Acoustic and sound engineering Books

Book SynopsisMichel Chion’s landmark Audio-Vision has exerted significant influence on our understanding of sound-image relations since its original publication in 1994. In this updated and expanded edition, Chion considers many additional examples from recent world cinema and formulates new questions for the contemporary media environment.Trade ReviewAn original and useful model for the audiovisual analysis of film. * Production Expert *Updated and expanded, with additional material from recent film production, the 2019 edition of Audio-Vision will soon take its place as a valuable textbook for those interested in literary research and practice of cinematic soundtrack. -- Dr. Nick Poulakis * CINEJ Cinema Journal *Without a shadow of a doubt one of the best books I have ever read, Audio-Vision’s reprinting is a cause for great celebration. After a quarter of a century, it remains the first port of call for scholars and students of audiovisual culture, offering a cornucopia of theories that conceptualize sound's relationship with the moving image. Never less than enthralling, its acuity has not been dulled by more recent theory and scholarship. -- K. J. Donnelly, author of Occult Aesthetics: Synchronization in Sound FilmWhen Audio-Vision first appeared in 1994, it became a lifeline for the burgeoning field of sound/media studies, providing a veritable roadmap to a discourse just beginning to crystallize. The second edition is no less momentous; Chion seamlessly brings current cinematic offerings into his theoretical purview, showing that his understanding of the filmic soundspace is as insightful to historians, theorists, and students as ever. A fundamental text for soundtrack studies. -- Daniel Goldmark, author of Tunes for 'Toons: Music and the Hollywood CartoonMichel Chion’s work is a thrilling exploration of film sound in all its forms: real and symbolic, technical and conceptual, dimensional and suggestive. He gives us all the tools we need for describing what films allow us to hear. Chion’s many neologisms are like notes that can reverberate infinitely for every filmgoer, and through innumerable films. This revised edition of Audio-Vision is a new benchmark for any film scholar. -- Elsie Walker, author of Understanding Sound Tracks Through Film TheoryTable of ContentsForeword (1994), by Walter MurchPrefacePart I. The Audiovisual Contract1. Projections of Sound on Image2. The Three Listening Modes3. Lines and Points: Horizontal and Vertical Perspectives on Audiovisual Relations4. The Audiovisual Scene5. The Real and the Rendered6. Phantom Audio-Vision; or, The Audio-DivisualPart II. Beyond Sounds and Images7. Sound Film Worthy of the Name8. Toward an Audio-Logo-Visual Poetics9. An Introduction to Audiovisual AnalysisGlossaryChronology: Landmarks of the Sound FilmNotesBibliographyIndex

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Book SynopsisModern Recording Techniques is the bestselling, authoritative guide to sound and music recording. Whether youâre just starting out or are looking to improve your skills, this book provides an in-depth guide to the art and technologies of music production and is a must-have reference for all audio bookshelves. Using its familiar and accessible writing style, this new edition has been fully updated, presenting the latest production technologies and including detailed coverage of digital audio workstations (DAWs), networked audio, musical instrument digital interface (MIDI), signal processing and much more. Modern Recording Techniques is supported by a host of video tutorials, which provide additional listening and visual examples, making this text essential reading for students, instructors and professionals.This updated tenth edition includes: Newly expanded Art and Technology chapters, providing more tips, tricks and insights for getting the best out of your recording, mixing, monitoring and mastering An expanded MIDI chapter to include MIDI 2.0 More in-depth coverage of digital audio and the digital audio workstation Greater coverage of immersive audio, including Dolby Atmos Production Table of Contents1. Introduction 2. Sound and Hearing 3. Studio Acoustics and Design 4. Microphones: Design and Application 5. The Analog Tape Recorder 6. Digital Audio Technology 7. The Digital Audio Workstation 8. Groove Tools and Techniques 9. MIDI and Electronic Music Technology 10. The iOS in Music Production 11. Multimedia and the Web 12. Synchronization 13. Amplifiers 14. Power- and Ground-Related Issues 15. Signal Processing 16. The Art and Technology of Monitoring 17. The Art and Technology of Recording 18. The Art and Technology of Mixing 19. The Art and Technology of Mastering 20. Immersive Audio 21. Media Distribution and Manufacturing 22. It's all about the Journey

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Book SynopsisCoinciding with the 75th anniversary of the first commercial LP, In the Groove is an authoritative and visual celebration of the history and culture of vinyl record collecting and turntables.Trade Review"...a fascinating read, and the accompanying photos are excellent in illustrating the story and are essential to this book...a brilliant book and would be the perfect Christmas gift for the collectors on your holiday shopping list. The book is full of detailed asides, which make it so fascinating to read. It is those little touches that add so much to the overall book and make it such a necessary addition to your library. * Spill Magazine *"Jam-packed with amazing photography, this fascinating book is the perfect gift for anyone who cherishes their stereo and vinyl collection but offers info and inspiration for others who are just starting theirs." * Addicted Magazine *Table of ContentsTHE BIRTH OF COOL - THE RISE OF THE LP (AND OTHER VINYL FORMATS) DROPPING THE NEEDLE - TURNTABLES AND OTHER HI-FI EQUIPMENT SOMETHING UP THE SLEEVE - THE ART OF THE LP SHOP AROUND - DOWN AT THE RECORD STORE BRINGING IT ALL BACK HOME - RECORD-COLLECTING CULTURE RESOURCES IMAGE CREDITS AUTHOR BIOGRAPHIES INDEX

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Book SynopsisThe latest hot camera is pretty irrelevant if one can''t understand what''s happening on screen. The key to any narrative is in the dialogue and voice over, but if this is unintelligible or difficult to hear, viewers will soon lose interest. With real world applications and a narrative to keep the reader's interest, Production Sound Mixing is the indispensable guide for film and video audio recording. Written by veteran sound mixer John J. Murphy, the book offers a step by step collaborative journey through the basic physics of sound, concluding with a practical guide of the latest techniques and equipment available to all who are interested in the best audio for their projects. Structured to mimic a 14-week semester, each chapter begins with an audio problem to be solved and ends with a solution drawn from information gleaned from past chapters. Suggested movie scenes that demonstrate the relevant audio techniques will also be included. Equally applicable to studio and locationTrade ReviewAn excellent, comprehensive, and contemporary primer for those interested in becoming sound recordists or mixers. John J. Murphy’s Production Sound Mixing guides you through all you need to know to understand sound recording and technique. * Bill Linsman, Associate Professor of Film and Television, Boston University, USA, and Former Professional Sound Recordist and Mixer *Full of detailed, specific, practical knowledge as well as tips that only pros can teach, Production Sound Mixing is a valuable resource with a relaxed, readable style. With professional—but not overly technical—insights, John M. Murphy covers the physics of sound, equipment, work practice, and troubleshooting for faculty, students, and amateurs in sound production. * Peter Kiwitt, Assistant Professor, School of Film and Animation, Rochester Institute of Technology, USA, and Direcor Member of the Directors Guild of America *I've waited years for this book: it is far and away the most useful book on production audio for first-time students that I've encountered. * Piers Storey, University of Suffolk, UK *Comprehensive guide to the theory, technology and working practices involved in capturing location sound. With plenty of diagrams and an accessible style, this will be of huge value to Film sound students and aspiring professionals. * Simon Waite, Staffordshire University *Table of ContentsPreface Acknowledgements Introduction Chapter 1: What is Sound? Chapter 2: Microphones: The Basic Types and How They Work Chapter 3: The DSLR Shoot: Making the Most of What’s at Hand Chapter 4: The Audio Mixer Chapter 5: Choosing a Location Chapter 6: Booming: The View from Above Chapter 7: Wireless Microphones: What They Are, How They Work, and How and Why We Use Them Chapter 8: Interviews! Chapter 9: On the Set Chapter 10: Prep Is Everything: Your Basic Kit Chapter 11: Synchronization Chapter 12: Post-Production: Where Does It GO From Here? Chapter 13: Opportunities for Sound Work in Film/Video Chapter 14: Stereo: When Two Become One Appendix Glossary Index

