A handy source of essential data that every sound technician needs. Whether you are a professional sound engineer, responsible for broadcast or studio recording, or a student on a music technology or sound recording course, you will find this book authoritative and easily accessible.
Adapted from the comprehensive volume, the Audio Engineer's Reference Book (now in its second edition), this pocket-sized reference has been fully revised to cover the very latest technology connected with sound:
Noise measurement
Acoustics
Microphones
Loudspeakers
Mixing equipment
CDs, DAT, MIDI, MiniDisc
Telephony
ISDN
Digital interfacing
Ultrasonics
This second edition also features:
Substantial revisions of chapters on radio microphone frequencies, digital audio tape, and audio measurements.
An extended list of further reading.

Handy pocket-sized reference
Straightforward explanations
Must-have facts and figures for Sound Engineers

Broadcast Sound Technology (1995) covers the basic principles of all the main aspects of the broadcast chain, including microphones and loudspeakers technology, mixing consoles, recording and replay (analogue and digital) and the principles of stereo.

As shown by the ever-increasing volume of recordings, editions and performances of the vast repertory of secular cantatas for solo voice produced, primarily in Italy, in the second half of the seventeenth century and the first half of the eighteenth century, this long neglected genre has at last 'come of age'. However, scholarly interest is currently lagging behind musical practice: incredibly, there has been no general study of the Baroque cantata since Eugen Schmitz's handbook of 1914, and although many academic theses have examined microscopically the cantatas of individual composers, there has been little opportunity to view these against the broader canvas of the genre as a whole. The contributors in this volume choose aspects of the cantata relevant to their special interests in order to say new things about the works, whether historical, analytical, bibliographical, discographical or performance-based. The prime focus is on Italian-born composers working between 1650 and 1750 (thus not Handel), but the opportunity is also taken in one chapter (by Graham Sadler) to compare the French cantata tradition with its Italian parent in association with a startling new claim regarding the intended instrumentation. Many key figures are considered, among them Tomaso Albinoni, Giovanni Bononcini, Giovanni Legrenzi, Benedetto Marcello, Alessandro Scarlatti, Alessandro Stradella, Leonardo Vinci and Antonio Vivaldi. The poetic texts of the cantatas, all too often treated as being of little intrinsic interest, are given their due weight. Space is also found for discussions of the history of Baroque solo cantatas on disc and of the realization of the continuo in cantata arias - a topic more complex and contentious than may at first be apparent. The book aims to stimulate interest in, and to win converts to, this genre, which in its day equalled the instrumental sonata in importance, and in which more than a few composers invested a major part of their creativity.

The recent demise of the independent television companies and the expansion of satellite and cable networks has led to an explosion in small, independent production facilities. In parallel with this development has been a steady increase in media training and a major expansion in corporate video facilities. The Video Studio is written for everyone contemplating setting-up a professional installation, whether studio or location based. The Video Studio shows how to estimate the scale of investment required and, depending on the nature and frequency of use of the facility, the layout of technical areas and the function of the main items of equipment is described in easy to understand language. In short this is a nuts and bolts approach to planning and operating a studio of 150 square metres or less. Completely updated to take account of all the recent technological advances which have taken place, the book now covers: DAT, timecode, digital compression, non-linear editing and all current digital video formats.

A richly sourced account of diplomatic practice in the British mission to Istanbul from 1661 to 1807. The British Embassy in Istanbul was unique among other diplomatic missions in the long eighteenth century in being financed by a private commercial monopoly, the Levant Company. In this detailed study, Michael Talbot shows how theintimate relation between commercial interest and diplomatic practice played out across the period, from the arrival of an ambassador from the restored British crown in 1661 to the sudden evacuation of his successor and the outbreak of the first Ottoman War in 1807. Using a rich variety of sources in English, Ottoman Turkish and Italian, some of them never before examined, including legal documents, financial ledgers and first-hand accounts from participants, he reconstructs the detail of diplomatic practice in rituals of gift-giving and hospitality within the Ottoman court; examines the at times very different meanings that they held for the British and Ottoman participants; andtraces the ways in which the declining fortunes of the Levant company directly affected the ability of the embassy to perform effectively within Ottoman conventions, at a time when rising levels of British violence in and around the Ottoman realm marked the journey towards British imperialism in the region. MICHAEL TALBOT is Lecturer in History at the University of Greenwich.

