A discography and bibliography of music written for the modern harpsichord, this volume features more than 800 mass-marketed recordings of some 600 compositions written after the revival of the harpsichord (ca. 1889). Also included is information pertaining to performances of compositions arranged for harpsichord. Although the modern harpsichord is a much greater part of 20th-century music than one might imagine, it is about to become a relic because of its historical incorrectness. This will leave sound recordings as the prime medium of information for contemporary compositions, most of which cannot be adequately performed on any other instrument. The modern harpsichord consists of two manuals with at least four stops—one 4-foot, two 8-foot, and one 16-foot—operated by pedals. This type of harpsichord (except for the 16-foot stop) has been in existence since 1889. The new design, popular for many years, has fallen on hard times due to its lack of resonance and its historically inaccurate disposition of stops. Because it may well become an instrument of the past, this volume, which documents music composed specifically for the modern harpsichord, is especially valuable.

In January of 1972 the Golden Age of Opera series of the Edward J. Smith Recordings was succeeded by the Unique Opera Records Corporation (UORC) and released two-hundred and eighty numbered releases between 1972 and December, 1977. Smith's final private label, the A.N.N.A. Record Company (ANNA) released seventy-three numbered issues between 1978 and 1982. Interspersed between UORC and ANNA, and spanning the years 1954 to 1981, numerous "special label" issues were released under fugitive names. As a companion to the first volume, EJS: Discography of the Edward J. Smith Recordings "The Golden Age of Opera," 1956-1971, this volume continues where the first left off. The three labels are catalogued in separate sections. Researchers will appreciate the ten indexes provided and the selectively quoted material from Smith's personal correspondence that supplements the text.

Whether on vinyl or in digital form, the album has become an integral part of our cultural history. 100 Albums That Changed Popular Music: A Reference Guide tells the stories behind the most groundbreaking, influential, and often controversial albums ever recorded. Narrative chapters in this chronologically organized volume describe how the albums reflected the political, social, and economic culture of the era. Individual entries discuss these albums histories, the inspiration behind their creation, and why they continue to stand the test of time. Selected on the basis of their popular appeal, historical significance, and influence on later genres, the albums included represent a wide variety of genres, such as blues, jazz, rock, reggae, rockabilly, folk, soul, hip-hop, and country. Among the featured are releases from the hard-blues explosion of the '60s, including Robert Johnson's King of the Delta Blues Singers, a landmark album whose songs were later covered by the likes of Cream, Led Zeppelin, and the Rolling Stones. Punk made its mark in the '70s with such albums as Patti Smith's Horses and the Clash's London Calling. In the '80s Michael Jackson's blockbuster LP, Thriller, not only topped the charts, it become the best-selling record of all time. Diversity defined the '90s, with the most influential albums ranging from Garth Brooks' No Fences, which made country one of the hottest musical genres of the decade, to Dr. Dre's debut, The Chronic, a multi-platinum smash hit that brought West Coast hip hop into the mainstream. Each album entry in this book lists the publication information, including release date, label, and producer. A timeline of important events, a selectedbibliography for further reading, and an appendix of albums that almost made the cut round out this volume, making it an ideal resource for students, music fans, and general readers alike.

Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.

Vinyl Records and Analog Culture in the Digital Age: Pressing Matters examines the resurgence of vinyl record technologies in the twenty-first century and their place in the history of analog sound and the recording industry. It seeks to answer the questions: why has this supposedly outmoded format made a comeback in a digital culture into which it might appear to be unwelcome? Why, in an era of disembodied pleasures afforded to us in this age of cloud computing would listeners seek out this remnant of the late nineteenth century and bring it seemingly back from the grave? Why do many listeners believe vinyl, with its obvious drawbacks, to be a superior format for conveying music to the relatively noiseless CD or digital file? This book looks at the ways in which music technologies are both inflected by and inflect human interactions, creating discourses, practices, disciplines, and communities.