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Book SynopsisThe first edition of this book is considered the bible of this topic... Suffice it to say that there is no other published treatise that approaches the depth of treatment offered by this book. The coverage is the state of the published art, while the added contents cover the new known developments in the field. Haisam Osman; Technology Development Manager, United Launch Alliance This long-awaited second edition of a respected text from world leaders in the field of acoustic materials covers the state of the art with a depth of treatment unrivalled elsewhere. Allard and Atalla employ a logical and progressive approach that leads to a thorough understanding of porous material modelling. The first edition of Propagation of Sound in Porous Media introduced the basic theory of acoustics and the related techniques. Research and development in sound absorption has however progressed significantly since the first edition, and the models and methods described, at the tiTrade Review"All in all this is an impressive book which will serve as an excellent reference for those working in the acoustics of porous media, and as a perfect introduction to the subject for novices." (Journal of Sound & Vibration, 2010)Table of ContentsPreface to the second edition. 1 Plane waves in isotropic fluids and solids. 1.1 Introduction. 1.2 Notation – vector operators. 1.3 Strain in a deformable medium. 1.4 Stress in a deformable medium. 1.5 Stress–strain relations for an isotropic elastic medium. 1.6 Equations of motion. 1.7 Wave equation in a fluid. 1.8 Wave equations in an elastic solid. References. 2 Acoustic impedance at normal incidence of fluids. Substitution of a fluid layer for a porous layer. 2.1 Introduction. 2.2 Plane waves in unbounded fluids. 2.3 Main properties of impedance at normal incidence. 2.4 Reflection coefficient and absorption coefficient at normal incidence. 2.5 Fluids equivalent to porous materials: the laws of Delany and Bazley. 2.6 Examples. 2.7 The complex exponential representation. References. 3 Acoustic impedance at oblique incidence in fluids. Substitution of a fluid layer for a porous layer. 3.1 Introduction. 3.2 Inhomogeneous plane waves in isotropic fluids. 3.3 Reflection and refraction at oblique incidence. 3.4 Impedance at oblique incidence in isotropic fluids. 3.5 Reflection coefficient and absorption coefficient at oblique incidence. 3.6 Examples. 3.7 Plane waves in fluids equivalent to transversely isotropic porous media. 3.8 Impedance at oblique incidence at the surface of a fluid equivalent to an anisotropic porous material. 3.9 Example. References. 4 Sound propagation in cylindrical tubes and porous materials having cylindrical pores. 4.1 Introduction. 4.2 Viscosity effects. 4.3 Thermal effects. 4.4 Effective density and bulk modulus for cylindrical tubes having triangular, rectangular and hexagonal cross-sections. 4.5 High- and low-frequency approximation. 4.6 Evaluation of the effective density and the bulk modulus of the air in layers of porous materials with identical pores perpendicular to the surface. 4.7 The biot model for rigid framed materials. 4.8 Impedance of a layer with identical pores perpendicular to the surface. 4.9 Tortuosity and flow resistivity in a simple anisotropic material. 4.10 Impedance at normal incidence and sound propagation in oblique pores. Appendix 4.A Important expressions. Description on the microscopic scale. Effective density and bulk modulus. References. 5 Sound propagation in porous materials having a rigid frame. 5.1 Introduction. 5.2 Viscous and thermal dynamic and static permeability. 5.3 Classical tortuosity, characteristic dimensions, quasi-static tortuosity. 5.4 Models for the effective density and the bulk modulus of the saturating fluid. 5.5 Simpler models. 5.6 Prediction of the effective density and the bulk modulus of open cell foams and fibrous materials with the different models. 5.7 Fluid layer equivalent to a porous layer. 5.8 Summary of the semi-phenomenological models. 5.9 Homogenization. 5.10 Double porosity media. Appendix 5.A: Simplified calculation of the tortuosity for a porous material having pores made up of an alternating sequence of cylinders. Appendix 5.B: Calculation of the characteristic length Λ'. Appendix 5.C: Calculation of the characteristic length Λ for a cylinder perpendicular to the direction of propagation. References. 6 Biot theory of sound propagation in porous materials having an elastic frame. 6.1 Introduction. 6.2 Stress and strain in porous materials. 6.3 Inertial forces in the biot theory. 6.4 Wave equations. 6.5 The two compressional waves and the shear wave. 6.6 Prediction of surface impedance at normal incidence for a layer of porous material backed by an impervious rigid wall. Appendix 6.A: Other representations of the Biot theory. References. 7 Point source above rigid framed porous layers. 7.1 Introduction. 7.2 Sommerfeld representation of the monopole field over a plane reflecting surface. 7.3 The complex sinθ plane. 7.4 The method of steepest descent (passage path method). 7.5 Poles of the reflection coefficient. 7.6 The pole subtraction method. 7.7 Pole localization. 7.8 The modified version of the Chien and Soroka model. Appendix 7.A Evaluation of N. Appendix 7.B Evaluation of pr by the pole subtraction method. Appendix 7.C From the pole subtraction to the passage path: Locally reacting surface. References. 8 Porous frame excitation by point sources in air and by stress circular and line sources – modes of air saturated porous frames. 8.1 Introduction. 8.2 Prediction of the frame displacement. 8.3 Semi-infinite layer – Rayleigh wave. 8.4 Layer of finite thickness – modified Rayleigh wave. 8.5 Layer of finite thickness – modes and resonances. Appendix 8.A Coefficients rij and Mi,j. Appendix 8.B Double Fourier transform and Hankel transform. Appendix 8.B Appendix .C Rayleigh pole contribution. References. 9 Porous materials with perforated facings. 9.1 Introduction. 9.2 Inertial effect and flow resistance. 9.3 Impedance at normal incidence of a layered porous material covered by a perforated facing – Helmoltz resonator. 9.4 Impedance at oblique incidence of a layered porous material covered by a facing having cirular perforations. References. 10 Transversally isotropic poroelastic media. 10.1 Introduction. 10.2 Frame in vacuum. 10.3 Transversally isotropic poroelastic layer. 10.4 Waves with a given slowness component in the symmetry plane. 10.5 Sound source in air above a layer of finite thickness. 10.6 Mechanical excitation at the surface of the porous layer. 10.7 Symmetry axis different from the normal to the surface. 10.8 Rayleigh poles and Rayleigh waves. 10.9 Transfer matrix representation of transversally isotropic poroelastic media. Appendix 10.A: Coefficients Ti in Equation (10.46). Appendix 10.B: Coefficients Ai in Equation (10.97). References. 11 Modelling multilayered systems with porous materials using the transfer matrix method. 11.1 Introduction. 11.2 Transfer matrix method. 11.3 Matrix representation of classical media. 11.4 Coupling transfer matrices. 11.5 Assembling the global transfer matrix. 11.6 Calculation of the acoustic indicators. 11.7 Applications. Appendix 11.A The elements Tij of the Transfer Matrix T ]. References. 12 Extensions to the transfer matrix method. 12.1 Introduction. 12.2 Finite size correction for the transmission problem. 12.3 Finite size correction for the absorption problem. 12.4 Point load excitation. 12.5 Point source excitation. 12.6 Other applications. Appendix 12.A: An algorithm to evaluate the geometrical radiation impedance. References. 13 Finite element modelling of poroelastic materials. 13.1 Introduction. 13.2 Displacement based formulations. 13.3 The mixed displacement–pressure formulation. 13.4 Coupling conditions. 13.5 Other formulations in terms of mixed variables. 13.6 Numerical implementation. 13.7 Dissipated power within a porous medium. 13.8 Radiation conditions. 13.9 Examples. References. Index.

