I think movies lost a lot when they went to stereo and five-track sound.
I was living in Gainesville, Florida, and our babysitter brought over the soundtrack to The Who's "Tommy" - not the actual record "Tommy", but the soundtrack to the movie with Elton John and Aretha Franklin. I remember hearing it for the first time and it was so confusing. It was like waves and waves of unknowable and indescribable sound coming out of the stereo.
I wasn't one to go out and buy a new car and stereo system and expensive clothes. My mom helped keep me grounded.
We don't have a lot of neighbors so we can blast the stereo
My first car, I got it in an auction at my temple. It was an '86 Volvo that I got for 500 bucks, and then wound up throwing $10,000 into the stereo system and put TVs in the foot rests. It was the most ridiculous Volvo you'd ever seen, but I had never had money before and I was out of my mind.
They solved the problem of coexistence through the use of individual stereo headphones.
Why all these years have I been agreeably turning down the stereo every time the phone rings?
This was a very typical time. I was single. All you needed was a cup of tea, a light, and your stereo, you know, and that's what I had.
I'm a stereo & she's just so monotone
The operas I listen to aren't in English, and I want to listen to my opera after I'm done with it. I want to have the desire to play it on the stereo. To me, the language is part of the mystery.
I think Oppenheimer Analysis had the most accessible material for commercial success. Martin Dupont, Deux, Linear Movement, Moderne and Stereo held a lot of potential as well.
Film has lost something in the translation to high tech. It's become so super-real. It's with digital this and stereo that, and everything's like a CD.
For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.