- Concept of aural diversity enables new, more inclusive ways of approaching sound and hearing in research and practice - Interdisciplinary roster of contributors produces cross-disciplinary connections and makes this book relevant to readers across arts, humanities, and sciences - Includes chapters that address applied issues and how to incorporate aural diversity in practical and artistic contexts

Audio recordings are the calling card with which musicians share and promote their work so a knowledge of recording techniques and technologies is essential to the 21st century musician. Recording On a Budget provides a comprehensive introduction to the recording arts from a budget-conscious perspective. Written by a professional musician and educator, this book is ideal for musicians, educators, music students, songwriters and hobbyists.
A central theme of the book is that it is possible to make quality recordings with a modest selection of recording tools. Chapters cover the selection and use of all of the components of a project studio including microphones, mixer, computer, digital audio workstation software, and signal processors. Additional chapters provide a solid foundation in acoustics, audio recording, podcasting, mixing and mastering. The final chapter of the book features do-it-yourself projects that can be completed with a modest selection of tools.
Most musicians have developed their ears to a high level so a special focus is placed on the development of recording technique through experimentation and the application of critical listening skills. The book is supported by an online resource of nearly 250 audio excerpts detailing all of the primary topics of the book.
Recording on a Budget is ideal for:

. Musicians who are interested in recording a quality CD or demo
. Choir, orchestra, and band directors who want to record vocal or instrumental ensemble
. Student performers and composers who wish to record a performance or produce their own music
. Bands interested in recording live concerts or recording an album in a home studio
. Videographers interested in recording location sound, voice-overs or music
. Songwriters who wish to produce a quality demo
. Podcasters
and ALL who want to make quality recordings without spending fortunes on equipment.
Readers will learn
. to cut budget corners without sacrificing audio quality
. to choose the right microphone for the job (and where to place it)
. to assemble an equipment rack, mixing desk, and speakers stand
. to avoid common mistakes
. And to be creative and have fun with recording technology
Visit the companion website at www.oup.com/us/recordingonabudget for free selection of sample recordings "

Finding Your Career in the Modern Audio Industry equips the reader with the skills they need to turn an interest in audio, sound, or music technology into a career. This book provides insight for aspiring professionals seeking audio-related opportunities in entertainment, technology, education, and more. In the audio industry, there is typically a gap between those in-training and those with professional (and financially sustainable) careers. This book bridges the information gap, offering practical and real-world advice to those in this volatile stage of their career. Including 70+ interviews with professionals from over 20 countries, Finding Your Career in the Modern Audio Industry offers insight into how others (across the industry and the world) have applied entrepreneurial thinking, problem-solving, and creative solutions to build their careers. Including international case studies and interviews with diverse professionals, Finding Your Career in the Modern Audio Industry is essential reading for anyone taking their first steps into an audio-related field.

Special Sound traces the fascinating creation and legacy of the BBC's electronic music studio, the Radiophonic Workshop, in the context of other studios in Europe and America. The BBC built a studio to provide its own avant-garde dramatic productions with experimental sounds "neither music nor sound effect." Quickly, however, a popular kind of electronic music emerged in the form of quirky jingles, signature tunes such as Doctor Who, and incidental music for hundreds of programs. These influential sounds and styles, heard by millions of listeners over decades of operation on television and radio, have served as a primary inspiration for the use of electronic instruments in popular music.
Using in-depth research in the studio's archives and papers, this book tells the history of the many engineers, composers, directors, and producers behind the studio to trace the shifting perception towards electronic music in Britain. Combining historical discussion of the people and instruments in the workshop with analysis of specific works, Louis Niebur creates a new model for understanding how the Radiophonic Workshop fits into the larger history of electronic music.