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Book SynopsisA comprehensive guide to wind farm noise prediction, measurement, assessment, control and effects on people Wind Farm Noise covers all aspects associated with the generation, measurement, propagation, regulation and adverse health effects of noise produced by large horizontal-axis wind turbines of the type used in wind farms. The book begins with a brief history of wind turbine development and the regulation of their noise at sensitive receivers. Also included is an introductory chapter on the fundamentals of acoustics relevant to wind turbine noise so that readers are well prepared for understanding later chapters on noise measurements, noise generation mechanisms, noise propagation modelling and the assessment of the noise at surrounding residences. Key features: Potential adverse health effects of wind farm noise are discussed in an objective way. Means for calculating the noise at residences due to a wind farm prior to conTable of ContentsPreface xiii 1 Wind Energy and Noise 1 1.1 Introduction 1 1.2 Development of the Wind Energy Industry 2 1.3 History of Wind Turbine Noise Studies 13 1.4 Current Wind Farm Noise Guidelines and Assessment Procedures 18 1.5 Wind Farm Noise Standards 30 1.6 Regulations 33 1.7 Enquiries/Government Investigations 44 1.8 Current Consensus on Wind Farm Noise 53 References 55 2 Fundamentals of Acoustics 59 2.1 Introduction 59 2.2 Basic Acoustics Concepts 59 2.3 Basic Frequency Analysis 82 2.4 Advanced Frequency Analysis 89 2.5 Summary 121 References 122 3 Noise Generation 123 3.1 Introduction 123 3.2 Aeroacoustics 125 3.3 Aerodynamic noise generation on wind turbines 131 3.4 Aeroelasticity and Noise 152 3.5 Other Noise Sources 153 3.6 Summary and Outlook 155 References 157 4 Wind Turbine Sound Power Estimation 161 4.1 Introduction 161 4.2 Aerodynamic noise prediction 161 4.3 Simple models 162 4.4 Semi-empirical methods (Class II models) 163 4.5 Computational methods (Class III models) 173 4.6 Estimations of Sound Power From Measurements 174 4.7 Summary 182 References 183 5 Noise propagation 185 5.1 Introduction 185 5.2 Principles Underpinning Noise Propagation Modelling 186 5.3 Simplest Noise Propagation Models 217 5.4 Danish Low-Frequency Propagation Model 219 5.5 CONCAWE (1981) 220 5.6 ISO9613-2 (1996) Noise Propagation Model 229 5.7 NMPB-2008 Noise Propagation Model 238 5.8 Nord2000 Noise Propagation Model 250 5.9 Harmonoise (2002) Noise Propagation Engineering Model 269 5.10 Required Input Data for the Various Propagation Models 277 5.11 Off-Shore Wind Farm Propagation Models 281 5.12 Propagation Model Prediction Uncertainty 281 5.13 Outside vs Inside Noise at Residences 286 5.14 Vibration Propagation 289 5.15 Summary 294 References 295 6 Measurement 299 6.1 Introduction 299 6.2 Measurement of Environmental Noise Near Wind Farms 300 6.3 Vibration 406 6.4 Wind, Wind Shear and Turbulence 408 6.5 Reporting on Noise, Vibration and Meteorological Conditions 417 6.6 Wind Tunnel Testing 423 6.7 Conclusions 439 References 440 7 Effects of wind farm noise and vibration on people 447 7.1 Introduction 447 7.2 Annoyance and Adverse Health Effects 452 7.3 Hearing Mechanism 466 7.4 Reproduction of Wind Farm Noise for Adverse Effects Studies 476 7.5 Vibration Effects 478 7.6 Nocebo Effect 479 7.7 Summary and Conclusion 480 References 482 8 Wind Farm Noise Control 487 8.1 Introduction 487 8.2 Noise Control by Turbine Design Modification 488 8.3 Optimisation of turbine layout 498 8.4 Options for Noise Control at the Residences 499 8.5 Administrative Controls 503 8.6 Summary 504 References 505 9 Where to from here 507 9.1 Introduction 507 9.2 Further Investigation of the Effects of Wind Farm Noise on People 508 9.3 Improvements to Regulations and Guidelines 510 9.4 Propagation Model Improvements 515 9.5 Identification and Amelioration of the Problem Noise Sources on Wind Turbines 516 9.6 Reducing Low-Frequency Noise Levels in Residences 517 References 518 A Basic mathematics 519 A.1 Introduction 519 A.2 Logarithms 519 A.3 Complex Numbers 520 A.4 Exponential Function 520 B The BPM model 521 B.1 Boundary layer parameters 521 B.2 Turbulent trailing edge noise model 523 B.3 Blunt trailing edge noise model 525 References 527 C Ground Reflection Coefficient Calculations 529 C.1 Introduction 529 C.2 Flow Resistivity 530 C.3 Characteristic Impedance 530 C.4 Plane Wave Reflection Coefficient 533 C.5 Spherical Wave Reflection Coefficient 533 C.6 Incoherent Reflection Coefficient 537 References 539 D Calculation of Ray Path Distances and Propagation Times for the Nord2000 Model 541 D.1 Introduction 541 D.2 Equivalent Linear Atmospheric Vertical Sound Speed Profile 542 D.3 Calculation of Ray Path Lengths and Propagation Times 544 D.3.1 Direct ray 544 D.3.2 Reflected ray 546 References 549 E Calculation of Terrain Parameters for the Nord2000 Sound Propagation Model 551 E.1 Introduction 551 E.2 Terrain Effects 551 E.3 Approximating Terrain profiles by Straight Line Segments 556 E.4 Calculation of the Excess Attenuation Due to the Ground Effect for Relatively Flat Terrain with no Diffraction Edges 558 E.5 Calculation of the Excess Attenuation Due to the Ground Effect for Relatively Flat Terrain with a Variable Impedance Surface and no Diffraction Edges 559 E.6 Calculation of the Excess Attenuation Due to the Ground Effect for Valley-Shaped Terrain 561 E.7 Identification of the Two Most Efficient Diffraction Edges 561 E.8 Calculation of the Sound Pressure at the Receiver for Each Diffracted Path in Hilly Terrain 564 E.9 Calculation of the Combined Ground and Barrier Excess Attenuation Effects 575 References 583 F Calculation of Fresnel Zone Sizes and Weights 585 F.1 Introduction 585 F.2 Fresnel Zone for Reflection From Flat Ground 585 F.3 Fresnel Weights for Reflection From a Concave or Transition Ground Segment589 F.4 Fresnel Weights for Reflection from a Convex Ground Segment 591 References 592 G Calculation of Diffraction and Ground Effects for the Harmonoise Model 593 G.1 Introduction 593 G.2 Diffraction Effect, _LD 596 G.3 Ground Effect 598 G.3.1 Concave model 600 G.3.2 Transition model 604 G.4 Fresnel Zone for Reflection from a Ground Segment 606 References 610 H Active Noise Control System Algorithms 611 H.1 Introduction 611 References 616

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Book SynopsisIn recent years, sonography of the peripheral nervous system has gained widespread acceptance. New diagnostic applications have emerged, and the field of ultrasound-guided interventions has expanded significantly: regional anesthesia, peripheral nerve blocks, and similar techniques are now frequently performed under ultrasound guidance by anesthesiologists and pain physicians alike. This atlas of peripheral nerve ultrasound is designed to meet the daily needs of both radiologists and clinicians by allowing rapid review of typical features, knowledge of which is important for successful diagnosis and intervention. The side by side presentation of ultrasound images with anatomical cryosections and photographs of transducer positions allows for reliable sonographic identification of even tiny nerves in regions of complex topography. The practical value of the atlas is further enhanced by correlations with high-resolution MRI scans. Table of ContentsIntroduction to High Resolution Sonography of the Peripheral Nervous System: General Considerations and Examination Technique.- Introduction to Magnetic Resonance Imaging of the Peripheral Nervous System: General Considerations and Examination Technique.- Nerves in the Head and Neck.- Upper Extremity Nerves.- Lower Extremity Nerves.- Nerves in the Trunk and Abdominal Wall.

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Book SynopsisThis book on mechanical vibrations and noise engineering offers tools for addressing vibration and noise issues in machines and structures. It focuses on mechanical engineering applications, includes examples, and covers sound levels, noise effects, and regulations. Suitable for students and practicing engineers in various engineering disciplines.

