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July 25, 2012


Andrew Waterloo

Is the music experience truly limited to what we can hear? Or do the inaudible elements also contribute to the experience of listening to music? I really question the philosophy behind limiting audio recordings to the dynamic range of our ears when there is additional experience to be had in all the inaudible vibrations and artifacts that different grades and sizes of audio equipment can produce.


Jonathan Sterne is awesome... His "Audible Past" book is a great read, not only for the gory details of early recording history such as the ear phonautograph which actually involved a dead man's ear!

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hello, iam new here and thank u for your sharing!


Is there an ebook version? :-) Sorry, i couldn't resist asking. Regarding your iterated mp3 adaptation of Alvin Lucier, "I Am Sitting In a Room, Compressing", have you heard Francisco Lopez's _Paris Hiss_ cassette? It's iterations of normal bias tape hiss.


Jonathan Sterne is an incredible thinker, and I've been waiting to read this since I heard him present an overview in 2010... Very excited to have these ideas out in public!

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Myrtie Southerland

I wanted to know where this model of human hearing came from.

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can do strings in the kitchen or in the big room. Sometimes in the bathroom I've got an acoustic guitar. You actually get different sounds than you probably would in a studio." As odd as it seems, he still managed to coax friends to drop by and play on the record. "Zoom" features more former Beatles -- Harrison adds slide guitar to the tracks "All She Wanted" and "A Long Time Gone," while Ringo Starr drums on

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