From the Fairlight CMI through MIDI to the digital audio workstations at the turn of the millennium, Modern Records, Maverick Methods examines a critical period in commercial popular music record production: the transformative digital age from the late 1970s until 2000. Drawing on a discography of more than 300 recordings across pop, rock, hip hop, dance and alternative musics from artists such as the Beastie Boys, Madonna, U2 and Fatboy Slim, and extensive and exclusive ethnographic work with many world-renowned recordists, Modern Records presents a fresh and insightful new perspective on one of the most significant eras in commercial music record production. The book traces the development of significant music technologies through the 1980s and 1990s, revealing how changing attitudes and innovative techniques of recording personnel reimagined recording processes and, finally, exemplifies the impact of these technologies and techniques via six comprehensive tech-processual analyses. This meticulously researched and timely book reveals the complexity of recordists' responses to a technological landscape in flux.

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.

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.

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.

This unique anthology assembles primary documents chronicling the development of the phonograph, film sound, and the radio. These three sound technologies shaped Americans' relation to music from the late nineteenth century until the end of the Second World War, by which time the technologies were thoroughly integrated into everyday life. There are more than 120 selections between the collection's first piece, an article on the phonograph written by Thomas Edison in 1878, and its last, a column advising listeners "desirous of gaining more from music as presented by the radio." Among the selections are articles from popular and trade publications, advertisements, fan letters, corporate records, fiction, and sheet music. Taken together, the selections capture how the new sound technologies were shaped by developments such as urbanization, the increasing value placed on leisure time, and the rise of the advertising industry. Most importantly, they depict the ways that the new sound technologies were received by real people in particular places and moments in time.

An Introduction to Music Technology provides a clear and concise overview of the essential elements of music technology for today's musician. It is designed to provide music students with the background necessary to apply technology in their creating, teaching, and performing. This book focuses on five topics that underlie the hardware and software in use today: Sound, Audio, MIDI, Synthesis and Sampling, and Computer Notation and Computer-Assisted Instruction. In addition, there is an appendix that covers necessary computer hardware and software concepts. Features: Thorough explanations of key topics in music technology Content applicable to all software and hardware, not linked to just one piece of software or gear In-depth discussion of digital audio topics, such as sampling rates, resolutions, and file formats Explanations of standard audio plug-ins including dynamics processors, EQs, and delay-based effects Coverage of synthesis and sampling in software instruments Pedagogical features, including: Further Reading sections that allow the student to delve deeper into topics of interest - Suggested Activities that can be carried out with a variety of different programs - Key Terms at the end of each chapter - What do I need? chapters covering the types of hardware and software needed in order to put together Audio and MIDI systems - The companion website contains links to audio examples that demonstrate various concepts, step-by-step tutorials, relevant hardware, software, and additional audio and video resources.

This bestselling book introduces you to the principles of sound, perception, audio technology and systems. Providing vital reading for audio students and trainee engineers, this guide is ideal for anyone concerned with audio, sound and recording who wants a really good grounding in theory and industry practice. Now with numerous updates, including a new chapter on sound quality, expanded information on sequencing and synchronization, and updated chapters on digital audio, loudspeakers and mixers.

* Best-selling text provides more than an introduction to audio and sound recording in an easily digestible format. * "Fact Files" give succinct information on the areas covered, addressing key points to aid the learning process * Covers the latest digital recording technology, formats, and computer based interfaces * Stereo and surround sound principles described in detail

"Behind the Glass, Volume II" presents another prime collection of firsthand interviews with the world's top record producers and engineers, sharing their creative secrets and hit-making techniques - from the practical to the artistic. In these pages you'll find Daniel Lanois ("U2", Bob Dylan) discussing the future of digital recording; T-Bone Burnett (Robert Plant and Alison Krauss) sharing his unique view of creating complex low end; and Hugh Padgham ("Police", "Genesis") analyzing the state of the business today. For real-world advice on everything from home recording to mixing to coaching a nervous singer, check out author Howard Massey's conversations with Mark Ronson ("Amy Winehouse"), Tony Brown ("Reba McEntire"), Gus Dudgeon ("Elton John"), John Simon ("The Band"), Russ Titelman ("Steve Winwood"), Bruce Swedien (Michael Jackson), Rodney Jerkins (Mary J. Blige), Simon Climie (Eric Clapton), Matt Serletic ("Matchbox Twenty"), and more.

(Book). Ever since his father gave him a disc recorder at the tender age of 10, Bruce Swedien has known what he wanted to do for the rest of his life. The names of the people he has worked with are too many to list, but when one mentions musicians like Count Basie, Duke Ellington, Oscar Peterson, Sarah Vaughan, Eddie Harris, Quincy Jones, Jennifer Lopez, and even Michael Jackson, a great deal is immediately understood. In this book, Swedien generously gives away detailed information from his lifetime in the studio-from a musical, technical, and very personal perspective. This book has something for everyone who is interested in music, especially those curious about the stories behind the scenes of some of the best music to ever come out of the recording studio.