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Book SynopsisAcoustic Justice engages issues of recognition and misrecognition by mobilizing an acoustic framework. From the vibrational intensities of common life to the rhythm of bodies in movement, and drawing from his ongoing work on sound and agency, Brandon LaBelle positions acoustics, and the broader experience of listening, as a dynamic means for fostering responsiveness, understanding, dispute, and the work of reorientation. As such, acoustic justice emerges as a compelling platform for engaging struggles over the right to speak and to be heard that extends toward a broader materialist and planetary view. This entails critically addressing questions of space, borders, community, and the acoustic norms defining capacities of listening, leading to what LaBelle terms poetic ecologies of resonance. Acoustic Justice works at issues of recognition and resistance, place and displacement, by moving across a range of pertinent references and topics, from social practices and sound artTrade ReviewThis is yet another delightful read on sonic agency by Brandon LaBelle, highlighting this time what is at stake when we think of social and political transformation as an acoustic question. In Acoustic Justice, LaBelle takes the readers through thrilling discussions on ‘hearing differently,’ on ‘generous infrastructure’ and ‘relating otherwise’ – all of them involved in reconfiguring our capacity to act politically. LaBelle's unique approach offers insight into the temporal and situational realms of sound and listening that are fleeting yet necessary for any process of reimagining political possibilities. In the world today, marked by intense structural feelings of uncertainty and fragility, his theorizing of an impersonal, distributed, and collaborative political agency is not just refreshing but indeed very much needed. This book resonates across various fields of social sciences and humanities and is an essential reading for those interested in political theory, sound studies, resistance, and affect theory. * Ana Hofman, Senior Research Fellow, Research Centre of Slovenian Academy of Sciences and Arts, Slovenia *Brandon LaBelle’s Acoustic Justice makes important contributions to the scholarship on sound, politics and the public sphere. Exploring how listening as a form of attentiveness functions in an arena of sonic agency, LaBelle deftly illustrates how an acoustic justice exercises a democratic collective action. This is a non-state form of democracy with the capacity to bring into being an extrajudicial civic body, one with greater capacity for what he calls ‘hearing differently.’ Hearing differently accounts for differences in what is or can be heard as a result of silences, gaps, deafnesses, or absences. Offering up acoustics as a metric for both material and social relations, LaBelle dynamically reads the encounter between the organic and built environments as a ‘distribution of the heard’ invigorating our understanding of the polis as a social acoustic phenomenon. * Roshanak Kheshti, Associate Professor of Ethnic Studies, University of California, San Diego, USA *Labelle is such a playful and expansive thinker. Acoustic Justice draws so much together across art, philosophy, activism, and beyond to sound an urgent intervention in the politics of attention: a commitment both to hearing differently and to hearing difference. This is an account of acoustics unbound from the audible and an account of justice just 'to the side of law,' that migrates in and out of the legal system and insists on the need for a fair hearing 'in the space of the ordinary.' * James E K Parker, author of Acoustic Jurisprudence: Listening to the Trial of Simon Bikindi (2015) *Table of Contents1. Holding, Healing, Attending: Towards Collaborative Living 2. Acoustic Performativity: Practices of Composition 3. Poetic Ecologies: Resonance, Imagination, Repair 4. Skin-Work: Queer Acoustics, Borderspaces, Economies of Desire 5. Deaf Attention: Peripheral Visions, Spatial Meanings, Sensory Politics 6. Acoustic Support

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Book SynopsisFeaturing chapters by emerging and established scholars as well as by leading practitioners in the field, this Handbook both describes the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music.Trade Reviewit is undoubtedly an important didactic resource for students of algorithmic composition, including beginners, who want to get a wide and up-to-date overview of the various applications of algorithms in music scenarios. * Alessandro Anatrini, Musicae Scientiae *Table of ContentsSection 1: Grounding algorithmic music 1. Musical Algorithms as Tools, Languages and Partners: A Perspective Alex McLean, Roger T. Dean 2. Algorithmic Music and the Philosophy of Time Julian Rohrhuber 3. Action and Perception: Embodying Algorithms and the Extended Mind Palle Dahlstedt 4. Origins of Algorithmic Thinking in Music Nick Collins 5. Algorithmic Thinking and Central Javanese Gamelan Charles Matthews Perspectives on Practice A 6. Thoughts on Composing with Algorithms Laurie Spiegel 7. Mexico and India: Diversifying and Expanding the Live Coding Community Alexandra Cardenas 8. Deautomatization of Breakfast Perceptions Renate Wieser 9. Why Do We Want Our Computers to Improvise? George Lewis Section 2: What can algorithms in music do? 10. Compositions Created with Constraint Programming Torsten Anders 11. Linking Sonic Aesthetics With Mathematical Theories Andy Milne 12. Machine Learning and Listening in Composition and Performance Rebecca Fiebrink and Baptiste Caramiaux 13. Biologically-Inspired and Agent-Based Algorithms for Music Alice Eldridge and Oliver Bown 14. Performing with Patterns of Time Thor Magnusson, University of Sussex, Alex McLean, FoAM Kernow 15. Computational Creativity and Live Algorithms Geraint Wiggins and Jamie Forth 16. Tensions and Techniques in Live Coding Performance Charlie Roberts and Graham Wakefield Perspectives on Practice B 17. When Algorithms Meet Machines Sarah Angliss 18. Notes on Pattern Synthesis Mark Fell 19. Performing algorithms Kristin Erickson Section 3: Purposes of algorithms for the music maker 20. Network music and the algorithmic ensemble David Ogborn 21. Sonification != music Carla Scaletti 22. Color is the Keyboard: Transcoding from Visual to Sonic Margaret Schedel 23. Designing Interfaces for Musical Algorithms Jamie Bullock, Integra Lab, Birmingham Conservatoire 24. Ecooperatic Music Game Theory David Kanaga 25. Algorithmic Spatialisation Jan C Schacher Perspectives on Practice C 26. Form, Chaos and the Nuance of Beauty Mileece I'Anson 27. Beyond Me Kaffe Matthews 28. Mathematical Theory in Music Practice Jan Beran 29. Thoughts on Algorithmic Practice Warren Burt Section 4: Algorithmic Culture 30. The Audience Reception of Algorithmic Music Mary Simoni 31. Technology, Creativity and The Social in Algorithmic Music Christopher Haworth 32. Algorithms and Computation in Music Education Andrew Brown 33. (Micro) Politics of Algorithmic Music: Towards a Tactical Media Archaeology Geoff Cox and Morten Riis 34. Algorithmic Music for Mass Consumption and Universal Production Yuli Levtov Perspectives on Practice D 35. Algorithmic Trajectories Alex McLean and Roger Dean

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Book SynopsisSound is integral to how we experience the world, in the form of noise as well as music. But what is sound? What is the physical basis of pitch and harmony? And how are sound waves exploited in musical instruments? In this Very Short Introduction Mike Goldsmith looks at the science of sound and explores sound in different contexts, covering the audible and inaudible, sound underground and underwater, accoustic and electric, and hearing in humans and animals. He also considers the problem of sound out of place - noise and its reduction.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.Trade ReviewSound: A Very Short Introduction contains an excellent balance of science and story, and illuminates the reader about many facets of this broad topic. * Ray Eddy, H-Podcast *Wow! This book is nice...and cute...I highly recommend this book. Perhaps this is the best general book discussing "acoustics" in a very elementary sense. * Richard J. Peppin, Rion Co. Ltd. and Engineers for Change, Inc. *The book has something for everyone, and the author has done a remarkable job in assembling so much information and condensing it into a truly pocket-size edition. I do not know of another title that covers so much about sound in a nontechnical yet scientific manner. * Michael Greenfield, Physics Today *Table of Contents1. Past sounds ; 2. The nature of sound ; 3. Sounds in harmony ; 4. Hearing sound ; 5. Electronic sound ; 6. Ultrasound and infrasound ; 7. Sound underwater and underground ; 8. Sound out of place ; Further reading ; Index

