I apologise in advance for this rather extreme short essay. But it occurred to me that the processes music goes through in order to be reproduced via LP records would be in the realm of sado-masochistic novel writing if they had not already been invented.
This is meant to be comedy. But it’s not far from the truth!
This is Hi-Fi
So you’ve made this lush production, full-range sound, lots of dynamic range, in stereo. Perfectly edited, vivid, convincing audio with no noise or interruptions, and little distortion.
Oh, you’re filtering off everything below 40Hz, and mixing everything below 90Hz into mono, and dropping things above 16kHz? What on earth for? Double-basses are meant to be on the right of the orchestra aren’t they?
Now you’re going to change the frequency response of the whole thing quite madly so the high frequencies sear your ears while the low end is lost in hum? That sounds dreadful, to be honest.
You want to send it into a microscopic mechanical transducer?
But you’re not going to couple that transducer to another transducer with a rigid material, but instead attach it to a pointy thing and make it scratch its shape on a spinning piece of brittle plastic? And the plastic doesn’t stay at a constant speed, but starts around 50cm/sec but later slows down to below the speed of professional tape, maybe about 20cm/sec? And you have to put a vacuum cleaner behind the pointy sharp thing that carves so the bits it scratches away are sucked up? And the plastic doesn’t stay where it was put? And there’s dust in the room? And the plastic is affected by temperature?
Now you’re going to move that plastic into a chemical vat that looks more like a sheep-dip container than a concert hall, and you’re growing a layer of metal on it? Did I see you physically break the metal off the plastic? And you’re growing another layer on that, breaking it off like you burst open a bubble-pack; and you’re growing yet another layer on that? And after all that mess and bending and breakage, you’re squirting consumer-grade thermoplastic onto that and crushing it with the weight of a bus in the hope it might take up the same shape?
That thermoplastic isn’t really very hard, is it? But you say you want to take it through the open air into an average domestic room full of dust, and risk handling it outside any protective wrapping, with bare hands? What’s that platter you’re putting it on? Are you sure it’s clean?
Do you think it reasonable to force this malleable, soft, damageable, melt-prone plastic past a piece of incredibly-hard diamond kept in place by bits of rubber led by gravity and inertia, together with corrections that are almost impossibly small to determine? How on earth is this not going to damage the delicate plastic? The diamond isn’t even the same shape as the pointy thing that cut the hard plastic in the first place. And it isn’t meeting the slash in the plastic at quite the same angle the pointy thing made the cut in the harder plastic? And you balance the little diamond so carefully that it nearly but doesn’t leap out of the slash in the plastic, but it’s still deforming the plastic through friction because it’s so hard, and you’re slamming it into walls of soft plastic up to 20,000 times each second? What if you accidentally knock the little diamond?
Now you’re going to attach the diamond to another transducer the price of a house, and yet so delicate that the capacitance of the connecting cable affects the signal badly? And you’re going to roll off the top, boost the bottom so it rumbles, and amplify THAT so loudly that you can hear it but not so loudly that it, too, rattles the little diamond?
And THAT’s Hi-Fi?