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.
Lebrecht compellingly demonstrates that classical recording has reached its end point-but this is not simply an expos? of decline and fall. It is, for the first time, the full story of a minor art form, analyzing the cultural revolution wrought by Schnabel, Toscanini, Callas, Rattle, the Three Tenors, and Charlotte Church. It is the story of how stars were made and broken by the record business; how a war criminal conspired with a concentration-camp victim to create a record empire; and how advancing technology, boardroom wars, public credulity and unscrupulous exploitation shaped the musical backdrop to our modern lives. The book ends with a suitable shrine to classical recording: the author's critical selection of the 100 most important recordings-and the 20 most appalling.
Filled with memorable incidents and unforgettable personalities-from Goddard Lieberson, legendary head of CBS Masterworks who signed his letters as God; to Georg Solti, who turned the Chicago Symphony into " the loudest symphony on earth"-this is at once the captivating story of the life and death of classical recording and an opinioned, insider's guide to appreciating the genre, now and for years to come.

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?

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.

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.

Lyrebird Rising is a study of the extraordinary life of Louis Hanson-Dyer (1884-1962), which began in the Melbourne of the Land Boom and ended in Grace Kelly's Monaco. Born into a wealthy family - her father was a parliamentarian and controversial doctor - Louise developed her interest in music early, and used her wealth (augmented by marrying a man 25 years her senior) to advance the arts in Melbourne. She assisted the poet Shaw Neilson and underwrote musical ventures, but increasingly felt the tug of Europe. In 1932, in Paris, she established Editions de l'Oiseau-Lyre (Lyrebird Press), and as a music publisher set about reviving baroque and medieval music, in rare editions notable both for their scholarship and sumptuousness. Later (assisted by a second husband, 25 years younger) she began to make discs to illustrate these editions. From that original idea the recording venture grew and grew: in 1950 Louise made the first long-playing records in Europe, and by the time she died Oiseau-Lyre was a famous label, putting out some of the earliest recordings by such people as Dame Joan Sutherland, Sir Colin Davis, Sir Neville Marriner and the Academy of St. Martin in the Fields, and Dame Janet Baker. Lyrebird Rising re-creates the ambience of Melbourne in the twenties, Paris in the thirties, and London in the fifties; it also discusses expatriatism, explores the paths open to a dynamic woman at the time, and examines the changes in musical taste that were set in motion by the rise of musicology, radio, and the gramophone record.

Focuses on the aural elements which combine with moving images. The New Soundtrack is fully peer-reviewed and 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. Key Features Brings together leading edge academic and professional perspectives on the complex relationship between sound and moving images. Covers a wide range of topics, including filmmaking, production, documentaries and macro-sounds. Provides a new platform for discourse on how aural elements combine with moving images.