(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.

Little Labels -- Big Sound celebrates 10 legendary record labels, their founders and the artists they developed, people who created original and enduring music on the tide of social change. From the 1920s through the 1960s, scores of small, independent record companies nurtured distinctly American music: jazz, blues, gospel, country, rhythm and blues, and rock 'n' roll. These companies, run on shoestring budgets, were on the fringe of mainstream culture. Louis Armstrong, Hank Williams, James Brown, Roy Orbison, and other musicians brought regional American styles to a world audience and won enduring fame for themselves. But often forgotten are the colorful owners of small record labels who first recorded these musicians and helped to popularize their sound before the dominant, more bureaucratic competitors knew what had happened.

Rick Kennedy and Randy McNutt bring alive the glory days of the independent labels and their colorful founders, many of whom were interviewed for this book. Sometimes these men were visionaries. Ross Russell, a record-store owner in Los Angeles in the mid-1940s, risked his last dollar to create Dial Records because he was convinced that an obscure jazz saxophonist named Charlie Parker was creating a music revolution with his bebop jazz. Sam Phillips in Memphis had recorded white country and black R&B singers in the early 1950s, so he knew exactly what he was looking for when a shy, teenaged Elvis Presley walked into his storefront studio in 1954 and asked to make a record.

Other owners had little appreciation for the music but were street-smart entrepreneurs. The white-owned "race" labels of the 1920s, for example, recognized a black consumer market thatthe recording business had previously ignored. Operating out of such cities as Houston, Memphis, Cincinnati, and New Orleans, these savvy business people promoted regional sounds that were to reverberate around the world.

But influencing the development of music wasn't what these record-label owners had in mind; they were just trying to earn a living. Today, when most of the independent record labels have gone under or have been gobbled up by big conglomerates, the music they produced on primitive equipment remains fresh -- and bigger than life.

Little Labels -- Big Sound tells with verve and affection the story of the people and the small homegrown companies who gave America its beat.

A comprehensive reference guide to the history of recording, this book combines the technical history of the recording process and the industry that grew up to support it, with the history of the musical, vocal and spoken repertoire that developed in parallel with recording. Starting with the simultaneous inventions of Charles Cros and Thomas Edison, the book charts the story of the phonograph from the earliest recordings by figures such as Brahms and Tennyson to the development of the modern gramophone. The complex patent and copyright history of early inventions is set out, as is the commercial climate in which the first record companies emerged. The late-19th-century musical legacy and its performance practice implications are discussed, leading to the pioneering work of, for example, Henry Wood and Thomas Beecham. Popular music history is also examined, on an international basis, with Argentine and Uruguayan tango records discussed alongside American ragtime and jazz and European operetta. The book also analyzes the recording boom before the Depression, the pre-war reconstruction of the industry, the emergence of recording entrepreneurs, disc jockeys and crooners, the emergence of rebetika in Europe, the Caribbean record industry, and the first libraries. In the post-war period, the book covers the breathtaking speed of technical development from EP to LP to cassette to CD, and the enormous explosion of popular music. The final chapters examine new technical innovations such as DAT and minidisc, and record-derived music techniques such as scratch, karaoke, dup and rap.

Electronic music instruments weren't called synthesizers until the 1950s, but their lineage began in 1919 with Russian inventor Lev Sergeyevich Termen's development of the Etherphone, now known as the Theremin. From that point, synthesizers have undergone a remarkable evolution from prohibitively large mid-century models confined to university laboratories to the development of musical synthesis software that runs on tablet computers and portable media devices.
Throughout its history, the synthesizer has always been at the forefront of technology for the arts. In The Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument, veteran music technology journalist, educator, and performer Mark Vail tells the complete story of the synthesizer: the origins of the many forms the instrument takes; crucial advancements in sound generation, musical control, and composition made with instruments that may have become best sellers or gone entirely unnoticed; and the basics and intricacies of acoustics and synthesized sound. Vail also describes how to successfully select, program, and play a synthesizer; what alternative controllers exist for creating electronic music; and how to stay focused and productive when faced with a room full of instruments. This one-stop reference guide on all things synthesizer also offers tips on encouraging creativity, layering sounds, performance, composing and recording for film and television, and much more.

