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Figure 21 Timeline of audio technology
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Up to this point, sound recording had been monophonic, meaning it was recorded as a single-point source The first patent on stereo sound was issued in 1931, but commercial stereophonic tape systems were not developed until 1956, with stereo phonographs following in 1958 These systems added a spatial component to the sound by storing a second channel, giving the reproduction a much greater sense of realism Stereo technology debuted to an apathetic reception; many people felt that the slight improvement was not worth the added complexity, and some claimed that stereo recording would never be practical for mainstream applications This was soon proven shortsighted as engineers became accustomed to the new technology and artists began to take advantage of it The natural step beyond stereo was four-channel audio Quadraphonic systems appeared in early 1970, but technical problems were compounded by three incompatible standards that confused and divided the marketplace and doomed the entire movement to quick extinction Audiocassettes using 1/8-inch tape were introduced by Philips in 1963, originally as a business dictation device that subsequently became popular for music Prerecorded tapes were released in 1966 and steadily encroached on the sales of LPs Eight-track (and less-successful four-track) audiotapes emerged in 1965 to enjoy a brief spurt of success mainly in automobile sound systems Dolby noise reduction appeared in 1969 and did much to reduce the problem of tape hiss The theories and techniques behind noise reduction were refined steadily and today are the basis of the Dolby Digital surround-sound system used by DVD Sony attempted to launch Elcaset, a high-fidelity 1/4-inch audio cassette, in 1977, but quality was not improved sufficiently to displace the established cassette format, which became firmly entrenched after the introduction of the Sony Walkman in 1979 By 1982, music sales on cassette surpassed vinyl An attempt was again made to create a four-channel system; this time for cassette tapes However, no one was able to agree on a standard, and the benefits did not seem to outweigh the technical complexity of extending the existing cassette format Philips again led the development of consumer electronics technology when it partnered with Sony to introduce Compact Disc Digital Audio (CD) in 1982 Digital audio recording is based on sampling, that is, converting electrical signal levels measured over 44,000 times per second into discrete numbers represented by binary digits of zero and one that are stored as pulses This pulse-code modulation (PCM) technology was invented in 1937 and was applied to communications theory by C E Shannon in 1949 The
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first digital PCM audiotape recorder was developed 1967 at the NHK Technical Research Institute in Japan PCM is used by most digital audio systems, including CD, digital audiotape (DAT), laserdisc, and DVD Denon Records created the first digitally mastered audio recording for commercial release in 1974 The advantages of recording and storing sound digitally include exceptional frequency response (the rendition of frequencies covering the entire range of human hearing from 20 to 20,000 Hz), excellent dynamic range (the reproduction of very soft to very loud sounds with little or no extraneous noise), and no generational loss from copying The improvement in quality over LP records (arguments of audio purists notwithstanding) plus other advantages, such as longer playing time, smaller size, near-instant track access, no wear from being played, and better resistance to dust and scratches, led CD sales to pass LP sales around 19881 Of course, a major drawback to audio CD is that it does not record All attempts to produce a recordable successor to CD have failed to become significant consumer successes DAT, Philips s digital compact cassette tape (DCC), Sony s MiniDisc, and other technologies have languished or died for many reasons, including high cost, incompatibility with existing standards, limited manufacturer support, and politics which come to the fore when the ability to make perfect digital copies increases the importance of copyright protection Sony and Philips continued their work on the CD format, mostly for computer and multimedia applications That part of the story is covered later in this chapter Many other companies are busy developing or promoting new audio storage techniques, each in the hope that its technology will become the successor to tape or CD These include magnetic cards, solid-state electronic cards, superdense miniature discs, rewritable CDs (CD-RW), and DVDaudio In addition, there is the MP3 audio format, which focuses less on quality and more on availability Although DVD does little to advance the art of digital audio other than providing slightly higher quality and multichannel surround sound, many people have high hopes for the recordable
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It may seem reasonable that a similar comparison can be made to support the prediction that DVD will replace VHS videotape However, the analogy must be tempered because VHS does not share the many deficiences of LP records, such as breakable disks, fragile tone arms, no protection from abuse, crackles and pops from dust and scratches, a tendency to skip or repeat, and very high cost for high-fidelity sound
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