As shown by the ever-increasing volume of recordings, editions and performances of the vast repertory of secular cantatas for solo voice produced, primarily in Italy, in the second half of the seventeenth century and the first half of the eighteenth century, this long neglected genre has at last 'come of age'. However, scholarly interest is currently lagging behind musical practice: incredibly, there has been no general study of the Baroque cantata since Eugen Schmitz's handbook of 1914, and although many academic theses have examined microscopically the cantatas of individual composers, there has been little opportunity to view these against the broader canvas of the genre as a whole. The contributors in this volume choose aspects of the cantata relevant to their special interests in order to say new things about the works, whether historical, analytical, bibliographical, discographical or performance-based. The prime focus is on Italian-born composers working between 1650 and 1750 (thus not Handel), but the opportunity is also taken in one chapter (by Graham Sadler) to compare the French cantata tradition with its Italian parent in association with a startling new claim regarding the intended instrumentation. Many key figures are considered, among them Tomaso Albinoni, Giovanni Bononcini, Giovanni Legrenzi, Benedetto Marcello, Alessandro Scarlatti, Alessandro Stradella, Leonardo Vinci and Antonio Vivaldi. The poetic texts of the cantatas, all too often treated as being of little intrinsic interest, are given their due weight. Space is also found for discussions of the history of Baroque solo cantatas on disc and of the realization of the continuo in cantata arias - a topic more complex and contentious than may at first be apparent. The book aims to stimulate interest in, and to win converts to, this genre, which in its day equalled the instrumental sonata in importance, and in which more than a few composers invested a major part of their creativity.

Sound Assistance offers a highly readable and easy-to-understand account of sound operations in radio and television studios. By knowing the characteristics of the equipment, such as threshold and compression ratios, it is much easier to achieve professional effects quickly, saving hours of trial and error.

The book will suit anyone wishing to work as a sound assistant but who does not have a thorough grounding in the maths and physics. Written in an informal style with practical 'do's' and 'don'ts', the fundamental principles are explained. Where knowledge of a higher level of maths is helpful, this information is given in handy 'fact files'.
Particularly appropriate for students, training officers and supervisors who have the task of passing on this information in a simple, easy-to-digest format, Sound Assistance is written in easy-to read language with a minimum of maths.
This second edition now has more on:
* Microphone sensitivities
* Loudspeaker listening tests
* Domestic colour code for stereo
* Stereo transmission in radio
* Stereo PPM interpretations
* MiniDisk
* Digital radio
* Recordable CDs.
Michael Talbot-Smith is a freelance audio consultant and author of Audio Explained, and coauthor of The Video Studio. He is editor of The Audio Engineer's Reference Book (now in its second edition) and The Sound Engineer's Pocketbook. He is a former trainer of audio engineers at BBC Wood Norton.
Explains the fundamental principles of sound operations.
Written in easy-to-read language with a minimum of maths
Updated to include the latest technology

This straightforward introduction to audio techniques guides the beginner through principles such as sound waves and basic acoustics and offers practical advice for using recording and reproduction equipment. Previously known as Audio Explained, this latest edition includes new material on: reverberation and its use in recording; principles of digital mixing; digital recording; including MiniDisc and MP3; digital artificial reverberation.Designed with the student in mind, information is organised according to level of difficulty. An understanding of the basic principles is essential to anyone wishing to make successful recordings and so chapters are split into two parts: the first introducing the basic theories in a non-technical way; the second dealing with the subject in more depth. Key facts are clearly identified in separate boxes and further information for the more advanced reader is indicated in shaded boxes. In addition, questions are provided (with answers supplied at the end of the book) as a teaching and learning aid.Sound Engineering Explained is ideal for both serious audio amateurs any student studying audio for the first time, in particular those preparing for Part One exams of the City & Guilds Sound Engineering (1820) course.