On May 8, 1977, at Barton Hall, on the Cornell University campus, in front of 8,500 eager fans, the Grateful Dead played a show so significant that the Library of Congress inducted it into the National Recording Registry. The band had just released Terrapin Station and was still finding its feet after an extended hiatus. In 1977, the Grateful Dead reached a musical peak, and their East Coast spring tour featured an exceptional string of performances, including the one at Cornell.Many Deadheads claim that the quality of the live recording of the show made by Betty Cantor-Jackson (a member of the crew) elevated its importance. Once those recordings-referred to as "Betty Boards"-began to circulate among Deadheads, the reputation of the Cornell '77 show grew exponentially.With time the show at Barton Hall acquired legendary status in the community of Deadheads and audiophiles.Rooted in dozens of interviews-including a conversation with Betty Cantor-Jackson about her recording-and accompanied by a dazzling selection of never-before-seen concert photographs, Cornell '77 is about far more than just a single Grateful Dead concert. It is a social and cultural history of one of America's most enduring and iconic musical acts, their devoted fans, and a group of Cornell students whose passion for music drove them to bring the Dead to Barton Hall. Peter Conners has intimate knowledge of the fan culture surrounding the Dead, and his expertise brings the show to life. He leads readers through a song-by-song analysis of the performance, from "New Minglewood Blues" to "One More Saturday Night," and conveys why, forty years later, Cornell '77 is still considered a touchstone in the history of the band.As Conners notes in his Prologue: "You will hear from Deadheads who went to the show. You will hear from non-Deadhead Cornell graduates who were responsible for putting on the show in the first place. You will hear from record executives, academics, scholars, Dead family members, tapers, traders, and trolls. You will hear from those who still live the Grateful Dead every day. You will hear from those who would rather keep their Grateful Dead passions private for reasons both personal and professional. You will hear stories about the early days of being a Deadhead and what it was like to attend, and perhaps record, those early shows, including Cornell '77."

In the history of sound recording, the years from 1896 to 1926 mark the transformation of a carnival toy into a serious means of musical reproduction. This work documents for the first time an index of this transformation: the expansion of the repertoire from the marches and potpourris of the 1890s to the symphonic recordings of the late acoustical period. The data assembled bring together and organize materials that have lain scattered in archives, private collections, catalogues, trade journals, and in the research of more than three dozen discographers to provide as complete a survey of classical and light classical orchestral music recorded acoustically on cylinders and discs as sources allow. In this work, band records are excluded (except in the case of works originally written for winds). Where it is known and where it is pertinent to the recordings, biographical information about conductors and historical information about orchestras are added, as are all available discographic data, including reissues. The work is fully indexed. Of interest to historians and students, private collectors, archivists, and discographers.

(Book). Electric guitar players can choose from a library full of guitar books, but comparatively little has been written about the other 50% of the electric guitar: the amplifier. This book takes a giant step toward redressing the balance, providing the first overall view of amp-dom, including: how amps work, profiles of the major manufacturers, 'transistor dinosaurs' and their place in amp history, reissues vs. vintage amps, and troubleshooting. Terms are defined in the margin as they are introduced, and plenty of photos and diagrams illuminate the text.

Learn the basics of recording, processing, and mixing audio using Ableton Live software. This robust and innovative digital audio workstation opens your way to a musical toolkit used by musicians, performers, and producers worldwide. Audio Production Basics with Ableton Live will guide you through the essential audio production tasks you'll use to make the most of your Live software. The exercises in this book can be completed in any edition of Ableton Live, allowing you to get hands-on practice with Live's creative tools. With this book and the included online media files, you'll get working experience using Ableton Live, covering everything from setting up your computer to the fundamentals of audio production, including: Basic digital audio workstation operations and audio hardware options Principles of sound production and microphone use Essential Live concepts and operations MIDI fundamentals for playing and recording virtual instruments Working in the Arrangement View and the Session View Managing devices and routing signals in Live Using automation to create dynamic changes to audio Mixing your projects and exporting final mixed tracks Ableton Live is easy to set up, flexible, and fun to use. And everything you learn here will apply when you are ready to move on to more advanced study in audio production. Take a step to unleash your musical inspiration and creativity with Audio Production Basics with Ableton Live.