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Book SynopsisIn this book the tools of spectral analysis are applied via graphics to musical sounds, especially those coming from a piano, with emphasis on the visualization of musical sounds rather than the mathematics behind it. The aim is to give a different and insightful view of musical instruments.Trade ReviewI recommend this remarkable book to everyone who wants to know how sounds are generated and how they can be analyzed. I am sure that this book will serve as a standard reference for the spectral analysis of musical sounds over many years * Haye Hinrichsen, Euro Piano *Table of ContentsPART 1: SOME BASIC SOUND WAVES AND SOME SIMPLE TOOLS; PART 2: A VISUAL ANALYSIS OF VIBRATING OBJECTS (STRINGS, MEMBRANES, BARS, PLATES); PART 3: THE PIANO

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Book SynopsisAmplifying the importance of sound in cinemaTrade Review“An excellent collection of essays which reveals much about the state of play of soundtrack studies and offers many fresh and original insights. It will certainly be of value to students and scholars of film sound.”--Music, Sound, and the Moving Image"A substantial and important book, Lowering the Boom includes work from both established scholars and emerging voices in the field and is a welcome addition to auditory culture and sound studies."--Steve J. Wurtzler, author of Electric Sounds: Technological Change and the Rise of Corporate Mass Media“[Lowering the Boom reclaims] cinema as an “audiovisual” object, demonstrating conclusively that whatever the relative importance of the “audio” and “visual” parts, neither can be ignored . . . . I hope Lowering the Boom is widely read.”--Jump Cut"A central text for the study of sound in media. Lowering the Boom's wide range of topics joins history and critical debates and will be useful and appealing to scholars and students of sound design, media studies, and film theory."--Donald Crafton, author of The Talkies: American Cinema's Transition to Sound, 1926-1931Table of ContentsAcknowledgments ix Introduction: The Future of Film Sound Studies 1Jay Beck and Tony GrajedaPart 1: Theorizing Sound 1. The Phenomenology of Film Sound: Robert Bresson's A Man Escaped 23John Belton 2. The Proxemics of the Mediated Voice 36Arnt Maaso 3. Almost Silent: The Interplay of Sound and Silence in Contemporary Cinema and Television 51Paul Theberge 4. The Sounds of "Silence": Dolby Stereo, Sound Design, and The Silence of the Lambs 68Jay BeckPart II: Historicizing Sound 5. Sonic Imagination; or, Film Sound as a Discursive Construct in Czech Culture of the Transitional Period 87Petr Szczepanik 6. Sounds of the City: Alfred Newman's "Street Scene" and Urban Modernity 105Matthew Malsky 7. Film and the Wagnerian Aspiration: Thoughts on Sound Design and the History of the Senses 123James LastraPart III: Sound and Genre 8. Asynchronous Documentary: Bunuel's Land without Bread 141Barry Mauer 9. "We'll Make a Paderewski of You Yet!": Acoustic Reflections in The 5,000 Fingers of Dr. T 152Nancy Newman 10. Paul Sharits's Cinematics of Sound 171Melissa Ragona 11. "Every Beautiful Sound Also Creates an Equally Beautiful Picture": Color Music and Walt Disney's Fantasia 183Clark FarmerPart IV: Film Sound and Cultural Studies 12. "A Question of the Ear": Listening to Touch of Evil 201Tony Grajeda 13. "Sound Sacrifices": The Postmodern Melodramas of World War II 218Debra White-Stanley 14. Real Fantasies: Connie Stevens, Silencio, and Other Sonic Phenomena in Mulholland Drive 233Robert MiklitschPart V: Case Studies of Film Sound 15. Selling Spectacular Sound: Dolby and the Unheard History of Technical Trademarks 251Paul Grainge 16. (S)lip-Sync: Punk Rock Narrative Film and Postmodern Musical Performance 269David Laderman 17. Critical Hearing and the Lessons of Abbas Kiarostami's Close-Up 289David T. Johnson 18. Rethinking Point of Audition in The Cell 299Anahid Kassabian Works Cited 307 Contributors 327 Index 331

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Book SynopsisHow to interpret identity, culture, and history in soundTrade Review"Compelling and imaginative case studies--air-raid sirens, Warner Brothers cartoons, and clocks--ground this sonic investigation, but just as important is Goodale's work in interpreting sounds as opposed to merely placing them in a larger historical narrative. A major contribution to the study of music, communications, sound, and rhetoric."--John M. Picker, author of Victorian Soundscapes"An important book."--IEEE Technology and Society Magazine"Goodale's book helps us acquire a ... much-needed sonic literacy."--Technology and CultureTable of ContentsList of Illustrations vii Preface ix Acknowledgments xiii 1. Reading Sound 1 2. Fitting Sounds 16 3. Machine Mouth 47 4. The Race of Sound 76 5. Sounds of War 106 6. On Sound Criticism 132 Notes 155 Index 183

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Book Synopsis As the first collection of new work on sound and cinema in over a decade, Lowering the Boom addresses the expanding field of film sound theory and its significance in rethinking historical models of film analysis. The contributors consider the ways in which musical expression, scoring, voice-over narration, and ambient noise affect identity formation and subjectivity. Lowering the Boom also analyzes how shifting modulation of the spoken word in cinema results in variations in audience interpretation. Introducing new methods of thinking about the interaction of sound and music in films, this volume also details avant-garde film sound, which is characterized by a distinct break from the narratively based sound practices of mainstream cinema. This interdisciplinary, global approach to the theory and history of film sound opens the eyes and ears of film scholars, practitioners, and students to film''s true audio-visual nature. Contributors are Jay Beck, John BTrade Review “An excellent collection of essays which reveals much about the state of play of soundtrack studies and offers many fresh and original insights. It will certainly be of value to students and scholars of film sound.”--Music, Sound, and the Moving Image "A substantial and important book, Lowering the Boom includes work from both established scholars and emerging voices in the field and is a welcome addition to auditory culture and sound studies."--Steve J. Wurtzler, author of Electric Sounds: Technological Change and the Rise of Corporate Mass Media“[Lowering the Boom reclaims] cinema as an “audiovisual” object, demonstrating conclusively that whatever the relative importance of the “audio” and “visual” parts, neither can be ignored . . . . I hope Lowering the Boom is widely read.”--Jump Cut"A central text for the study of sound in media. Lowering the Boom's wide range of topics joins history and critical debates and will be useful and appealing to scholars and students of sound design, media studies, and film theory."--Donald Crafton, author of The Talkies: American Cinema's Transition to Sound, 1926-1931Table of ContentsAcknowledgments ix Introduction: The Future of Film Sound Studies 1Jay Beck and Tony GrajedaPart 1: Theorizing Sound 1. The Phenomenology of Film Sound: Robert Bresson's A Man Escaped 23John Belton 2. The Proxemics of the Mediated Voice 36Arnt Maaso 3. Almost Silent: The Interplay of Sound and Silence in Contemporary Cinema and Television 51Paul Theberge 4. The Sounds of "Silence": Dolby Stereo, Sound Design, and The Silence of the Lambs 68Jay BeckPart II: Historicizing Sound 5. Sonic Imagination; or, Film Sound as a Discursive Construct in Czech Culture of the Transitional Period 87Petr Szczepanik 6. Sounds of the City: Alfred Newman's "Street Scene" and Urban Modernity 105Matthew Malsky 7. Film and the Wagnerian Aspiration: Thoughts on Sound Design and the History of the Senses 123James LastraPart III: Sound and Genre 8. Asynchronous Documentary: Bunuel's Land without Bread 141Barry Mauer 9. "We'll Make a Paderewski of You Yet!": Acoustic Reflections in The 5,000 Fingers of Dr. T 152Nancy Newman 10. Paul Sharits's Cinematics of Sound 171Melissa Ragona 11. "Every Beautiful Sound Also Creates an Equally Beautiful Picture": Color Music and Walt Disney's Fantasia 183Clark FarmerPart IV: Film Sound and Cultural Studies 12. "A Question of the Ear": Listening to Touch of Evil 201Tony Grajeda 13. "Sound Sacrifices": The Postmodern Melodramas of World War II 218Debra White-Stanley 14. Real Fantasies: Connie Stevens, Silencio, and Other Sonic Phenomena in Mulholland Drive 233Robert MiklitschPart V: Case Studies of Film Sound 15. Selling Spectacular Sound: Dolby and the Unheard History of Technical Trademarks 251Paul Grainge 16. (S)lip-Sync: Punk Rock Narrative Film and Postmodern Musical Performance 269David Laderman 17. Critical Hearing and the Lessons of Abbas Kiarostami's Close-Up 289David T. Johnson 18. Rethinking Point of Audition in The Cell 299Anahid Kassabian Works Cited 307 Contributors 327 Index 331

