In an iTunes Age, the Case for Vinyl


ELP Corporation

Any music aficionado worth his salt will always claim vinyl as the best format for music. Records are the Cadillac of musical mediums. Digital hi-fi snobs exist, but they are few and far between. Those audiophiles who obsessively fawn over obscure additions to their stereos - like tube amps, gold cables and wooden knobs—recognize the flattening of the waveform, the lack of gate-fold art, and other aesthetic flaws of the digital form.

That might be well and good for hi-fidelity obsessives, but there's a better reason for the non-fanatical to return to an antiquated medium like vinyl. Listening to music on a computer or iPod via headphones has become the ultimate in anti-social activities. It is the soundtrack for work. With headphones and mp3s, music becomes a discretely personal affair. Although a personal attachment to music is a good thing, it eliminates the social components of music. The shared experience of listening with others is not unlike the cultural rituals of communal eating. Music may not have the primal necessity of food, but it is something people commonly ingest together. To listen alone might be akin to eating a cheeseburger in a corner: nourishing but isolated.

Before recording technologies became available, music was a primarily social affair. Live performance was the only avenue to experience music, whether it be at the opera, dancehall, or church. Since the inception of recordings, and then headphones, and then personal listening devices, that musical experience has become mainly a conduit between one person and their audio components.

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Headphones have been around for the better part of a century, invented in the early 1920s by a Utahan named Nathaniel Baldwin who subsequently spent the money he made from the invention on a dead-end gold mine and a vacation spot he dubbed "Polygamy Alley". Baldwin's headphones were clunky, slightly dangerous, and mainly used for radio transmissions. It wasn't until the 1950s that John Koss invented the stereo headphone that we know today.

Still, it wasn't until the Sony Walkman, invented by Akio Morita, came along that headphones became a common accessory. That combination of portability and independence provided was a huge success. Parents no longer needed to be annoyed by the music tastes of their children. Children no longer needed to interact with their parents. Everybody could be satisfied with their own preferences. They were the logical accoutrement of the '80s.

Even from its inception, the Walkman was criticized for its anti-social, atomizing effects. It was also feared as a harbinger of unfettered capitalism and ignorance, although many other products could fall under the latter categories too. A Tokyo professor by the name of Shuhei Hosokawa countered that the Walkman actually empowered people in urban spaces who had been alienated from "harmonious contact with nature". Listening to music this way might create a secret audio theater which could transform a person's perceived landscape into something they controlled.

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Llewellyn Hinkes-Jones is a Washington, D.C.-based writer whose work has also appeared in the Toronto Star, Morning News, Washington City Paper, and the Awl.

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