‘Shellac and Swing!’ tells the story of the gramophone’s ‘golden age,’ from 1900-1955, when it helped to shape Britain’s culture from the arts to warfare. The story focuses on the gramophone, the invention of Emile Berliner in the 1880s, but begins with a brief outline of the first attempts to record the human voice and of Edison’s invention of the cylinder and the phonograph. It uses primary evidence, images and interviews with DJs, fans, musicians and historians to explore this fascinating and often eccentric tale. Each chapter ends with ‘On the Record,’ a discussion of a record that relates to the chapter’s themes. Although the gramophone and its fragile shellac discs were vital to Britain’s music scene—opera and music hall, the Jazz Age, the crooners, early rock’n’roll—its impact was far more extensive. Its place in British history encompasses advertising and design, fraud and piracy, phallic symbols, talking books, the threat from radio and TV, the contrasting worlds of the Salvation Army and adult ‘party’ discs, the creation of a parliamentary insult, new political strategies and the seditious activity of the Mau Mau. From the establishment of the Gramophone Company in London in the late 1890s to the end of shellac record production in the 1950s, the British public bought the machines and the discs in their millions and the record labels made stars of performers like Caruso, Harry Lauder, Al Bowlly and Dame Nellie Melba. ‘Shellac and Swing!’ explores the ways in which the gramophone helped these singers to achieve stardom but it also explores in detail and for the first time many other stories of not-so-famous performers, of the gramophone in political electioneering and of forgotten technology: the first pirate radio broadcasters, the soldiers who took their ‘Trench Decca’ portables to the Western Front, the invention of the Flame-O-Phone, the People’s Budget recordings and the pioneering label owner and producer of ‘blue’ discs. The gramophone’s heyday ended with the rise of rock ’n ’roll, teenagers, the 45 rpm single, the LP and the record player, but it survives today as part of a vibrant contemporary music, fashion and lifestyle scene.

Foreword- PART I. BASICS - 1. Introduction 2. Studio Planning 3. Sound Insulation 4. Reverberation 5. Air-Conditioning System Noise Limits 6. Sound-Retardant Windows and Doors 7. Instrument Isolation for Multiple Track Recording 8. Studio Testing 9. Plumbing Noise Control 10. Vibration Isolation 11. Suspended Acoustic Ceiling 12. Elevators 13. Interior Decor of Studios 14. Sound Power Versus Sound Pressure PART II. STUDIOS - 15. Control Rooms 16. ADR Studios 17. Re-Recording Studios 18. Reverberation Chambers 19. Motion Picture and TV Stages 20. Music Recording Studios 21. Review Rooms 22. Future Sound-Recording Studios 23. Canopied Amphitheaters PART III. ELECTROACOUSTICS - 24. Microphone Properties 25. Loudspeaker Sensitivity 26. Electronic Light Dimmers - Index Sound recording studios are often built like showcases, either to attract clientele or to provide a distinctive image for the industry. They are, thus, like people, in that no two of them are alike. Yet, all such structures have to have certain common acoustic elements if they are to function to the best artistic and economic advantages. The enclosures must be sufficiently quiet, exhibit proper reverberatory conditions (often required to be adjustable), be devoid of parallelisms between hard surfaces, have no sound-focusing concave surfaces, be free of vibrations from external and internal sources, etc. It is for the purpose of providing first design principles of sound recording studios that this book has been prepared, so that for any given size structure, satisfactory vocal and instrumental recording conditions can be established therein. All equations involving physical quantities are given both in the English and the MKS system of measurement. Also, when the description of existing studios includes linear dimensions, their metric equivalents follow in parenthesis, as is also done for such quantities as surface density (mass per unit area) and sound absorption.