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Book SynopsisTrade ReviewBauman is a master of his craft. A Most Valuable Medium enables us to benefit from his vast accumulated knowledge and insights as he explores the early world of phonographic recordings of spoken genres, from street-corner sales pitches to country store tall tales. His is a decidedly important contribution to understanding the rise of broadcasting, which has been widely assumed to begin with the advent of radio in 1920. It is also a major contribution to our understanding of the discourse processes of decontextualization and circulation that are central to the constitution and maintenance of modern public spheres. -- Greg Urban, University of PennsylvaniaTable of ContentsAcknowledgmentsNote on TranscriptionListen to the Records1. Introduction: "A Most Valuable Medium"2. "Come in Here and Hear Them Speak!": Campaign Speeches and Political Publics, with Patrick Feaster3. "Accordin' to the Gospel of Etymology": Aural Blackface and New African American Poetics4. "We Always Enjoy a Good Story": From Monologue to Audio Theater5. "Talking Machine Story Teller": Cal Stewart and the Remediation of Storytelling6. "Somebody Stole My Tune!": Charles Ross Taggart and Country Communicability7. "I Don't See No Mans": Bridging the Schizophonic GapDiscography, by Patrick FeasterReferencesIndex

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Book SynopsisTrade ReviewBauman is a master of his craft. A Most Valuable Medium enables us to benefit from his vast accumulated knowledge and insights as he explores the early world of phonographic recordings of spoken genres, from street-corner sales pitches to country store tall tales. His is a decidedly important contribution to understanding the rise of broadcasting, which has been widely assumed to begin with the advent of radio in 1920. It is also a major contribution to our understanding of the discourse processes of decontextualization and circulation that are central to the constitution and maintenance of modern public spheres. -- Greg Urban, University of PennsylvaniaTable of ContentsAcknowledgmentsNote on TranscriptionListen to the Records1. Introduction: "A Most Valuable Medium"2. "Come in Here and Hear Them Speak!": Campaign Speeches and Political Publics, with Patrick Feaster3. "Accordin' to the Gospel of Etymology": Aural Blackface and New African American Poetics4. "We Always Enjoy a Good Story": From Monologue to Audio Theater5. "Talking Machine Story Teller": Cal Stewart and the Remediation of Storytelling6. "Somebody Stole My Tune!": Charles Ross Taggart and Country Communicability7. "I Don't See No Mans": Bridging the Schizophonic GapDiscography, by Patrick FeasterReferencesIndex

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Book SynopsisFinding Your Career in the Modern Audio Industry equips the reader with the skills they need to turn an interest in audio, sound, or music technology into a career.This book provides insight for aspiring professionals seeking audio-related opportunities in entertainment, technology, education, and more. In the audio industry, there is typically a gap between those in-training and those with professional (and financially sustainable) careers. This book bridges the information gap, offering practical and real-world advice to those in this volatile stage of their career. Including 70+ interviews with professionals from over 20 countries, Finding Your Career in the Modern Audio Industry offers insight into how others (across the industry and the world) have applied entrepreneurial thinking, problem-solving, and creative solutions to build their careers.Including international case studies and interviews with diverse professionals, Finding Your Career iTrade Review"When I received word about this book, I first thought "How could anyone write about finding a career in the audio biz?" The possibilities and personal experiences of this lifelong process are simply too big and varied to write about. Then, I started reading and, WOW, through the use of straightforward talk and first-hand excerpts from industry pro experiences, I think she nailed it! I'm a huge fan of anyone who'll take the time to help others find their way in the audio and music production industry. We all need guidance to make it through our own personal maze in life. I'd truly recommend it to anyone who wants to devote their life towards getting and maintaining a career in the music industry." David Miles Huber, 4X Grammy-nominated musician and producer"April’s book contains immensely valuable information and detailed advice for anyone trying to carve out a career in the audio industry where freelancing is now the norm. The interviews with so many varied professionals are especially informative – they form a tapestry of different experiences from which April draws out the key messages and common themes. It is refreshing to hear from so many different voices in the audio world, and I really wish I had been able to read this book 20 years ago! I can recommend this to anyone currently working in audio, whatever their career stage, but especially to those trying to start out."Caroline Haigh, Institute of Sound Recording, University of Surrey"You need non-audio skills to succeed in the audio industry. April Tucker’s Finding Your Career in the Modern Audio Industry spells it out, showing a structure and a process for introspective assessments of your goals, your limits, your dreams, as well as essential outward-facing action: networking, job searching, marketing yourself, and more. Business acumen can’t be ignored, and can be mastered: negotiating rates and salaries, contracts, accounting, etc. You might be focused on one career path, but this book widens your view to full range of possibilities in the wide world of audio. With quotes and advice from folks across all facets of the industry throughout each chapter, Tucker’s book is a pleasure to read, and you’ll see there is no mystery to beginning your career in the modern audio industry."Alex U. Case, Sound Recording Technology, University of Massachusetts LowellTable of ContentsAcknowledgementsPrefacePart 1 – PlanningPart 1 helps the reader define their personal preferences, challenges and barriers and how that can affect the direction of a career path. These chapters teach the fundamentals of networking, business relationships, marketing, sales, and finding opportunities, all of which are critical foundational skills towards any career in the entertainment or audio industry. Industry Introduction Defining Your Dream & Goals Defining Your Barriers Networking Business Relationships Preparing to Seek Out Opportunities The Search for Work Marketing & Sales (How to Land the Gig) What Makes You Stand Out? Part 2 – Operations Part 2 addresses the logistics of operating a business, whether doing an occasional freelance gig or making a living off of freelance work. These chapters help readers with common business concerns: learning how to set rates, create an invoice, offers and contracts, and managing financial information. Rates and Knowing Your Worth Offers, Bids & Contracts Accounting & Financial Planning for Your Business Part 3 - Career Paths Part 3 takes the principles and ideas of the earlier chapters and puts them into practice. Each chapter addresses the needs specific or unique to these industries. These chapters are largely based on quotes, interviews, stories, and case studies. What business advice would someone who’s been through it give to someone who’s just getting started? Live Sound & Theater Music Production Interactive Media (Game Audio) Sound for Picture (Broadcast, Production & Post-Production) Spoken Word Audio Beyond Entertainment Part 4 The Audio Industry Around the World Q&A Moving Forward Appendix: Bios of intervieweesSupplemental material available online Recommendations, sample contracts, other resources Index

