went to extraordinary technical lengths, and often great expense, to create recordings of the absolute highest quality possible that took full advantage of new technical capabilities of home audio equipment in the late 1950s and early 1960s. Light specifically perfected stereo effects that bounced sounds between the right and left channel speakers, which was called a “ping-pong effect.”
Hence Light took full advantage of the improved technical reproduction made possible by magnetic tape, which offered him and his engineers a broad range of sonic possibilities. To understand more clearly the significance of what Light was trying to achieve with his Commodore label, I turn to Stephen Struthers' observations in "Recording Music: Technology in the Art of Recording," (Avron Levine White, Ed., Lost in Music: Culture, Style and the Musical Event, Routledge 1987):
The idea of a contemporary musical recording as a reproduction of a real musical event is not tenable as, using a multi-track magnetic tape recording, the final recording is assembled and "reconstructed" from a number of fragments, and so there is no "original" of which that published recording can be a reproduction. Indeed a significant amount of popular music has never existed in a prerecorded stage, being created as it was being recorded, or as a unique combination of previously recorded process first heard together during editing. Many recordings today are made with the circumstances of reproduction uppermost in mind, either on the radio or for domestic listening. (244-45)
|Josef Albers cover, 1961|
I suspect the reason why Op Art was never a major influence on the album art of the Psychedelic Era was because the drug that came to represent the movement, LSD, was rendered through the swirling, Day-Glo, subtractive colors suggestive of a drug trip, very unlike the achromatic colors preferred by Op Artists such as Josef Albers, whose paintings suggested movement created by lines and patterns in black and white. Perhaps the best known album art influenced by the Op Art movement was Mike McInnerney's cover for The Who's Tommy (1969), but by then the influence of the Op Art movement had waned.