Arduino, Teensy, and related microcontrollers provide a virtually limitless range of creative opportunities for musicians and hobbyists who are interested in exploring "do it yourself" technologies. Given the relative ease of use and low cost of the Arduino platform, electronic musicians can now envision new ways of synthesizing sounds and interacting with music-making software. In Arduino for Musicians, author and veteran music instructor Brent Edstrom opens the door to exciting and expressive instruments and control systems that respond to light, touch, pressure, breath, and other forms of real-time control. He provides a comprehensive guide to the underlying technologies enabling electronic musicians and technologists to tap into the vast creative potential of the platform. Arduino for Musicians presents relevant concepts, including basic circuitry and programming, in a building-block format that is accessible to musicians and other individuals who enjoy using music technology. In addition to comprehensive coverage of music-related concepts including direct digital synthesis, audio input and output, and the Music Instrument Digital Interface (MIDI), the book concludes with four projects that build on the concepts presented throughout the book. The projects, which will be of interest to many electronic musicians, include a MIDI breath controller with pitch and modulation joystick, "retro" step sequencer, custom digital/analog synthesizer, and an expressive MIDI hand drum. Throughout Arduino for Musicians, Edstrom emphasizes the convenience and accessibility of the equipment as well as the extensive variety of instruments it can inspire. While circuit design and programming are in themselves formidable topics, Edstrom introduces their core concepts in a practical and straightforward manner that any reader with a background or interest in electronic music can utilize. Musicians and hobbyists at many levels, from those interested in creating new electronic music devices, to those with experience in synthesis or processing software, will welcome Arduino for Musicians.

It explains why we have more than a hundred more record shops than we had in 2009, and how others have gained the reward from their hard work. Budget turntables, manufactures, supermarkets, chain stores, clothes shops, pressing plants and even the government are amongst the many who have benefited from their efforts. Graham Jones has spent 32 years travelling the UK selling to independent record shops and visited more record shops than any other human. This book guides you around the record shops of the UK who sell new vinyl. He has gathered some fascinating and funny anecdotes told him by our much-loved record shop staff so that when you visit you will feel like you already know the characters behind the counters. It is perfect for vinyl fans to keep with them on their travels around the country.

This is a book about video art, and about sound art. The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form. Paul Hegarty considers the work of a range of artists (including Steve McQueen, Christian Marclay, Ryan Trecartin, and Jane and Louise Wilson), proposing different theories according to the particular strategy of the artist under discussion. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts. Applying contemporary sound theory to the world of video art, Paul Hegarty offers an entirely fresh perspective on the interactions between sound, sound art, and the visual.

Sound Inventions is a collection of 34 articles taken from Experimental Musical Instruments, the seminal journal published from 1984 through 1999. In addition to the selected articles, the editors have contributed introductory essays, placing the material in cultural and temporal context, providing an overview of the field both before and after the time of original publication. The Experimental Musical Instruments journal contributed extensively to a number of sub-fields, including sound sculpture and sound art, sound design, tuning theory, musical instrument acoustics, timbre and timbral perception, musical instrument construction and materials, pedagogy, and contemporary performance and composition. This book provides a picture of this important early period, presenting a wealth of material that is as valuable and relevant today as it was when first published, making it essential reading for anyone researching, working with or studying sound.

Drum Sound and Drum Tuning assists drummers, sound engineers, and music students in learning critical skills related to drum sound and achieving an optimised and personalised drum kit set-up. The book covers the essential theories of percussion acoustics and develops this knowledge in order to facilitate creative approaches to drum tuning and professional-level recording and mixing of drums. All aspects of drumhead vibration, drumhead equalisation, and resonant drumhead coupling are de-mystified, alongside discussions relating to drumhead types, drum shell vibration, and tuning to musical intervals for different performance genres. The book develops drum sound theory and creative analysis into a detailed dissection of recording and production techniques specifically for drums, including discussions on studio technologies, room acoustics, microphone techniques, phase coherence, and mixing drums with advanced digital audio workstation (DAW) techniques and creative processing tools. Drum Sound and Drum Tuning includes many practical hands-on exercises that incorporate example tutorials with Logic Pro and iDrumTune Pro software, encouraging the reader to put theory into immediate creative practice and to develop their own listening skills in an informed and reflective manner. The book also documents primary interviews and opinion from some of the world's most celebrated drummers, music producers, and sound engineers, enabling the reader to connect the relevant theories with real-world context, whilst refining their own personalised approach to mastering drum sound.