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Book SynopsisThe Audio Expert is a comprehensive reference book covering all aspects of audio, with both practical and theoretical explanations. It is written for people who want to understand audio at the deepest, most technical level, but without needing an engineering degree. The Audio Expert explains how audio really works in much more depth than usual, using common sense plain-English explanations and mechanical analogies, with minimal math. It uses an easy to read conversational tone, and includes more than 400 figures and photos to augment the printed text.However, this book goes beyond merely explaining how audio works. It brings together the concepts of audio, aural perception, musical instrument physics, acoustics, and basic electronics, showing how they're intimately related. It also describes in great detail many practices and techniques used by recording and mixing engineers, including video production and computers. This book is meant for intermediate Trade Review"Winer has made his own experiments on many topics and shows measurements for many of these. Very laudable. ... All in all, this is a very useful reference book." - AES JournalTable of ContentsPart 1 Audio Defined - Chapter 1: Audio Basics; Chapter 2: Audio Fidelity, Measurements, and Myths; Chapter 3: Hearing, Perception, and Artifact Audibility; Chapter 4: Gozintas and Gozoutas.Part 2 Analog and Digital Recording, Processing, and Methods - Chapter 5: Mixers, Buses, Routing, and Summing; Chapter 6: Recording Devices and Methods; Chapter 7: Mixing Devices and Methods; Chapter 8: Digital Audio Basics; Chapter 9: Dynamics Processors; Chapter 10: Frequency Processors; Chapter 11: Time Domain Processors; Chapter 12: Pitch and Time Manipulation Processors; Chapter 13: Other Audio Processors; Chapter 14: Synthesizers; Chapter 15: MIDI Basics.Part 3 Video Production - Chapter 16: Video Production.Part 4 Transducers - Chapter 17: Microphones and Pickups; Chapter 18: Loudspeakers and Earphones.Part 5 Room Acoustics, Treatment, and Monitoring - Chapter 19: Acoustic Basics; Chapter 20: Room Shapes, Modes, and Isolation; Chapter 21: Acoustic Treatment; Chapter 22: Room Measuring.Part 6 Electronics and Computers - Chapter 23: Basic Electronics in 60 Minutes; Chapter 24: Test Procedures; Chapter 25: Computers.Part 7 Musical Instruments - Chapter 26: Musical Instruments.

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Book SynopsisDigital sound synthesis has long been approached using standard digital filtering techniques. Newer synthesis strategies, however, make use of physical descriptions of musical instruments, and allow for much more realistic and complex sound production and thereby synthesis becomes a problem of simulation. This book has a special focus on time domain finite difference methods presented within an audio framework. It covers time series and difference operators, and basic tools for the construction and analysis of finite difference schemes, including frequency-domain and energy-based methods, with special attention paid to problems inherent to sound synthesis. Various basic lumped systems and excitation mechanisms are covered, followed by a look at the 1D wave equation, linear bar and string vibration, acoustic tube modelling, and linear membrane and plate vibration. Various advanced topics, such as the nonlinear vibration of strings and plates, are given an elaborate treatment. Trade Review"It was a pleasure to read this book, which can be approached from many perspectives. In fact, the author uses a style of writing which can be easily understood from undergraduates and graduates, but, at the same time, there are chapters which contain several technical notions, ideal for PhD students and experts of acoustics." (Zentralblatt Math, 2010) "In a nutshell, a very worthy contribution to the field, Bilbao's Numerical Sound Synthesis does a remarkably good job of synthesizing key ideas in a in a lively manner, exploring complex issues in a consistent manner, without simplification, thereby offering an invaluable companion to those who have just entered the field and to experts in coming to grips with the issues involved in numerical sound synthesis." (Current Engineering Practice, 1 November 2010) "I highly recommend this book as an introduction to the field of physical modeling for sound synthesis, which is becoming more and more popular with the tremendous increase in affordable computer power, through multicore desktops and laptops and supercomputer-like graphics processing unit (GPU) engines." (Computing Reviews, October 2010)Table of ContentsPreface. 1 Sound synthesis and physical modeling. 1.1 Abstract digital sound synthesis. 1.2 Physical modeling. 1.3 Physical modeling: a larger view. 2 Time series and difference operators. 2.1 Time series. 2.2 Shift, difference, and averaging operators. 2.3 Frequency domain analysis. 2.4 Energetic manipulations and identities. 2.5 Problems. 3 The oscillator. 3.1 The simple harmonic oscillator. 3.2 A finite difference scheme. 3.3 Other schemes. 3.4 Lumped mass–spring networks. 3.5 Loss. 3.6 Sources. 3.7 Problems. 3.8 Programming exercises. 4 The oscillator in musical acoustics. 4.1 Nonlinear oscillators. 4.2 Lossless oscillators. 4.3 Lossy oscillators. 4.4 Problems. 4.5 Programming exercises. 5 Grid functions and finite difference operators in 1D. 5.1 Partial differential operators and PDEs. 5.2 Grid functions and difference operators. 5.3 Coordinate changes. 5.4 Problems. 5.5 Programming exercises. 6 The 1D wave equation. 6.1 Definition and properties. 6.2 A simple finite difference scheme. 6.3 Other schemes. 6.4 Modal synthesis. 6.5 Loss. 6.6 Comparative study I. 6.7 Problems. 6.8 Programming exercises. 7 Linear bar and string vibration. 7.1 The ideal uniform bar. 7.2 Stiff strings. 7.3 Frequency-dependent loss. 7.4 Coupling with bow models. 7.5 Coupling with hammer and mallet models. 7.6 Multiple strings. 7.7 Prepared strings. 7.8 Coupled bars. 7.9 Helical springs. 7.10 Spatial variation and stretched coordinates. 7.11 Problems. 7.12 Programming exercises. 8 Nonlinear string vibration. 8.1 The Kirchhoff–Carrier string model. 8.2 General planar nonlinear string motion. 8.3 Non-planar string motion. 8.4 Problems. 8.5 Programming exercises. 9 Acoustic tubes. 9.1 Webster’s equation. 9.2 The vocal tract and speech synthesis. 9.3 Reed wind instruments. 9.4 Other wind instruments. 9.5 Problems. 9.6 Programming exercises. 10 Grid functions and finite difference operators in 2D. 10.1 Partial differential operators and PDEs in two space variables. 10.2 Grid functions and difference operators: Cartesian coordinates. 10.3 Grid functions and difference operators: radial coordinates. 10.4 Problems. 10.5 Programming exercises. 11 The 2D wave equation. 11.1 Definition and properties. 11.2 A simple finite difference scheme. 11.3 Other finite difference schemes. 11.4 Digital waveguide meshes. 11.5 Lumped mass–spring networks. 11.6 Modal synthesis. 11.7 Finite difference schemes in radial coordinates. 11.8 Comparative study II. 11.9 Problems. 11.10 Programming exercises. 12 Linear plate vibration. 12.1 The Kirchhoff thin plate model. 12.2 Loss and tension. 12.3 Plate excitation. 12.4 Plate–string connections. 12.5 Anisotropic plates. 12.6 The thin plate in radial coordinates. 12.7 Problems. 12.8 Programming exercises. 13 Nonlinear plate vibration. 13.1 The Berger plate model. 13.2 The von Kármán plate model. 13.3 Spherical shell vibration. 13.4 Problems. 13.5 Programming exercises. 14 Conclusion and perspectives. 14.1 A family of musical systems. 14.2 Comparative study III. 14.3 Beyond finite difference methods. A Matlab code examples. A.1 The simple harmonic oscillator. A.2 Hammer collision with mass–spring system. A.3 Bowed mass–spring system. A.4 The 1D wave equation: finite difference scheme. A.5 The 1D wave equation: digital waveguide synthesis. A.6 The 1D wave equation: modal synthesis. A.7 The ideal bar. A.8 The stiff string. A.9 The Kirchhoff–Carrier equation. A.10 Vocal synthesis. A.11 The 2D wave equation. A.12 Thin plate. B List of symbols. Bibliography. Index.