First published in 1987 and now considered a classic, "The Recording ""Angel" charts the ways in which the phonograph and its cousins have transformed our culture. In a new Afterword, Evan Eisenberg shows how digital technology, file trading, and other recent developments are accelerating--or reversing--these trends. Influential and provocative, "The Recording Angel "is required reading for anyone who cares about the effect recording has had--and will have--on our experience of music.

CSound per PC e MACTeoria e pratica della sintesi e dell'elaborazione del suono attraverso CsoundSeconda edizione riveduta e ampliataCSound: come funziona Sintesi additiva Sintesi sottrattiva Diagrammi di flusso Stereo e segnali di controllo, vibrato, tremolo, suono in 3D Audio digitale I suoni campionati e la loro elaborazione Analisi e risintesi Uso di files MIDI Controlli MIDI e tempo reale AM e ring modulation Modulazione di frequenza (FM) Variabili globali, eco, riverbero, chorus, flanger, phaser, convoluzione Sintesi per distorsione non lineare (DNL) e sintesi vettoriale Sintesi granulare e sintesi per formanti La sintesi per modelli fisici Csound come linguaggio di programmazione Lista degli Opcode Messaggi di Errore e di Avvertimento di Csound Siti Internet

Repeated Takes is the first general book on the history of the recording industry, covering the entire field from Edison's talking tin foil of 1877 to the age of the compact disc. Michael Chanan considers the record as a radically new type of commodity which turned the intangible performance of music into a saleable object, and describes the upset which this caused in musical culture. He asks: What goes on in a recording studio? How does it affect the music? Do we listen to music differently because of reproduction? Repeated Takes relates the growth and development of the industry, both technically and economically; the effects of the microphone on interpretation in both classical and popular music; and the impact of all these factors on musical styles and taste. This highly readable book also traces the connections between the development of recording and the rise of new forms of popular music, and discusses arguments among classical musicians about microphone technique and studio practice.

After a hundred years of recording, the process of making records is still mysterious to most people who listen to them. Records hold a fundamental place in the dynamics of modern musical life, but what do they represent? Are they documents? Snapshots? Artworks? Fetishes? Commodities? Conveniences? "The Poetics of Rock" is a fascinating exploration of recording consciousness and compositional process from the perspective of those who make records. In it, Albin Zak examines the crucial roles played by recording technologies in the construction of rock music and shows how songwriters, musicians, engineers, and producers contribute to the creative project, and how they all leave their mark on the finished work.
Zak shapes an image of the compositional milieu by exploring its elements and discussing the issues and concerns faced by artists. Using their testimony to illuminate the nature of record making and of records themselves, he shows that the art of making rock records is a collaborative compositional process that includes many skills and sensibilities not traditionally associated with musical composition. Zak connects all the topics--whether technical, conceptual, aesthetic, or historical--with specific artists and recordings and illustrates them with citations from artists and with musical examples. In lively and engaging prose, "The Poetics of Rock" brilliantly illustrates how the musical energy from a moment of human expression translates into a musical work wrought in sound.

Sonic Identity at the Margins convenes the interdisciplinary work of 17 academics, composers, and performers to examine sonic identity from the 19th century to the present. Recognizing the myriad aspects of identity formation, the authors in this volume adopt methodological approaches that range from personal accounts and embodied expression to archival research and hermeneutic interpretation. They examine real and imagined spaces—from video games and monument sites to films and depictions of outer space—by focusing on sonic creation, performance, and reception. Drawing broadly from artistic and performance disciplines, the authors reimagine the roles played by music and sound in constructing notions of identity in a broad array of musical experiences, from anti-slavery songsters to Indigenous tunes and soundscapes, noise and multimedia to popular music and symphonic works. Exploring relationships between sound and various markers of identity—including race, gender, ability, and nationality—the authors explore challenging, timely topics, including the legacies of slavery, indigeneity, immigration, and colonial expansion. In heeding recent calls to decolonize music studies and confront its hegemonic methods, the authors interrogate privileged perspectives embedded in creating, performing, and listening to sound, as well as the approaches used to analyze these experiences.

Mute Records is one of the most influential, commercially successful, and long-lasting of the British independent record labels formed in the wake of the late-1970's punk explosion. Yet, in comparison with contemporaries such as Rough Trade or Stiff, its legacy remains under-explored. This edited collection addresses Mute's wide-ranging impact. Drawing from disciplines such as popular music studies, musicology, and fan studies, it takes a distinctive, artist-led approach, outlining the history of the label by focusing each chapter on one of its acts. The book covers key moments in the company's evolution, from the first releases by The Normal and Fad Gadget to recent work by Arca and Dirty Electronics. It shines new light on the most successful Mute artists, including Depeche Mode, Nick Cave, Erasure, Moby, and Goldfrapp, while also exploring the label's avant-garde innovators, such as Throbbing Gristle, Mark Stewart, Labaich, Ut, and Swans. Mute Records examines the business and aesthetics of independence through the lens of the label's artists.