Sound Assistance offers a highly readable and easy-to-understand account of sound operations in radio and television studios. By knowing the characteristics of the equipment, such as threshold and compression ratios, it is much easier to achieve professional effects quickly, saving hours of trial and error.The book will suit anyone wishing to work as a sound assistant but who does not have a thorough grounding in the maths and physics. Written in an informal style with practical 'do's' and 'don'ts', the fundamental principles are explained. Where knowledge of a higher level of maths is helpful, this information is given in handy 'fact files'.Particularly appropriate for students, training officers and supervisors who have the task of passing on this information in a simple, easy-to-digest format, Sound Assistance is written in easy-to read language with a minimum of maths.This second edition now has more on: Microphone sensitivities Loudspeaker listening tests Domestic colour code for stereo Stereo transmission in radio Stereo PPM interpretations MiniDisk Digital radio Recordable CDs.Michael Talbot-Smith is a freelance audio consultant and author of Audio Explained, and coauthor of The Video Studio. He is editor of The Audio Engineer's Reference Book (now in its second edition) and The Sound Engineer's Pocketbook. He is a former trainer of audio engineers at BBC Wood Norton.

A handy source of essential data that every sound technician needs. Whether you are a professional sound engineer, responsible for broadcast or studio recording, or a student on a music technology or sound recording course, you will find this book authoritative and easily accessible.Adapted from the comprehensive volume, the Audio Engineer's Reference Book (now in its second edition), this pocket-sized reference has been fully revised to cover the very latest technology connected with sound:Noise measurement AcousticsMicrophonesLoudspeakersMixing equipmentCDs, DAT, MIDI, MiniDisc TelephonyISDNDigital interfacingUltrasonics This second edition also features:Substantial revisions of chapters on radio microphone frequencies, digital audio tape, and audio measurements.An extended list of further reading.

Since 1978, the 300th anniversary of Vivaldi's death, there has been an explosion of serious writing about his music, life and times. Much of this has taken the form of articles published in academic journals or conference proceedings, some of which are not easy to obtain. The twenty-two articles selected by Michael Talbot for this volume form a representative selection of the best writing on Vivaldi from the last 30 years, featuring such major figures in Vivaldi research as Reinhard Strohm, Paul Everett, Gastone Vio and Federico Maria Sardelli. Aspects covered include biography, Venetian cultural history, manuscript studies, genre studies and musical analysis. The intention is to serve as a 'first port of call' for those wishing to learn more about Vivaldi or to refresh their existing knowledge. An introduction by Michael Talbot reviews the state of Vivaldi scholarship past and present and comments on the significance of the articles.

Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.

This book contains sixteen essays on Venetian music in its last great period, stretching from the second half of the 17th century to the fall of the Republic in 1797. Two essays deal with musical institutions (academies and conservatories), nine with the life and works of Antonio Vivaldi, and five with contemporaries of Vivaldi active in Venice (Albinoni, Marcello, Vinaccesi). A substantial supplementary chapter updates, and where necessary revises, the facts and arguments of the original essays, which collectively date from the years 1973-1995. All the essays are written in English, but many originally appeared in Italian journals and conference proceedings that are hard for English-speaking readers to obtain. The volume is carefully indexed, enabling the reader easily to make connections between the essays.

