Breaks: Sampling and ownership, the first of a promised series on modern EM production. [via MeFi] It’s by blogger Ethan Hein, who calls himself “an outspoken anti-fan of avant-garde modernism” (I heard that) and points out the many genres represented at NMB.
Hein writes well: try this lengthy piece on Visualizing Music.
• Dolby’s Atmos adds 3D surround-sound to virtual reality – even without speakers.
• Why audiophiles are paying $1000 for Tom Port’s “hot stamper” vinyl LPs. In case you don’t have an $8,000 Odyssey RCM MKV (German record-cleaning machine).
• Stanford prof Jonathan Berger discusses How music hijacks our sense of time, using Schubert’s unforgettable String Quintet in C major as a prime example.
One of his footnotes recalls that “The capacity of the first audio CDs (about 73 minutes) was, by all accounts, set by Sony President Norio Ohga’s desire to hold the entirety of Beethoven’s 9th Symphony on a single disc.”
It’s seldom recalled these days that one side of a 78rpm recording typically lasts only 3 or 4 minutes, one side of an LP about 20 minutes.
Long works of music meant that the listener had to manually flip the record over (or wait for the changer to drop the next disk) several times. It’s a pretty rude experience to drop into the middle of a tender passage. Before CDs, listening to a long recorded performance uninterrupted was a luxury reserved for reel-to-reel tape users and concertgoers.