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.

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.

The Musician's Guide to iMovie for iPad features Apple's iMovie app, the perfect app to delve into the basics of video production. You will be guided step-by-step through the process of creating high-quality videos using iMovie for iOS. The book, along with the companion videos, will quickly get you up and running creating, editing, and sharing your own videos. Topics include importing video, pictures and audio clips, creating a movie trailer, exporting videos to sharing sites such as YouTube, Facebook, and Vimeo. Also included is information for purchasing and using add-ons such as microphones, stands, lighting, video storage options and more. You will explore options for using other devices to function as cameras such as Smartphones, GoPro, and other camera apps. Requires iOS 9.3 or later. Compatible with iPhone, iPad, and iPod touch. iMovie app version 2.2.4 and later. * You will learn best practices for creating quality videos using only your iPad and iMovie in both natural and artificial lighting * Enhance your movies with slow motion, fast forward, picture-in-picture, and split-screen effects * Customize movie studio logos, cast names, and credits * Create a trailer and choose from eight unique video themes with matching titles, transitions, and music * Save videos and iMovie project files to iCloud Drive * AirPlay to wirelessly stream video to your HDTV with Apple TV

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.

Technology has become increasingly integrated into our daily lives, receiving a great deal of attention as an educational tool with the potential to enhance, or even transform, student learning. Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music presents an approach to conceptualizing and utilizing technology as a tool for music learning. Designed for use by pre- and in-service music teachers, it provides the essential understandings required for educators to become adaptive experts with music technology; to be instructional designers capable of creating and implementing lessons, units, and curriculum that take advantage of technological affordances to assist students in developing their musicianship. Most books about music and technology are technocentric, organized around specific technologies. Technological understanding is important and necessary for teachers, but research into educators' use of technology with students indicates that knowledge of the technology alone is insufficient. While some books have described teaching strategies and attempted to align the use of technologies with broader goals (standards), none of them have offered a coherent view of the interconnectedness of musical content, pedagogy, and technology. Grounded in the research and best practice literature, Music Learning Today makes connections among music knowledge and skill outcomes, the research on human cognition and music learning, best practices in music pedagogy, and technology. Its essential premise is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes -creating, performing, and responding to music. The philosophical and theoretical rationales, along with the practical information discussed in the book, are applicable to all experience levels. However, the technological applications described are focused at a beginning to intermediate level, relevant to both pre-service and in-service music educators and their students.

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.

In this rich study of noise in American film-going culture, Meredith C. Ward shows how aurality can reveal important fissures in American motion picture history, enabling certain types of listening cultures to form across time. Connecting this history of noise in the cinema to a greater sonic culture, Static in the System shows how cinema sound was networked into a broader constellation of factors that affected social power, gender, sexuality, class, the built environment, and industry, and how these factors in turn came to fruition in cinema's soundscape. Focusing on theories of power as they manifest in noise, the history of noise in electro-acoustics with the coming of film sound, architectural acoustics as they were manipulated in cinema theaters, and the role of the urban environment in affecting mobile listening and the avoidance of noise, Ward analyzes the powerful relationship between aural cultural history and cinema's sound theory, proving that noise can become a powerful historiographic tool for the film historian.

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.

With this all-in-one manual, students and teachers have an easy-to-read reference that provides a reliable and current rundown of the world of sound production, from planning a recording session to mastering the final product. Organized by four main topics - pre-production, recording various instruments, mixing theories and tools, and mastering - Audio Production Principles follows the actual flow of instruction given over the course of a student's tenure. Chapters address etiquette and basic operations for any recording session written in useful, tutorial style language, providing guidelines for beginner audio engineers on topics including pre-production, equipment selection, and mixing tips by instrument. Jumpstarting the mastering process, lessons delve into features unique to specific tools and techniques. All sections offer instructional scenarios of studio setups, asking students to brainstorm the best production technique for each situation. These exercises also help teachers generate new ideas for instruction and production projects of their own.

Written specifically with service technicians and engineers in mind, this book is designed as a bench-side companion and guide to the principles involved in repairing and adjusting CD players. Engineers will find this a helpful companion to the various service manuals. The text takes a problem solving approach with numerous examples, circuit diagrams and line drawings.

Engineers who need to achieve a better understanding of CD technology will find this book an essential tool for fault diagnosis, adjustment and repair. This book not only covers the mechanical design but also the integrated circuits within a CD player. It is written for immediate application and is well illustrated, so it should become a welcome addition to the rack of tools available to the service engineer. Ken Clements has extensive experience of the service industry both as a service manager and later in technical training with Sony and Pioneer. It is his hands-on knowledge that makes the book so valuable, not only as a wide-ranging reference but also as a benchtop manual to be kept within reach at all times when working with CD players.

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 Vintage Recordings and Data A5 Journal from Galison features a series of analog images from the past such as a vinyl album, floppy disc, VHS tape, cassette tape, and many more. The journal has sleek silver gilded page edges and 136 lined pages. - Silver Gilded Page Edges - 136 Lined Pages - Size: 6 x 8.2", 152 x 208 mm

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.
Fifty years after musical tones were produced on a computer for the first time, developments in laptop computing have brought computer music within reach of all listeners and composers. Production and distribution of computer music have grown tremendously as a result, and the time is right for this survey of computer music in its cultural contexts. An impressive and international array of music creators and academics discuss computer music's history, present, and future with a wide perspective, including composition, improvisation, interactive performance, spatialization, sound synthesis, sonification, and modeling. Throughout, they merge practice with theory to offer a fascinating look into computer music's possibilities and enduring appeal.

Make professional-sounding recordings of your songs in your home studio. Learn the essential techniques and processes of recording and mixing. Get the best sound quality from the tools studio space you have. Choose the right mics and other gear for your style. Understand what home studio tools exists, and choose what is right for you. Use loops, virtual instruments, and other contemporary strategies to enhance your creative songwriting process.

Between 1895 and 1920, the United States saw a sharp increase in commercial sound recording, the first mass medium of home entertainment. As companies sought to discover what kinds of records would appeal to consumers, they turned to performance forms already familiar to contemporary audiences—sales pitches, oratory, sermons, and stories. In A Most Valuable Medium, Richard Bauman explores the practical problems that producers and performers confronted when adapting familiar oral genres to this innovative medium of sound recording. He also examines how audiences responded to these modified and commoditized presentations. Featuring audio examples throughout and offering a novel look at the early history of sound recording, A Most Valuable Medium reveals how this new technology effected monumental change in the ways we receive information.

Sonic Writing explores how contemporary music technologies trace their ancestry to previous forms of instruments and media. Studying the domains of instrument design, musical notation, and sound recording under the rubrics of material, symbolic, and signal inscriptions of sound, the book describes how these historical techniques of sonic writing are implemented in new digital music technologies. With a scope ranging from ancient Greek music theory, medieval notation, early modern scientific instrumentation to contemporary multimedia and artificial intelligence, it provides a theoretical grounding for further study and development of technologies of musical expression. The book draws a bespoke affinity and similarity between current musical practices and those from before the advent of notation and recording, stressing the importance of instrument design in the study of new music and projecting how new computational technologies, including machine learning, will transform our musical practices. Sonic Writing offers a richly illustrated study of contemporary musical media, where interactivity, artificial intelligence, and networked devices disclose new possibilities for musical expression. Thor Magnusson provides a conceptual framework for the creation and analysis of this new musical work, arguing that contemporary sonic writing becomes a new form of material and symbolic design--one that is bound to be ephemeral, a system of fluid objects where technologies are continually redesigned in a fast cycle of innovation.