From 1940 to 1990, new machines and devices radically changed listening to music. Small and large single records, new kinds of jukeboxes and loudspeaker systems not only made it possible to playback music in a different way, they also evidence a fundamental transformation of music and listening itself. Taking the media and machines through which listening took place during this period, Listening Devices develops a new history of listening.Although these devices were (and often still are) easily accessible, up to now we have no concept of them. To address this gap, this volume proposes the term "listening device." In conjunction with this concept, the book develops an original and fruitful method for exploring listening as a historical subject that has been increasingly organized in relation to technology. Case studies of four listening devices are the points of departure for the analysis, which leads the reader down unfamiliar paths, traversing the popular sound worlds of 1950s rock 'n' roll culture and the disco and club culture of the 1970s and 1980s. Despite all the characteristics specific to the different listening devices, they can nevertheless be compared because of the fundamental similarities they share: they model and manage listening, they actively mediate between the listener and the music heard, and it is this mediation that brings both listener and the music listened to into being. Ultimately, however, the intention is that the listening devices themselves should not be heard so that the music they playback can be heard. Thus, they take the history of listening to its very limits and confront it with its "other"-a history of non-listening. The book proposes "listening device" as a key concept for sound studies, popular music studies, musicology, and media studies. With this conceptual key, a new, productive understanding of past music and sound cultures of the pre-digital era can be unlocked, and, not least, of the listening culture of the digital present.

Audio production is an incredibly rewarding craft. To take the raw, basic tracks of a fledgling idea and shape them into one glorious stereophonic sound wave is an amazing feat. The transformation from analogue to digital dominance has brought many advances in sound quality and new techniques, but producing digital music with only a standard computer and DAW can be problematic, time-consuming and sometimes disappointing without the right approach and skills. In Template Mixing and Mastering, renowned mix engineer Billy Decker tackles the challenges of in-the-box production through his innovative template approach. He shares his passion and knowledge from over twenty years of industry experience, including an introduction to templates and a step-by-step guide to their set-up and a discussion of drum replacement technology. Channel and setting information for each of the drum, instrument and vocal sections of his template is discussed along with the master channel and his methodology of mixing and mastering. Finally, he gives professional advice and best practice. This book features the full template used on sixteen No 1 records!

Widespread distribution of recorded music via digital networks affects more than just business models and marketing strategies; it also alters the way we understand recordings, scenes and histories of popular music culture. This Is Not a Remix uncovers the analog roots of digital practices and brings the long history of copies and piracy into contact with contemporary controversies about the reproduction, use and circulation of recordings on the internet. Borschke examines the innovations that have sprung from the use of recording formats in grassroots music scenes, from the vinyl, tape and acetate that early disco DJs used to create remixes to the mp3 blogs and vinyl revivalists of the 21st century. This is Not A Remix challenges claims that 'remix culture' is a substantially new set of innovations and highlights the continuities and contradictions of the Internet era. Through an historical focus on copy as a property and practice, This Is Not a Remix focuses on questions about the materiality of media, its use and the aesthetic dimensions of reproduction and circulation in digital networks. Through a close look at sometimes illicit forms of composition-including remixes, edits, mashup, bootlegs and playlists-Borschke ponders how and why ideals of authenticity persist in networked cultures where copies and copying are ubiquitous and seemingly at odds with romantic constructions of authorship. By teasing out unspoken assumptions about media and culture, this book offers fresh perspectives on the cultural politics of intellectual property in the digital era and poses questions about the promises, possibilities and challenges of network visibility and mobility.

