I’m in the process of working up a short essay on the topic of “treble culture” for a volume on “mobile music.” I’m hoping that some of my awesome readers/interlocutors might lend me a hand (and/or ear). There are two main areas in which I am interested:
1) the rise of “treble culture” and the crucial relation to music technologies (incl mobile devices)
2) the effects of “treble culture,” esp as, ironically, a means of filtering “bass culture”
With regard to the first point, I’m hoping to offer a historical overview of the attenuation of bass frequencies in consumer/commercial music culture with the successive advent of particular player/media technologies. In particular, I intend to trace, alongside an increase in audiophilia and high fidelity, a steady march toward consumer-end devices that have different priorities and have, in effect, progressively moved us toward a rather trebly everyday engagement with music. There are plenty of technologies which have contributed to this “rolling off” of bass frequencies. Here’s a partial list; if you can think of other notable factors/tech (esp particular devices and their quirks), please make a note in the comments:
* vinyl records, esp 78s, 45s, and 33 rpm LPs (the 12″ single, with its deeper grooves, offers an exception)
* early AAD CD transfers, which often didn’t account for the bass boost in record-player pre-amps
* lo-fi speakers, portable radios, boomboxes, headphones, cellphones, etc. (recognizing a wide degree of difference across brands & platforms)
* audio compression (in the studio, but also for radio, in clubs, etc.)
* MP3 (and other file format) compression
With regard to the second, I’d like to explore the cultural/phenomenological significance of this trend — what is gained & what is lost, besides certain frequencies — using some ethnography and interview data. In this sense, I’m interested both in listeners’ perspectives and experiences (how frequently do you encounter, or practice, treble culture?), as well as producers’ (from savvy 80s hip-hop heads pushing stuff “into the red” to compensate for attenuated bass to the more recent mid-freq emulation of bass in bassline, niche/electro/blog house, etc.). Please feel free to share any and all thoughts on this. It seems to me that “treble culture” is increasingly broadcast across our city soundscapes. Tell me about the kids on the bus, walking down the street, outside the club, huddled around computer speakers. I’d love to offer more cross-cultural/geographical context than my own curious ears and eyes have witnessed.
Getting us toward phenomenological effects, consider some of the following perspectives (all, admittedly/interestingly, “British”):
Don Letts: “It’s disturbing when I see kids on buses, listening to music on their phones, and it’s just going: tsk, tsk, tsk, tsk, with no bass. Bass culture is Jamaica’s gift to the world and technology is, kind of, ruining that. Bass is sexy. Women respond to bass.”
Kode9: “there’s a particular kind of bass sound which really fucks me off. … a kind of lowest common denominator way of getting people to move. … a complex of frequencies which works on even the shittest soundsystems. And you can’t underestimate the impact having to play on shit sound systems has on a music culture…”
K-Punk: “Both dubstep and minimal techno only achieve their full potency when played on a club soundsystem. The subtle pressure of sub-bass, the way it moves the very air itself, the hypnotic pulse of the drums, not to mention the role of the dancing crowd iself: none of this can be replicated at home, still less on iPod headphones.”
Finally, here is my (lengthy) abstract, in case it provides further food for thought:
Since the advent of the handheld radio, listeners have long adopted portable music technologies and adapted to the (often tinny) range of frequencies supported by such devices. For their part, producers have tailored their mixes in order to exploit the popularity of such technologies. From one perspective, then, the rise of personal mobile devices — especially mp3 players and cellphones — represents yet another stage in a historical continuum which includes the boombox and the walkman. There are, however, significant differences presented by the latest wave of mobile music products and practices, especially with regard to their ubiquity, their social uses, and their narrow frequency ranges. Whereas previous portable music devices certainly enjoyed some popularity, even that degree of usage stands in stark contrast to the present: today most people — in the overdeveloped world, that is — have a cellphone, an iPod, a laptop on their person, much of the time. (And cellphone usage is rising drastically in the “developing” world.) These digital devices have become, for many, the primary interfaces with sound recordings, especially in the form of mp3s, compressed music files that allow for easy circulation and storage by adding a further layer of frequency range constraint (albeit mostly out of the range of human hearing). While some bemoan the social isolation symbolized by Apple’s white earbuds, remarkably, especially among young people, these personal portable technologies also enable the sharing of music in public. It is not uncommon in major cities such as New York or London to observe a crowd of teenagers clustered around a tinny piece of plastic broadcasting a trebly slice of the latest pop hit.
Despite ongoing endeavors in audiophilia, some of the most commonly used devices for listening today — cellphones, mp3 players, laptops — were not designed with high fidelity as a priority. Rather, as size constraints and style have dominated design, certain sonic dimensions have been conspicuously left out, namely bass. So ironically, even as what Linton Kwesi-Johnson calls “bass culture” remains strong as ever through the global reach of hip-hop, reggae, and other electronically-produced dance music, we simultaneously witness a filtering of such low-end-centric genres through what we might rightly call “treble culture,” as mediated by mobile music devices and their physical limitations. The attenuation of bass is a product not just of the size of these devices but — as highlighted by the issue of bandwidth (both internet/wifi and telephonic systems) — results also from the transformation of sound into digital representations capable of being easily transmitted and stored (i.e., “lossy” encoding).
But beyond tech specs, the rise of “treble culture” calls attention to a number of crucial intersections between music, technology, society, and culture. In offering a history of treble culture, this essay will place today’s digital mobile music players alongside twentieth-century precedents, considering their relative frequency range constraints as well as their relative popularity, but it will also attend to the new practices emerging with such devices: the class issues surrounding cellphone vs. iPod use, the racially-tinged discourses around public projection of mobile sound (or “noise”), the socialization of such technologies via communal listening practices, and the representational strategies on the part of producers and engineers to compose music that “works” through such devices. Just as Phil Spector’s “Wall of Sound” was meant to evoke grandiosity through even the most “consumer-end” radio, the recent embrace of mid-range synth lines and square waveforms suggests a kind of zeitgeist aesthetic feedback loop, a way of suggesting bass amidst all the treble. As an utterly mundane — indeed, naturalized — and yet largely unexamined phenomenon, the advent of treble culture merits a serious and critical appraisal.
Hit me on Twitter, in the comments, etc. Tell me all about those trebly slices of life you’ve been a part of and/or a witness to. I’d love to collect some anecdotes, find some angles I hadn’t considered, flesh out my brief history, and so on.