It seems to me that the writer of the article just doesn't like pop music, and doesn't understand the business of pop music. Pop music, and especially pop music on the radio, has its own rules. It's no use getting upset about them. There's a lot of skill in engineering recordings that work on the radio. And Autotune is great. It's like getting upset that a movie director uses special effects. Good music always transcends the technology. Do you care that Gravity wasn't actually filmed in space?

If you want your music to sound like it was recorded in the sixties you can do so either by getting the vintage equipment or using vintage-style plug ins. But if the Beatles were around today they would be using all of the latest techniques, just like they were at the forefront of recording technology back then.

Meanwhile, my ten-year-old daughter just bought a record player and Taylor Swift on vinyl.

"Every part of the signal chain—from earbuds to digital/audio converters—is improving and getting cheaper." Like other technologies, digital audio had rapid improvements in the first 10 years but has mostly leveled off as we have reached the limits of physics, signals and sampling. Good audio equipment is still expensive and power hungry in every part of the chain.

Technology won't save what are fundamentally psychological issues. We respond emotionally to louder signals. We like songs that sound similar but not identical to things we've heard before. We listen to things that our friends like. All of this points to why top 40 songs sound the same, but "all records" is pretty broad. There has never been a better time to create something new in music, and yet we lean heavily on what has worked before -- in songwriting, in arrangement, in production -- so that others will like and identify with the creative output.

The question is whether people will ever get smarter and start being picky. We've seen a bit of this in food. The whole/natural/craft/whatever foods movement contains a fair amount of superstitious nonsense, but at its core it's ultimately about consumers being a lot pickier about what they eat. I think the overall effect is good -- people eating healthier food and deliberately turning down addictive nutritionally devoid junk. Maybe we'll eventually get an equivalent movement in music.

6 recent hit country songs combined into one. They blend into each other perfectly.

I doubt it. I think we'll be lucky if Apple has increased the maximum configuration to 256GB in a few years. The other issue is that people have moved to streaming and the connections aren't good enough to stream high-quality audio. I signed up for Tidal (lossless Spotify) and even on a decent internet connection it had to buffer and the experience wasn't good enough for me to stick around.

I use Logic, Sonar, Reason and FL Studio quite extensively depending on the project and really have very little problem sounding like it was recorded in the 1960s or 70s. Technology is good enough that all but the most trained ear won't notice whether you used a real Fairchild compressor or the UAD dsp version.(or substitute your favorite vintage compressor/effect/synthesizer/amp vs software) However most people don't want the whole record to sound that way. It's great for setting a mood, but the average pop listener wants loud repetitive and catchy hooks. Experimenting is for the established "wealthy" and "bored" artists that need to find long term relevance.

In general the labels don't subsidize the breadth of records that they used to. One of the best ways to make the point that the industry is the problem is to thumb through my dads collection of vinyl. Some notable records he owns that would never be produced today are "Big Sounds of the drags" http://m.youtube.com/watch?v=pEdfuX1ni9E The Zodiac:cosmic sounds http://en.m.wikipedia.org/wiki/The_Zodiac:_Cosmic_Sounds I have a ton of old vinyl from people who are not attractive enough to make a record today. Like it or not the recording industry is about image, marketing and recipes more than music. I don't think this is a revelation to anyone and it may not even be wrong. I think what many musicians get wrong is that they think they can try to latch on to the old business model and "make it"- becoming rich in a few years. These days that is .01% of artists. However if you think of a record as marketing and look for other ways to monetize your band and its brand you can get by in the middle class. Even in the hey day it wasn't a golden ticket for most artists. Really there has always been a problem with the record industry in some form or fashion, but since power is shifting towards artists and home studios labels are much more risk averse. No matter how good you are, it's a risky profession.

It was written by them after they made their first number 1 hit single, back in 1988. They went ahead and had a few number ones since. That was over 25 years ago. It's a good overview of the chart music industry and much of the book is still relevant even now, and they were even able to predict that a lot of the studio work should be possible to do in the bedroom in the future.

I believe Museum of Techno has done some work on this problem.

http://archive.museumoftechno.org/exhibition_detail.php?id=5

Now I like, say

http://grooveshark.com/#!/s/Cello+Suite+No+1+Bach/3seBIM?src...

Musicians sound a lot like developers

I would argue that any 'true artist' - aka one that is consumed with the perfection of their art - is not going to be swayed to produce a 'hit' no matter what the studio wants (they simply won't sign with a big label to begin with, I know plenty of musicians that feel this way and are happy on an indie label).

The lead up is a little long, but when the music finally starts it's bliss.

I say, lament all you want. That's fine, some of it is cheap entertainment. But here's the thing, some artists will strive to create at that level, because that level is there, and it's never been more accessible. My takeaway is that the tools have never been greater. The level of access to other people, to grow organically, if not virally, has never been better.

Has this resulted in us discovering greater artists and getting better music created? That would be an interesting article.

@sparkzilla - 'What this means is that anyone with some musical and recording skills can compete against record companies.'

Yes. It's not about being a 'fair fight' but there is a fight there.

@dankoss - 'There has never been a better time to create something new in music'

Totally agree. Let's hear it. Seriously, the response is, bring it. Great music will always draw an audience.

Also good are those remasters reissued by Mobile Fidelity Sound Labs. www.mofi.com

I'd probably enjoy modern pop music (even teen hits like Meghan Trainor) if it didn't all sound the same.

https://www.youtube.com/watch?v=cPQiHyJj7Wk

introducing the Google Radio Automation suite which seems to be what came after the SS32 thing mentioned in the article. Seems like Google got out of that business in 2009:

http://www.wideorbit.com/wideorbit-acquires-google-radio-aut...

Great essay. Really sums up modern commercially recorded music.

http://kbia.org/post/you-know-exactly-what-these-6-country-s...

Modern tools provide an entirely new dimension in the form of multi-band compression, digital phase alignment, etc. It is now possible (and being done in nearly every genre) to make a recording perceptively louder than other recordings by maximizing amplitude in specific bands (those humans are most sensitive to), reduce phase cancellation between speakers, and hype the sound (boosting high and low frequencies, which tricks the ear into hearing it in the same way as louder music...but also causes listener fatigue faster), often all at once.

Amplitude compression, even when it's smart enough to recognize that there's more activity across a broader spectrum as provided by SoundCheck, does nothing to restore the damage to dynamic range, natural frequency response curves, and "real" sounding recorded music. The music is broken by these processes...the listener has no power to fix it, other than to not buy it, and choose music that hasn't been mutilated in such a way.

Don't hold your breath - iTunes has had Sound Check since 2002.