Today, jazz is considered high art, America's national music, and the catalog of its recordings-its discography-is often taken for granted. But behind jazz discography is a fraught and highly colorful history of research, fanaticism, and the simple desire to know who played what, where, and when. This history gets its first full-length treatment in Bruce D. Epperson's More Important Than the Music. Following the dedicated few who sought to keep jazz's legacy organized, Epperson tells a fascinating story of archival pursuit in the face of negligence and deception, a tale that saw curses and threats regularly employed, with fisticuffs and lawsuits only slightly rarer. Epperson examines recorded jazz from its careless handling as a novelty in the 1920s and '30s, through the deluge of 12-inch vinyl in the middle of the twentieth century, to the use of computers by today's discographers. Though he focuses much of his attention on comprehensive discographies, he also examines the development of a variety of related listings, such as buyer's guides and library catalogs, and he closes with a look toward discography's future. From the little black book to the full-featured online database, More Important Than the Music offers a history not just of jazz discography but of the profoundly human desire to preserve history itself.

How the Chinese pop of the 1960s participated in a global musical revolution What did Mao’s China have to do with the music of youth revolt in the 1960s? And how did the mambo, the Beatles, and Bob Dylan sound on the front lines of the Cold War in Asia? In Circuit Listening, Andrew F. Jones listens in on the 1960s beyond the West, and suggests how transistor technology, decolonization, and the Green Revolution transformed the sound of music around the globe. Focusing on the introduction of the transistor in revolutionary China and its Cold War counterpart in Taiwan, Circuit Listening reveals the hidden parallels between music as seemingly disparate as rock and roll and Maoist anthems. It offers groundbreaking studies of Mandarin diva Grace Chang and the Taiwanese folk troubadour Chen Da, examines how revolutionary aphorisms from the Little Red Book parallel the Beatles’ “Revolution,� uncovers how U.S. military installations came to serve as a conduit for the dissemination of Anglophone pop music into East Asia, and shows how consumer electronics helped the pop idol Teresa Teng bring the Maoist era to a close, remaking the contemporary Chinese soundscape forever. Circuit Listening provides a multifaceted history of Chinese-language popular music and media at midcentury. It profiles a number of the most famous and best loved Chinese singers and cinematic icons, and places those figures in a larger geopolitical and technological context.  Circuit Listening’s original research and far-reaching ideas make for an unprecedented look at the role Chinese music played in the ’60s pop musical revolution.

Awarded a Certificate of Merit at the ARSC Awards for Excellence 2018 In the past two decades digital technologies have fundamentally changed the way we think about, make and use popular music. From the production of multimillion selling pop records to the ubiquitous remix that has become a marker of Web 2.0, the emergence of new music production technologies have had a transformative effect upon 21st Century digital culture. Sonic Technologies examines these issues with a specific focus upon the impact of digitization upon creativity; that is, what musicians, cultural producers and prosumers do. For many, music production has moved out of the professional recording studio and into the home. Using a broad range of examples ranging from experimental electronic music to more mainstream genres, the book examines how contemporary creative practice is shaped by the visual and sonic look and feel of recording technologies such as Digital Audio Workstations.

An in-depth and comprehensive guide to a and history of a music collecting EThe Ultimate Guide to Vinyl and MoreE traces the hobby from its beginnings over a century ago. The book features informative and entertaining sections on every significant format in which recorded music has been released a and some that are now almost completely forgotten.THBased on Dave Thompson's original Backbeat classic EThe Music Lover's Guide to Record CollectingE this revamped colorful expanded edition takes readers from the early days of cylinders 78s and Edison records on through 45s LPs 8-tracks cassettes bootlegs CDs MiniDiscs MP3s LPs and other formats.THLandmark labels collectable artists specialist themes and more are explored across a series of essays while dozens of color images bring the most obscure corners of the hobby to life. Unlike other volumes that focus exclusively on vinyl this book caters to the audiophile whose obsession for music welcomes all formats. Through it all the joy and fascination of music collecting in all its guises comes alive.