(Book). In this prime collection of first-hand interviews, 37 of the world's top record producers share their creative secrets and hit-making techniques from the practical to the artistic. George Martin reveals the technical and musical challenges of working with The Beatles, while Phil Ramone, producer for such artists as Billy Joel, discusses studio wall treatments. Offering real-world advice on everything from mics to mixing to coaching a nervous singer, producers interviewed include Arif Mardin (Aretha Franklin), Brian Wilson (The Beach Boys), Alan Parsons (Pink Floyd) and more.

The Beatles. The Beach Boys. Blur, Bowie, Kylie Minogue, Kate Bush and Coldplay. EMI was one of the big four record companies, with some of the biggest names in the history of recorded music on its roster. Dominating the music industry for over 100 years, by 2010 EMI Group had reported massive pre-tax losses. The group was divided up and sold in 2011. How could one of the greatest recording companies of the 20th century have ended like this? With interviews from insiders and music industry experts, Eamonn Forde pieces together the tragic end to a financial juggernaut and a cultural institution in forensic detail. The Final Days of EMI: Selling the Pig is the story of the British recording industry, laid bare in all its hubris and glory.

Democracy of Sound is the first book to examine music piracy in the United States from the dawn of sound recording to the rise of Napster and online file-sharing. It asks why Americans stopped thinking of copyright as a monopoly-a kind of necessary evil-and came to see intellectual property as sacrosanct and necessary for the prosperity of an "information economy." Recordings only became eligible for federal copyright in 1972, following years of struggle between pirates, musicians, songwriters, broadcasters, and record companies over the right to own sound. Beginning in the 1890s, the book follows the competing visions of Americans who proposed ways to keep obscure and noncommercial music in circulation, preserve out-of-print recordings from extinction, or simply make records more freely and cheaply available. Genteel jazz collectors swapped and copied rare records in the 1930s; radicals pitched piracy as a mortal threat to capitalism in the 1960s, while hip-hop DJs from the 1970s onwards reused and transformed sounds to create a freer and less regulated market for mixtapes. Each challenged the idea that sound could be owned by anyone. The conflict led to the contemporary stalemate between those who believe that "information wants to be free" and those who insist that economic prosperity depends on protecting intellectual property. The saga of piracy also shows how the dubbers, bootleggers, and tape traders forged new social networks that ultimately gave rise to the social media of the twenty first century. Democracy of Sound is a colorful story of people making law, resisting law, and imagining how law might shape the future of music, from the Victrola and pianola to iTunes and BitTorrent.

- Filled with contributions from world-leading academics and practitioners, from a variety of backgrounds and countries. - Highly interdisciplinary overview of live music, which will be relevant to professionals and students interested in music business, music technology, music production and performance. - Includes papers on cutting-edge issues, such as augmented reality and virtual reality.

"...a terrific read for lovers of great music and vinyl" -Ruth O'Connor, Irish Examiner "Peppered with more than 200 colour and black and white images, this book shows off how photogenic the world of vinyl is for photographers." -Amateur Photography "From a recording medium to a cult object - this book is for fans of music and vintage items." -New Design The good old record is still spinning! With its demise predicted over and over, the vinyl has shown itself to triumphant over technology trends, beloved by music professionals and fans, collectors and DJs alike. This richly illustrated photo book celebrates the history of the record with over 200 colour and black and white images, seasoned with essential vinyl knowledge on record magazines, consoles, shops and cafes. From the art legends who shaped the cover art to the LPs that became coveted collector's items, this is a must-have compendium for all vinyl fans and collectors. Text in English and German.

Loudspeakers: For Music Recording and Reproduction, Second Edition is a comprehensive guide, offering the tools and understanding needed to cut out the guesswork from loudspeaker choice and set-up. Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell, combine their years of experience in the design, application, and use of loudspeakers to cover a range of topics from drivers, cabinets, and crossovers, to amplifiers, cables, and surround sound. Whether using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post-production facility, home, or musician's studio, or if you simply aspire to improve your music-production system this book will help you make the right decisions. This new edition provides significant updates on the topics of digital control, calibration, and cinema loudspeaker systems.