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Books > Music > Music recording & reproduction
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.
The New Soundtrack brings together leading academic and professional perspectives on the complex relationship between sound and moving images. Former editors of The Soundtrack, Stephen Deutsch, Larry Sider and Dominic Power, bring their expertise to this project, providing a new platform for discourse on how aural elements combine with moving images. The New Soundtrack also encourages writing on more current developments, such as sound installations, computer-based delivery, and the psychology of the interaction of image and sound. The journal has an illustrious Editorial Board containing some of the most prominent people working with sound in the arts and media and the discourse which surrounds it. The New Soundtrack includes contributions from recognised practitioners in the field, including composers, sound designers and directors, giving voice to the development of professional practice, alongside academic contributions.
The New Soundtrack brings together leading edge academic and professional perspectives on the complex relationship between sound and moving images. Former editors of The Soundtrack, Stephen Deutsch, Larry Sider and Dominic Power, bring their expertise to this project, providing a new platform for discourse on how aural elements combine with moving images. The New Soundtrack also encourages writing on more current developments, such as sound installations, computer-based delivery, and the psychology of the interaction of image and sound. The journal has an illustrious Editorial Board containing some of the most prominent people working with sound in the arts and media and the discourse which surrounds it. The New Soundtrack includes contributions from recognised practitioners in the field, including composers, sound designers and directors, giving voice to the development of professional practice, alongside academic contributions. Each issue also features a short compilation of book and film reviews on recently released publications and artefacts.
In Sonic Virtuality: Sound as Emergent Perception, authors Mark Grimshaw and Tom Garner introduce a novel theory that positions sound within a framework of virtuality. Arguing against the acoustic or standard definition of sound as a sound wave, the book builds a case for a sonic aggregate as the virtual cloud of potentials created by perceived sound. The authors build on their recent work investigating the nature and perception of sound as used in computer games and virtual environments, and put forward a unique argument that sound is a fundamentally virtual phenomenon. Grimshaw and Garner propose a new, fuller and more complete, definition of sound based on a perceptual view of sound that accounts more fully for cognition, emotion, and the wider environment. The missing facet is the virtuality: the idea that all sound arises from a sonic aggregate made up of actual and virtual sonic phenomena. The latter is a potential that depends upon human cognition and emotion for its realization as sound. This thesis is explored through a number of philosophical, cognitive, and psychological concepts including: issues of space, self, sonosemantics, the uncanny, hyper-realism, affect, Gettier problems, belief, alief, imagination, and sound perception in the absence of sound sensation. Provocative and original, Grimshaw and Garner's ideas have broader implications for our relationship to technology, our increasingly digital lives, and the nature of our being within our supposed realities. Students and academics from philosophy to acoustics and across the broad spectrum of digital humanities will find this accessible book full of challenging concepts and provocative ideas.
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 book is built on recipes written in an easy-to-follow manner accompanied by diagrams and crucial insights and knowledge on what they mean in the real world. This book is ideal for musicians and producers who want to take their music creation skills to the next level, learn tips and tricks, and understand the key elements and nuances in building inspirational music. It's good to have some knowledge about music production, but if you have creativity and a good pair of ears, you are already ahead of the curve and well on your way.
The Oxford Handbook of Mobile Music Studies consolidates an area of scholarly inquiry that examines how electrical technologies and their corresponding economies of scale have rendered music and sound increasingly mobile - portable, fungible, and ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, "mobile music" opens up a space for studying the momentous transformations in the production, distribution, consumption, and experience of music and sound that took place from the late nineteenth to the early twenty-first centuries. The second volume of the handbook examines the aesthetics of mobile music and its proliferating forms of performance, incorporating epistemologies and methodologies from a number of disciplines, including music studies, sound studies, mobility studies, communication studies, new media studies, performance studies, and more. The contributors draw on political economy and economic sociology, ethnography and autoethnography, musical and sonic transcription, analysis and hermeneutics, and historical and archival research. The chapters treat a significant number of devices, including the the flash drive, the field recorder, the mobile phone, the handheld video game, the laptop computer, the siren, and even a pair of shoes. The Handbook likewise investigates the sonification and musicalization of vehicles - boom cars, trains, and ice cream trucks - and the sonics and musics of walking, texting, and commuting. Its chapters cover a large swath of the world - the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India - and a similarly broad array of musical styles and practices, from the recondite and subcultural to the mass-popular and global. The most comprehensive book of its kind, this handbook is a necessary reference for scholars in multiple fields.