Considerable attention has been given to the EMI Abbey Road Studios in St Johns Wood, particularly because of their association with the Beatles. In contrast, very little has been written about their great rivals Decca, who had recording studios in nearby Broadhurst Gardens, West Hampstead. This book will explore the history of Decca and specifically the Studios, where thousands of records were made between 1937 and 1980. Klooks Kleek, meanwhile, ran from 1961 to 1970 in the Railway Hotel, next door to the Decca Studios. Dick Jordan and Geoff Williams, who ran the club, share their memories here. With artists including David Bowie, The Rolling Stones, Tom Jones and The Moody Blues at Decca, and Ronnie Scott, The Cream, Fleetwood Mac, Led Zeppelin, Jimi Hendrix, Eric Clapton, Elton John, Rod Stewart, Stevie Wonder and Sonny Rollins at Klooks, this book records a unique musical heritage.

The Blackbird Academy Foundations: Must-Know Audio and Recording Principles is designed to build your music engineering and audio production skills. The principles are directed at beginners to more advanced music creators, remixers, musicians, songwriters, singers, and those curious about what it takes to record, overdub, and mix quality music. Those who aspire to music, from ages 10 and up, will gain operational skills and understanding of basic to advanced recording concepts including: Signal flow Microphone recognition and advanced placement The keys to achieving great results when recording Essential analog and digital gear used in audio production Using a digital audio workstation Understanding analog to digital, and digital to analog, conversion Using plug-ins and analog processing when recording, overdubbing, and mixing Developing software skills, such as tuning processing, editing, and mixing Console basics and operation Using auxiliary tracks and buses Using shortcuts to build speed Learning how to listen And much more! Those more advanced will also achieve benefits from reading what was written around the gear and workflow at Blackbird Studio, the world-renowned production facility located in Nashville, Tennessee. Blackbird has produced hundreds of hit records from a variety of artists, including Taylor Swift, Jack White, Martina McBride, The Black Keys, Kings of Leon, Keith Urban, Tim McGraw, and many more. Readers will learn an impressive range of valuable information only known in the inner circles of production at the heart of Music City USA.

"MP3: The Meaning of a Format" recounts the hundred-year history of the world's most common format for recorded audio. Understanding the historical meaning of the MP3 format entails rethinking the place of digital technologies in the larger universe of twentieth-century communication history, from hearing research conducted by the telephone industry in the 1910s, through the mid-century development of perceptual coding (the technology underlying the MP3), to the format's promiscuous social life since the mid 1990s.

MP3s are products of compression, a process that removes sounds unlikely to be heard from recordings. Although media history is often characterized as a progression toward greater definition, fidelity, and truthfulness, "MP3: The Meaning of a Format" illuminates the crucial role of compression in the development of modern media and sound culture. Taking the history of compression as his point of departure, Jonathan Sterne investigates the relationships among sound, silence, sense, and noise; the commodity status of recorded sound and the economic role of piracy; and the importance of standards in the governance of our emerging media culture. He demonstrates that formats, standards, and infrastructures--and the need for content to fit inside them--are every bit as central to communication as the boxes we call "media."

(Music Pro Guide Books & DVDs). This edition addresses new equipment and software concerns that affect the way excellent recordings are made. Updated text, illustrations, photos, and video examples add to the power of the previous edition, plus new techniques and considerations are presented as they pertain to additional recording scenarios. You'll learn what you need to know about capturing the best vocal and instrument tracks possible, no matter what kind of studio you are working in or what kind of equipment is used. New in this edition: *Extensive use of QR Codes, which link directly to associated websites and resources via your smart devices' QR Code readers. This expands the content of the book far beyond the printed page. *New and updated media examples included wherever appropriate. *Descriptions and examples of new digital modeling technology. *New uses of sophisticated DAW capabilities. *New ways to combine control surfaces and the modern DAW. *Brand new sections covering recording strings, percussion, and brass in the studio along with new audio and video examples. *More tightly packed layout and a 31 percent increase in page count.

