Stop Listening to Music on a Single Speaker

When I was in my early 20s, commuting to work over the freeways of Los Angeles, I listened to Brian Wilson’s 2004 album, Smile, several hundred times. I like the Beach Boys just fine, but I’m not a superfan, and the decades-long backstory of Smile never really hooked me. But the album itself was sonic mesmerism: each hyper-produced number slicking into the next, with Wilson’s baroque, sometimes cartoonish tinkering laid over a thousand stars of sunshine. If I tried to listen again and my weathered Mazda mutely regurgitated the disc, as it often did, I could still hear the whole thing in my head.

Around this time, a friend invited me to see Wilson perform at the Hollywood Bowl, which is a 17,000-seat outdoor amphitheater tucked into the hills between L.A. and the San Fernando Valley. Elsewhere, this could only be a scene of sensory overload, but its eye-of-the-storm geography made the Bowl a kind of redoubt, cool and dark and almost hushed under the purple sky. My friend and I opened our wine bottle, and Wilson and his band took the stage.

From the first note of the a capella opening, they … well, they wobbled. The instruments, Wilson’s voice, all of it stretched and wavered through each beat of the album (which constituted their set list) as if they were playing not in a bandshell but far down a desert highway on a hot day, right against the horizon. Wilson’s voice, in particular, verged on frail—so far from the immaculate silk of the recording as to seem like a reinvention. Polished and rhythmic, the album had been all machine. But the performance was human—humans, by the thousand, making and hearing the music—and for me it was like watching consciousness flicker on for the first time in the head of a beloved robot.

Music is different now. Finicky CD players are a rarity, for one thing. We hold the divine power instead to summon any song we can think of almost anywhere. In some respects, our investment in how we listen has kept pace: People wear $500 headphones on the subway; they fork out the GDP of East Timor to see Taylor Swift across an arena. But the engine of this musical era is access. Forever, music was tethered to the human scale, performers and audience in a space small enough to carry an organic or mechanical sound. People alive today knew people who might have heard the first transmitted concert, a fragile experiment over telephone lines at the Paris Opera in 1881. Now a library of music too big for a person to hear in seven lifetimes has surfed the smartphone to most corners of the Earth.

In another important way, though, how we listen has shrunk. Not in every instance, but often enough to be worthy of attention. The culprit is the single speaker—as opposed to a pair of them, like your ears—and once you start looking for it, you might see it everywhere, an invasive species of flower fringing the highway. Every recorded sound we encounter is made up of layers of artifice, of distance from the originating disturbance of air. So this isn’t an argument about some standard of acoustic integrity; rather, it’s about the space we make with music, and what (and who) will fit inside.

From the early years of recorded music, the people selling it have relied on a dubious language of fidelity—challenging the listener to tell a recording apart from the so-called real thing. This is silly, even before you hear some of those tinny old records. We do listen to sound waves, of course, but we also absorb them with the rest of our body, and beyond the sound of the concert are all the physical details of its production—staging, lighting, amplification, decor. We hear some of that happening, too, and we see it, just as we see and sense the rising and falling of the people in the seats around us, as we feel the air whipping off their applauding hands or settling into the subtly different stillnesses of enrapturement or boredom. People will keep trying to reproduce all of that artificially, no doubt, because the asymptote of fidelity is a moneymaker. But each time you get one new piece of the experience right, you’ve climbed just high enough to crave the next rung on the ladder. Go back down, instead, to the floor of the most mundane auditorium, and you’ll feel before you can name all the varieties of sensation that make it real.

For a long time, the fidelity sell was a success. When American men got home from World War II, as the cultural historian Tony Grajeda has noted, they presented a new consumer class. Marketing phrases such as “concert-hall realism” got them buying audio equipment. And the advent of stereo sound, with separated left and right channels—which became practical for home use in the late ’50s—was an economic engine for makers of both recordings and equipment. All of that needed to be replaced in order to enjoy the new technology. The New York Times dedicated whole sections to the stereo transition: “Record dealers, including a considerable number who do not think that stereo is as yet an improvement over monophonic disks, are hopeful that, with sufficient advertising and other forms of publicity, the consumer will be converted,” a 1958 article observed.

Acoustic musicians were integral to the development of recorded sound, and these pioneers understood that the mixing panel was now as important as any instrument. When Bell Laboratories demonstrated its new stereophonic technology in a spectacle at Carnegie Hall, in 1940, the conductor Leopold Stokowski ran the audio levels himself, essentially remixing live the sounds he’d recorded with his Philadelphia Orchestra. Stokowski had worked, for years, with his pal Walt Disney to create a prototype of surround sound for Fantasia. The result was a system too elaborate to replicate widely, which had to be abandoned (and its parts donated to the war effort) before the movie went to national distribution.