This book puts sampling studies on the academic map by focusing on sampling as a logic of exchange between audio-visual media. While some recent scholarship has addressed sampling primarily in relation to copyright, this book is a first: a critical study of sampling and remixing across audio-visual media. Of special interest here are works that bring together both audio and visual sampling: music that samples film and television; underground dance and multimedia scenes that rely on sampling; Internet "memes" that repurpose music videos, trailers and news broadcasts; films and videos that incorporate a wide range of sampling aesthetics; and other provocative variations. Comprised of four sections titled "roots," "scenes," "cinema" and "web" this collection digs deep into and across sampling practices that intervene in popular culture from unconventional or subversive perspectives. To this end, Sampling Media extends the conceptual boundaries of sampling by emphasizing its inter-medial dimensions, exploring the politics of sampling practice beyond copyright law, and examining its more marginal applications. It likewise puts into conversation compelling instances of sampling from a wide variety of historical and contemporary, global and local contexts.
Unruly Media argues that we're on the crest of a new international, intermedial style in which sonic and visual parameters become heightened and accelerated. This audiovisual turn, driven by digital technologies and socioeconomic changes, calls for new forms of attention. Post-classical cinema, with its multi-plot narratives and flashy style, fragments under the influence of audiovisual numbers and music-video-like sync. Music video, after migrating to the web, becomes more than a way of selling songs. YouTube's brief and low-res clips encompass many forms, and foreground reiteration, graphic values and affective intensity. All three of these media are riven by one another: a trajectory from YouTube through music video to the new digital cinema reveals structural commonalities, especially in the realms of rhythm, texture and form. Music video, YouTube, and postclassical cinema remain undertheorized. This is the first book to account for the current audiovisual landscape across medium and platform-to try to characterize the audiovisual swirl. Unruly Media includes both new theoretical models and readings of numerous current multimedia works. It also includes several chapters devoted to the oeuvre of highly popular directors, their films, commercials and music videos. Unruly Media argues that attending equally to soundtrack and image can show how these media work, and the ways they both mirror and shape our modern experience.
Why don't Guitar Hero players just pick up real guitars? What happens when millions of people play the role of a young black gang member in Grand Theft Auto: San Andreas? How are YouTube-based music lessons changing the nature of amateur musicianship? This book is about play, performance, and participatory culture in the digital age. Miller shows how video games and social media are bridging virtual and visceral experience, creating dispersed communities who forge meaningful connections by "playing along" with popular culture. Playing Along reveals how digital media are brought to bear in the transmission of embodied knowledge: how a Grand Theft Auto player uses a virtual radio to hear with her avatar's ears; how a Guitar Hero player channels the experience of a live rock performer; and how a beginning guitar student translates a two-dimensional, pre-recorded online music lesson into three-dimensional physical practice and an intimate relationship with a distant teacher. Through a series of engaging ethnographic case studies, Miller demonstrates that our everyday experiences with interactive digital media are gradually transforming our understanding of musicality, creativity, play, and participation.
The Oxford Handbook of Computer Music offers a state-of-the-art
cross-section of the most field-defining topics and debates in
computer music today. A unique contribution to the field, it
situates computer music in the broad context of its creation and
performance across the range of issues - from music cognition to
pedagogy to sociocultural topics - that shape contemporary
discourse in the field.
The recording industry has experienced dramatic changes in recent years as music lovers have made the switch from listening to music on CDs to downloading music online for MP3 players and other devices. As much as things have changed, some have stayed the same, and the industry still needs people who can find and recognize new talent, produce top quality recordings, and get the public interested in new music. Although the recording industry is highly competitive and founded on creativity, it offers many types of jobs and opportunities.
In this compulsively readable, fascinating, and provocative guide
to classical music, Norman Lebrecht, one of the world's most widely
read cultural commentators tells the story of the rise of the
classical recording industry from Caruso's first notes to the
heyday of Bernstein, Glenn Gould, Callas, and von Karajan.
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.
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.
Why is music so important to radio? This anthology explores the ways in which musical life and radio interact, overlap and have influenced each other for nearly a century. One of music radio's major functions is to help build smaller or larger communities by continuously offering broadcast music as a means to create identity and senses of belonging. Music radio also helps identify and develop musical genres in collaboration with listeners and the music industry by mediating and by gatekeeping. Focusing on music from around the world, Music Radio discusses what music radio is and why or for what purposes it is produced. Each essay illuminates the intricate cultural processes associated with music and radio and suggests ways of working with such complexities.