Few aspects of daily existence are untouched by technology. Learning and teaching music are no exceptions and arguably have been impacted as much or more than other areas of life. Digital technologies have come to affect music learning and teaching in profound ways, influencing how we create, listen, share, consume, interact, and conceptualize musical practices and the musical experience. For a discipline as entrenched in tradition as music education, this has brought forth myriad views on what does and should constitute music learning and teaching. To tease out and elucidate some of the salient problems, interests, and issues, The Oxford Handbook of Technology and Music Education critically situates technology in relation to music education from a variety of perspectives: historical; philosophical; socio-cultural; pedagogical; musical; economic; policy, organized around four broad themes: Emergence and Evolution; Locations and Contexts: Social and Cultural Issues; Experiencing, Expressing, Learning and Teaching; and Competence, Credentialing, and Professional Development. Chapters from a highly diverse group of junior and senior scholars provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field. The Oxford Handbook of Technology and Music Education's dedication to diversity and forward-facing discussion promotes contrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses.

In Chasing Sound, Susan Schmidt Horning traces the cultural and technological evolution of recording studios in the United States from the first practical devices to the modern multi-track studios of the analog era. Charting the technical development of studio equipment, the professionalization of recording engineers, and the growing collaboration between artists and technicians, she shows how the earliest efforts to capture the sound of live performances eventually resulted in a trend toward studio creations that extended beyond live shows, ultimately reversing the historic relationship between live and recorded sound. Schmidt Horning draws from a wealth of original oral interviews with major labels and independent recording engineers, producers, arrangers, and musicians, as well as memoirs, technical journals, popular accounts, and sound recordings. Recording engineers and producers, she finds, influenced technological and musical change as they sought to improve the sound of records. By investigating the complex relationship between sound engineering and popular music, she reveals the increasing reliance on technological intervention in the creation as well as in the reception of music. The recording studio, she argues, is at the center of musical culture in the twentieth century.

Ever wonder what goes into the creation of some of the best music ever recorded? Ever wonder how someone becomes an iconic professional who is universally admired and respected? Al Schmitt on the Record: The Magic Behind the Music reveals answers to those questions and more. In this memoir of one of the most respected engineers of all time, you'll see how a very young boy - mentored by his uncle Harry in New York - progressed through the recording world in its infancy, under the mentorship of Tom Dowd, in its heyday, becoming one of the all-time great recording engineers. And now today Al continues as an unstoppable force at the top of the recording world with his name on mega-hits from the likes of Paul McCartney, Diana Krall, and Dylan. Al's credits include a veritable who's who of the music world. Reading the compelling accounts of Al's life in the studio, you'll see how he has been able to stay at the top of his game since the '50s, and you'll experience what is was like behind the scenes and in-the-studio during of many of his historic, impactful recordings. Schmitt also shares many of the recording techniques and creative approaches that have set him apart, including his approach to microphones, effects, and processors, and he even shares setup diagrams from many of his highly-lauded recording sessions!

Richard James Burgess draws on his experience as a producer, a musician, and an author in this history of recorded music, which focuses on the development of music production as both art form and profession. This comprehensive narrative begins in 1860 with the first known recording of an acoustic sound and moves chronologically through the twentieth century, examining the creation of the market for recorded sound, the development of payment structures, the origins of the recording studio and those who work there, and, ultimately, the evolution of the recording industry itself. Burgess charts the highs and lows of the industry through the decades, ending with a discussion of how Web 2.0 has affected music production. The focus remains throughout the book on the role of the music producer, and Burgess offers biographical information on key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Undergirding Burgess's narrative is the argument that while technology has historically defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry came from producers. In keeping with this unique argument, The History of Music Production incorporates clear yet in-depth discussion of the developmental engagement of technology, business, and art with music production. Burgess builds this history of music production upon the strongest possible foundation: the key transitions, trends, people, and innovations that have been most important in the course of its development over the past 136 years. The result is a deeply knowledgeable book that sketches a critical path in the evolution of music production, and describes and analyzes the impact recording, playback, and disseminative technologies have had on recorded music and music production. Central to the field and a key reference book for students and scholars alike, it will stand as a companion volume to Burgess's noted, multi-edition book The Art of Music Production.