'There is evidence to suggest that our world and everything in it - from snowflakes to maple trees to falling stars and spinning electrons - are only ghostly images, projections from a level of reality literally beyond both space and time.' This is the astonishing idea behind the holographic theory of the universe, pioneered by two eminent thinkers: physicist David Bohm, a former protege of Albert Einstein, and quantum physicist Karl Pribram. The holographic theory of the universe encompasses consciousness and reality as we know them, but can also explain such hitherto unexplained phenomena as telepathy, out-of-body experiences and even miraculous healing. In this remarkable book, Michael Talbot reveals the extraordinary depth and power of the holographic theory of the universe, illustrating how it makes sense of the entire range of experiences within our universe - and in other universes beyond our own.

It's one of those topics most of us would rather avoid in conversation -- why would anyone want to reveal private jealousies, resentments, fantasies, temptations, or other weaknesses? Yet steady sales of this valuable little book attest that there are plenty of us who struggle with sinful thoughts -- and desire help. For anyone who wavers at times between obeying the voice of the conscience and giving in to the lower nature, this book offers sage advice for coming through the struggle. Drawing on years of experience as a pastoral counselor, Arnold guides the reader from the throes of frustration and guilt to a life of freedom and joy.

Nearly everyone is familiar with holograms--three-dimensional images projected into space with the aid of a laser. Two of the world's most eminent thinkers believe that the universe itself may be a giant hologram, quite literally a kind of image or construct created, at least in part, by the human mind. University of London physicist David Bohm, a protege of Einstein and one of the world's most respected quantum physicists, and Stanford neurophysiologist Karl Pribram, an architect of our modern understanding of the brain, have developed a remarkable new way of looking at the universe. Their theory explains not only many of the unsolved puzzles of physics but also such mysterious occurrences as telepathy, out-of-body and near-death experiences, "lucid" dreams, and even religious and mystical experiences such as feelings of cosmic unity and miraculous healings.

Now featuring a foreword by Lynne McTaggart, Michael Talbot's The Holographic Universe is a landmark work whose exciting conclusions continue to be proven true by today's most advanced physics, cosmology, and string theory.

An authoritative reference on all aspects of audio engineering and technology including basic mathematics and formulae, acoustics and psychoacoustics, microphones, loudspeakers and studio installations.
Compiled by an international team of experts, the second edition was updated to keep abreast of fast-moving areas such as digital audio and transmission technology. Much of the material has been revised, updated and expanded to cover the very latest techniques. This is a new paperback version.
Understand all aspects of audio engineering and technology through the extensive coverage and detail included
Keep up to date with modern theory and practice

The recent demise of the independent television companies and the expansion of satellite and cable networks has led to an explosion in small, independent production facilities. In parallel with this development has been a steady increase in media training and a major expansion in corporate video facilities. The Video Studio is written for everyone contemplating setting-up a professional installation, whether studio or location based. The Video Studio shows how to estimate the scale of investment required and, depending on the nature and frequency of use of the facility, the layout of technical areas and the function of the main items of equipment is described in easy to understand language. In short this is a nuts and bolts approach to planning and operating a studio of 150 square metres or less. Completely updated to take account of all the recent technological advances which have taken place, the book now covers: DAT, timecode, digital compression, non-linear editing and all current digital video formats.

Detailed survey of Vivaldi's unjustly neglected chamber cantatas, showing them to stand comparison with his more famous works. Vivaldi's chamber cantatas for solo voice, some forty in total, are steadily gaining in popularity: but because of their relatively small place in the oeuvre of a composer famed for his productivity, and also on account of the general scholarly neglect of their genre, they are little discussed in the literature. This book comprehensively explores their literary and musical background, their relation to the composer's biography, the chronology of their composition, and their musical qualities. Each cantata is discussed individually, but there is also a broader consideration of aspects concerning them collectively, such as performance practice, topical allusion, and the conventions of Italian verse. The author argues that while Vivalid's cantatas are not as innovative as his concertos and operas, he produced several masterpieces in the genre that rank with his best music. MICHAEL TALBOT is Emeritus Professor of Music at the University of Liverpool.