This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Composers and sound artists have explored for decades how to transform microphones and loudspeakers from "inaudible" technology into genuinely new musical instruments. While the sound reproduction industry had claimed perfect high fidelity already at the beginning of the twentieth century, these artists found surprising ways of use - for instance tweaking microphones, swinging loudspeakers furiously around, ditching microphones in all kinds of vessels, or strapping loudspeakers to body parts of the audience. Between air and electricity traces their quest and sets forward a new theoretical framework, providing historic background on technological and artistic development, and diagrams of concert and performance set-ups. From popular noise musician Merzbow to minimalist classic Alvin Lucier, cult instrument inventor Hugh Davies, or contemporary visual artist Lynn Pook - they all aimed to make audible what was supposed to remain silent. www.microphonesandloudspeakers.com
The evolution of the record producer from organizer to auteur, from Phil Spector and George Martin to the rise of hip-hop and remixing. In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate eclecticism of George Martin's recordings of the Beatles did not resemble live performances-in the Albert Hall or elsewhere-but instead created a new sonic world. The role of the record producer, writes Virgil Moorefield in The Producer as Composer, was evolving from that of organizer to auteur; band members became actors in what Frank Zappa called a "movie for your ears." In rock and pop, in the absence of a notated score, the recorded version of a song-created by the producer in collaboration with the musicians-became the definitive version. Moorefield, a musician and producer himself, traces this evolution with detailed discussions of works by producers and producer-musicians including Spector and Martin, Brian Eno, Bill Laswell, Trent Reznor, Quincy Jones, and the Chemical Brothers. Underlying the transformation, Moorefield writes, is technological development: new techniques-tape editing, overdubbing, compression-and, in the last ten years, inexpensive digital recording equipment that allows artists to become their own producers. What began when rock and pop producers reinvented themselves in the 1960s has continued; Moorefield describes the importance of disco, hip-hop, remixing, and other forms of electronic music production in shaping the sound of contemporary pop. He discusses the making of Pet Sounds and the production of tracks by Public Enemy with equal discernment, drawing on his own years of studio experience. Much has been written about rock and pop in the last 35 years, but hardly any of it deals with what is actually heard in a given pop song. The Producer as Composer tries to unravel the mystery of good pop: why does it sound the way it does?
Recording Tips for Music Educators: A Practical Guide for Recording School Groups provides a go-to guide for music educators to plan and execute a successful recording project for school groups. For those teachers who are not comfortable with the recording process, this book functions as a catalyst to becoming comfortable with the planning, execution, and use of a school recording project. One of the most valuable tools for teaching is for students to be able to evaluate themselves. A good recording of the group helps students listen critically and make accurate evaluations of how well they have performed literature they have been taught over time. Covering planning, equipment needs, and equipment use, Recording Tips for Music Educators ensures that educators not trained in music production will be able to create praise-worthy recordings.
This book with CD-ROM covers: sequencing and MIDI editing * drum loops with audio samples * panning * signal flow of the Sonar virtual mixing board * setting levels between the mixing board and Sonar * implementing and recording with DXi virtual instruments * steps to digital audio recording * review of the Sonar effects * basic audio editing * mixing basics * score notation basics * and more. Only Sonar Made Easy explains how to use Peavey's Studio Mix digital recording station and puts special emphasis on using LiveSynth Pro virtual SoundFont sampler. As a result, Sonar users learn how to record with professional samples in a SoundFont format without the exorbitant cost of sample libraries. The accompanying CD-ROM contains MIDI and audio practice files that illustrate key teaching points, dozens of drum patterns, a demo version of Translator software, a demo version of LiveSynth Pro 1.3, and a list of Internet resources for free downloadable SoundFonts.
Hardware License Key. Required for HALion 3.1, HALion Player, Groove Agent 2.0, The Grand 2.0, HALion String Edition 2 and Virtual Bassist.
This book contains an interdisciplinary selection of timely articles which cover a wide range of superconducting technologies ranging from high tech medicine (10-12 Gauss) to multipurpose sensors, microwaves, radio engineering, magnet technology for accelerators, magnetic energy storage, and power transmission on the 109 watt scale. It is aimed primarily at the non-specialist and will be suitable as an introductory course book for those in the relevant fields and related industries. As shown in the title several examples of high-Tc applications are included. While low-Tc is still the leading technology, for instance, in cables and SQUIDS, case studies in these areas are presented.
-- First new edition in 15 years, featuring many updates and revisions -- A do-it-yourself book in construction, theory, and practice with regard to equipment and antennas -- Presents a complete documentation on modern technical topics, including HF, VHF, and UHF spectrums and equipment design and building techniques Written for the engineer, technician, or advanced radio amateur, this popular guide to radio communications presents complete documentation on many technical topics. It studies HF, VHF, and UHF spectrums, covers theory and equipment design in detail, and explains construction techniques. The new edition broadens the audience by giving professional engineers a better understanding of all aspects of radio electronics. Older material is covered in a historical context and updated materials, such as the new wireless revolution and the impact of the Internet, are heavily detailed in this new edition.
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