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What will music be like in 2050?

La Grou believes that highly advanced gestural control and brain/machine interfaces will transform the way music is recorded and played back. That might preclude using a microphone to record the sound of an instrument or vocals; music in 2050 will be virtual and mostly electronic.

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Last weekend in NYC John La Grou was a keynote speaker at the Audio Engineering Society convention. He based some of his assumptions about how recorded music will evolve on Moore's Law, which states that the number of transistors squeezed onto integrated circuits doubles approximately every two years. That prediction was made in 1965, and if anything, Moore underestimated the cost savings we've enjoyed. La Grou rolled out statistic after statistic that painted a rosy future for music, gaming, and film tech advances in the coming decades.

Steve Guttenberg/CNET

La Grou believes that highly advanced gestural control and brain/machine interfaces will transform the way music is recorded and played back. That might preclude using a microphone to record the sound of an instrument or vocals; music in 2050 will be virtual and mostly electronic. La Grou thinks that music will be mixed to create full 3D immersion over headphones long before 2050. Microphone and headphone designers and audio software engineers will develop 360-degree sound systems. Speakers play a much smaller role in sound reproduction in La Grou's future gazing. He described headphone sound as "spherical audio," where the listener is inside a sound bubble; spatial resolution within the headphone bubble will match reality, not just for music. He thinks games and films will drive the tech. By 2050 massive gains in processing power and virtual production techniques will provide unparalleled creative opportunities. I'm not sure how musicians, and their mastery of acoustic instruments fit in La Grou's virtual sonic frontier, but it would be a great loss to replace them with purely electronic music. I hope we can have both acoustic and electronic music coexisting in 2050's recorded music. In an e-mail exchange after his AES presentation, La Grou said, "I see no technical reason why head-worn audio can't eventually (2040+) convincingly emulate any acoustic space and any room monitor technique with lifelike precision, short of sonic materials intended to impact the entire body (subs, etc.). There are some psychological/psychoacoustic issues related to this kind of future, along with issues on the microphone side, but that's for another conversation." La Grou's predictions strike me as a little too idealistic; it assumes a future where listeners listen, and no longer text, talk, read, work, exercise, drive, and so on as they listen. Back here in 2013 music is mostly consumed as background soundtrack to other activities, and I can't imagine that will change all that much over the next 37 years. Full immersion might be too complete, and make it impossible to multitask. How do you see the future of recorded music, how will it be different than what we have now? Share your thoughts in the comments section.

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Influenced by punk rock, by the hardcore-punk inheritors of its do-it-yourself ethic such as Hüsker Dü, and by the sound of 1970s heavy metal bands such as Black Sabbath, Led Zeppelin, and AC/DC, grunge came to fruition on Seattle's independent Sub Pop record label as Mudhoney, Nirvana, Screaming Trees, and Soundgarden ...

grunge, genre of rock music that flourished in the late 1980s and early ’90s and, secondarily, its attendant fashion. The term grunge was first used to describe the murky-guitar bands (most notably Nirvana and Pearl Jam) that emerged from Seattle in the late 1980s as a bridge between mainstream 1980s heavy metal–hard rock and postpunk alternative rock. Influenced by punk rock, by the hardcore-punk inheritors of its do-it-yourself ethic such as Hüsker Dü, and by the sound of 1970s heavy metal bands such as Black Sabbath, Led Zeppelin, and AC/DC, grunge came to fruition on Seattle’s independent Sub Pop record label as Mudhoney, Nirvana, Screaming Trees, and Soundgarden followed in the footsteps of the pioneering Northwestern band the Melvins. Combining guitar distortion, anguished vocals, and heartfelt, angst-ridden lyrics, Nirvana and Pearl Jam won a rapidly increasing audience, moved to major labels, and released multimillion-selling albums. In the wake of their success, Seattle—already experiencing an economic boom as a result of the Microsoft Corporation’s expansive growth—became a magnet for record executives looking for the next big thing. As the media spread the word, grunge became an international fad, and American department stores soon had sections of grunge clothing—knockoffs of the flannel shirts, thermal underwear, combat boots, and stocking hats favoured by Seattle bands and their fans. Eventually, grunge faded—partly because of the death in 1994 of Nirvana’s Kurt Cobain, who had become a generational spokesman, but also because of the disappointing record sales by many of the bands from Seattle who never did become the next big thing. Nevertheless, grunge played an enormous role in moving alternative rock into the pop mainstream.

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