Innovators like Stokowski recognized a different emerging power in multichannel sound, more persuasive and maybe more self-justifying than the mere simulation of a live experience: to make, and then remake in living rooms and dens across the country, an aural stage without a physical correlate—an acoustic space custom-built in the recording studio, with a soundtrack pieced together from each isolated instrument and voice. The musical space had always been monolithic, with players and listeners sharing it for the fleeting moment of performance. The recording process divided that space into three: one for recording the original sound, one for listening, and an abstract, theoretical “sound stage” created by the mixing process in between. That notional space could have a size and shape of its own, its own warmth and coolness and reverberance, and it could reposition each element of the performance in three dimensions, at the inclination of the engineer—who might also be the performer.

Glenn Gould won permanent fame with his recordings of Bach’s keyboard works in the 1950s. Although he was as formidable and flawless a live performer as you’ll get, his first recording innovation—and that it was, at the time—was to splice together many different takes of his performances to yield an exaggerated, daring perfection in each phrase of every piece, as if LeBron James only ever showed up on TV in highlight reels. (“Listen, we’ve got lots of endings,” Gould tells his producer in one recording session, a scene recalled in Paul Elie’s terrific Reinventing Bach.) By the ’70s, the editors of the anthology Living Stereo note, Gould had hacked the conventional use of multi-mic recording, “but instead of using it to render the conventional image of the concert hall ‘stage,’ he used the various microphone positions to create the effect of a highly mobile acoustic space—what he sometimes referred to as an ‘acoustic orchestration’ or ‘choreography.’” It was akin to shooting a studio film with a handheld camera, reworking the whole relationship of perceiver to perceived.

Pop music was surprisingly slow to match the classicalists’ creativity; many of the commercial successes of the ’60s were mastered in mono, which became an object of nostalgic fascination after the record companies later reengineered them—in “simulated stereo”—to goose sales. (Had it been released by the Beach Boys back then, Smile would have been a single-channel record, and, in fact, Brian Wilson himself is deaf in one ear.) It wasn’t really until the late ’60s, when Pink Floyd championed experiments in quadraphonic sound—four speakers—that pop music became a more reliable scene of fresh approaches in both recording and production.

Nowadays, even the most rudimentary pop song is a product of engineering you couldn’t begin to grasp without a few master’s degrees. But the technologization of music producing, distribution, and consumption is full of paradoxes. For the first 100 years, from that Paris Opera telephone experiment to the release of the compact disc in the early 1980s, recording was an uneven but inexorable march toward higher quality—as both a selling point and an artistic aim. Then came file sharing, in the late ’90s, and the iPod and its descendant, the iPhone, all of which compromised the quality of the music in favor of smaller files that could flourish on a low-bandwidth internet—convenience and scale at the expense of quality. Bluetooth, another powerful warrior in the forces of convenience, made similar trade-offs in order to spare us a cord. Alexa and Siri gave us new reasons to put a multifunctional speaker in our kitchens and bathrooms and garages. And the ubiquity of streaming services brought the whole chain together, one suboptimal link after another, landing us in a pre-Stokowski era of audio quality grafted onto a barely fathomable utopia of access: all music, everywhere, in mediocre form.

People still listen to music in their car or on headphones, of course, and many others have multichannel audio setups of one kind or another. Solitary speakers tend to be additive, showing up in places you wouldn’t think to rig for the best sound: in the dining room, on the deck, at the beach. They’re digital successors to the boombox and the radio, more about the presence of sound than its shape.

Yet what many of these places have in common is that they’re where people actually congregate. The landmark concerts and the music we listen to by ourselves keep getting richer, their real and figurative stages more complex. (I don't think I've ever felt a greater sense of space than at Beyoncé’s show in the Superdome two Septembers ago.) But our everyday communal experience of music has suffered. A speaker designed to get you to order more toilet paper, piping out its lonely strain from the corner of your kitchen—it’s the first time since the arrival of hi-fi almost a century ago that we’ve so widely acceded to making the music in our lives smaller.

For Christmas, I ordered a pair of $60 Bluetooth speakers. (This kind of thing has been a running joke with my boyfriend since a more ambitious Sonos setup showed up in his empty new house a few days after closing, the only thing I needed to make the place livable. “I got you some more speakers, babe!”) We followed the instructions to pair them in stereo, then took them out to the fire pit where we’d been scraping by with a single unit. I hung them from opposite trees, opened up Spotify, and let the algorithmic playlist roll. In the flickering darkness, you could hear the silence of the stage open up, like the moments when the conductor mounts the podium in Fantasia. As the music began, it seemed to come not from a single point on the ground, like we were used to, but from somewhere out in the woods or up in the sky—or maybe from a time before all this, when the musician would have been one of us, seated in the glow and wrapping us in another layer of warmth. This wasn’t high-fidelity sound. There wasn’t a stereo “sweet spot,” and the bass left something to be desired. But the sound made a space, and we were in it together.