Mixing and mastering, the two final steps in the complex process of sound engineering, require both artistic finesse and technical facility. Even the slightest difference in the way a sound is processed can lead to a shift in the overall aesthetic of a piece, and so sound engineers must work towards an understanding of sound engineering that is particularly oriented towards the artistic and aesthetic. In order to create effective mixes, a sound engineer must maintain a distinct set of artistic goals while drawing on an in-depth understanding of the software involved in the process. Creating final masters requires specialized aural skills and a similarly advanced understanding of the software in order to fine-tune the product with respect to these goals. Mixing and Mastering in the Box addresses the practical and technological necessities of these two final steps without neglecting the creative process that is integral to the creation of high-quality recordings. Savage focuses primarily on creating mixes and masters in the Digital Audio Workstation (DAW), or "in the box," currently a popular platform in the field of sound engineering due to the creative advantages and advanced technological capabilities it offers to its users. However, much of the information presented in Mixing and Mastering in the Box is also applicable to analog mixing gear or a hybrid system of digital and analog tools. This book, which features over one hundred illustrations and a comprehensive companion website, is ideal for beginning or intermediate students in sound engineering with a focus on DAW, recording artists who do their own mixing and mastering, or musicians who wish to be better informed when collaborating on mixes and masters.

In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips readers with everything they need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile devices, and more. The book does not require any prerequisite programming skills, but rather walks readers through a series of small projects through which they will immediately begin to develop software applications for practical musical projects. As the book progresses, and as the individual's knowledge of the language grows, the projects become more sophisticated. This new and expanded second edition brings the book fully up-to-date including additional applications in integrating Max with Ableton Live. It also includes a variety of additional projects as part of the final three project chapters. The book is of special value both to software programmers working in Max/MSP/Jitter and to music educators looking to supplement their lessons with interactive instructional tools, develop adaptive instruments to aid in student composition and performance activities, and create measurement tools with which to conduct music education research.

Known as the "Father of Festival Sound," Bill Hanley (b. 1937) made his indelible mark as a sound engineer at the 1969 WoodStock Music and Arts Fair. Hanley is credited with creating the sound of WoodStock, which literally made the massive festival possible. Stories of his on-the-fly solutions resonate as legend among festivalgoers, music lovers, and sound engineers. Since the 1950s his passion for audio has changed the way Audiences listen to and technicians approach quality live concert sound. John Kane examines Hanley's echoing impact on the entire field of sound engineering, that crucial but often-overlooked carrier wave of contemporary music. Hanley's innovations founded the sound reinforcement industry and launched a new area of technology, rich with clarity and intelligibility. By the early seventies the post-WoodStock festival mass gathering movement collapsed. The music industry shifted, and new sound companies surfaced. After huge financial losses and facing stiff competition, Hanley lost his hold on a business he helped create. By studying both his history during the festivals and his independent business ventures, Kane seeks to present an honest portrayal of Hanley and his acumen and contributions. Since 2011, Kane conducted extensive research, including over one hundred interviews with music legends from the Production and performance side of the industry. These carefully selected respondents witnessed Hanley's expertise at various events and venues like Lyndon B. Johnson's second inauguration, the Newport Folk/Jazz Festivals, the Beatles' final tour of 1966, the Fillmore East, Madison Square Garden, and more. The Last Seat in the House will intrigue and inform anyone who cares about the modern music industry.