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Book SynopsisSurround sound is often mistaken as a relatively new phenomenon in cinemas, one that emerged in the 1970s with the arrival of Dolby. Making Stereo Fit reveals that, in fact, filmmakers have been creating stereo and surround-sound effects for nearly a century, since the advent of talking pictures, and argues that their endurance owes primarily to the longstanding battles between stereo and mono technologies. Throughout the book, Eric Dienstfrey analyzes newly discovered archival materials and myriad stereo releases, from Hell's Angels (1930) to Get Out (2017), to show how Hollywood's financial dependence on mono prevented filmmakers from seeing surround sound's full aesthetic potential. Though studios initially explored stereo's unique capabilities, Dienstfrey details how filmmakers eventually codified a conservative set of surround-sound techniques that prevail today, despite the arrival of more immersiveformats.Table of ContentsContents List of Illustrations Acknowledgments Introduction: Stereo Front and Center 1. Widescreens, Headphones, and Concert Halls: Film Stereo’s Identity Crisis 2. Fantasia and Failure on a Theme by Bell Telephone 3. The Cinerama Experience 83 4. The Triple-Track Disruption and the CinemaScope Solution 5. Perspecta, Todd-AO, and the Emergence of Monocentrism 6. Dolby Stereo: The End of an Era Conclusion: Life’s the Same, Movies in Stereo Notes Bibliography Illustration Credits Index

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Book SynopsisTable of ContentsContents List of Illustrations Acknowledgments Introduction: Stereo Front and Center 1. Widescreens, Headphones, and Concert Halls: Film Stereo’s Identity Crisis 2. Fantasia and Failure on a Theme by Bell Telephone 3. The Cinerama Experience 83 4. The Triple-Track Disruption and the CinemaScope Solution 5. Perspecta, Todd-AO, and the Emergence of Monocentrism 6. Dolby Stereo: The End of an Era Conclusion: Life’s the Same, Movies in Stereo Notes Bibliography Illustration Credits Index

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Book SynopsisSignal processing is everywhere in modern technology. Its mathematical basis and many areas of application are the subject of this book, based on a series of graduate-level lectures held at the Mathematical Sciences Research Institute. Emphasis is on challenges in the subject, particular techniques adapted to particular technologies, and certain advances in algorithms and theory. The book covers two main areas: computational harmonic analysis, envisioned as a technology for efficiently analysing real data using inherent symmetries; and the challenges inherent in the acquisition, processing and analysis of images and sensing data in general [EMDASH] ranging from sonar on a submarine to a neuroscientist's fMRI study.Table of Contents1. Introduction D. Rockmore and D. Healy; 2. Hyperbolic geometry, Nehari's theorem, electric circuits, and analog signal processing J. Allen and D. Healy; 3. Engineering applications of the motion-group Fourier transform G. Chirikjian and Y. Wang; 4. Fast x-ray and beamlet transforms for three-dimensional data D. Donoho and O. Levi; 5. Fourier analysis and phylogenetic trees S. Evans; 6. Diffuse tomography as a source of challenging nonlinear inverse problems for a general class of networks A. Grunbaum; 7. An invitation to matrix-valued spherical functions A. Grunbaum, I. Pacharoni and J. Tirao; 8. Image registration for MRI P. Kostelec and S. Periaswamy; 9. The mathematics of JPEG 2000 Jin Li; 10. Integrated sensing and processing for statistical pattern recognition C. Priebe, D. Marchette and D. Healy; 11. Sampling of functions and sections for compact groups D. Maslen; 12. The Cooley-Tukey FFT and group theory D. Maslen and D. Rockmore; 13. Mathematical challenges for optical communications U. Osterberg; 14. The generalized spike process, sparsity and statistical independence N. Saito.

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Book Synopsis"My hope is that by attending to sound I have been able to open up parts of these worlds, not to get a glimpse of them but to listen in. These were worlds much more alive with sound than our own, worlds not yet disenchanted, worlds perhaps even...Trade ReviewLong before Howard Dean howled in Iowa, Quakers in East Jersey were 'tainted with the Ranting Spirit.'... Among their buttoned-up neighbors, the Puritans, these folks were considered possessed in 1675. But what's interesting, observes Richard Rath in this fascinating study, 'How Early America Sounded,' is that all sounds in those days indicated possession.... Rath connects the myriad ways in which sounds exerted social influence.... Finally, and most intriguingly, Rath says we may be living during just such a time again, as the printed transfers some of its authority to a more fluid and ephemeral cyberspace. * The Christian Science Monitor *Mr. Rath rehearses fascinating sound-details from the 17th and 18th centuries, reminding us that what we hear, and how we hear it, is no small part of experience. * The Wall Street Journal *Table of Contents"Those thunders, those roarings": the natural soundscape; from the sounds of things; no corner for the Devil to hide; on the rant; the howling wilderness; conclusions.

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Book SynopsisMorton, so have business strategies, patent battles, and a host of other factors.Trade ReviewTraces the development of sound technology in the U.S. and Europe from the first demonstration of the phono-autograph in 1857 to the latest MP3 technology. Morton skillfully blends a basic understanding of the physical principles involved in recording sound waves with an interesting chronological account that examines the cultural and economic issues affecting the development of sound technology... Written in an engaging style for general readers and includes references to primary and scholarly resources for readers who want to learn more. ChoiceTable of ContentsIntroductionTimeline1. Birth of Recording2. Out of the Laboratory3. The Commercial Debut of Sound Recording Devices4. The Introduction of Discs5. Recording in the Business World6. The Heyday of the Photograph7. The Talkies8. Records and Radio in the United States9. The Crucial 1930s10. Recording in World War II11. The Postwar Scene12. Hi-Fi13. Revolution in the Studio14. Mobile Sound15. Cassette to Compact Disc16. Record Companies versus the World17. Online Music and the Future of ListeningGlossaryBibliographyIndex

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Book SynopsisOffering detailed case studies of key films and filmmakers, Jay Beck explores how sound design was central to the 1960s and 1970s era of experimentation with new modes of cinematic storytelling. He demonstrates how sound was key to many directors' signature aesthetics. Yet the book also examines sound design as a collaborative process.Trade Review“Presenting strong, original research, Designing Sound examines a period of remarkable and often overlooked experimentation with sound in American cinema during the 1960s and 1970s." -- Steve J. Wurtzler * author of Electric Sounds: Technological Change and the Rise of Corporate Mass Media *"Jay Beck puts in perspective an influential turning point in cinema's storytelling with sound, examining how young directors of the 1970s working with monaural soundtracks took on new aesthetic challenges...a critically important historical work!" -- David Stone * Savannah College of Art and Design *Table of ContentsAcknowledgments1 Introduction: The State of the ArtPart One General Trends (1965–1971)2 The British Invasion3 TV and Documentary’s Influence on Sound Aesthetics4 New Voices and Personal Sound Aesthetics, 1970–1971Part Two Director Case Studies (1968–1976)5 Francis Ford Coppola: American Zoetrope and Collective Filmmaking6 Robert Altman’s Collaborative Sound Work7 Martin Scorsese’s Dialectical SoundPart Three The Dolby Stereo Era (1975–1980)8 The Sound of Music: Dolby Stereo and Music in the New American Cinema9 The Sound of Spectacle: Dolby Stereo and the New Classicism10 The Sound of Storytelling: Dolby Stereo and the Art of Sound DesignNotesBibliographyIndex

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Book SynopsisThis Element provides a demonstration of how evolving external cues, and internal cognitive scripts interact with technology and social conventions in the recording studio to impact a popular music musician's performance and, in effect, the creation of a new Work.Table of Contents1. Repetition in performance; 2. The recording studio as a construction site; 3. The performer as a reflective practitioner; 4. That's perfect! Let's do it again; 5. Organisation can make it worth the risk; 6. Seeking out the slippery hills.

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Book SynopsisWorship Sound Spaces unites specialists from architecture, acoustic engineering and the social sciences to encourage closer analysis of the sound environments within places of worship. Gathering a wide range of case studies set in Europe, Asia, North America, the Middle East and Africa, the book presents investigations into Muslim, Christian and Hindu spaces. These diverse cultural contexts demonstrate the composite nature of designing and experiencing places of worship. Beginning with a historical overview of the three primary indicators in acoustic design of religious buildings, reverberation, intelligibility and clarity, the second part of this edited collection offers a series of field studies devoted to perception, before moving onto recent examples of restoration of the sound ambiances of former religious buildings. Written for academics and students interested in architecture, cultural heritage, acoustics, sensory studies and sound.The multimedia documents of Table of ContentsIntroduction: Religious Listenings: A multidisciplinary approach Christine Guillebaud and Catherine Lavandier PART 1. Sonic architecture: Acoustic intentions in worship buildings 1. Characterizing the acoustics of places of worship: Should we believe in acoustic indicators? Marc Asselineau 2. Towards a history of architectural acoustics using archeological evidence: What recent research on the uses of acoustic pots contributes to understanding of the quest for sound quality in 11th to 17th century churches Jean-Christophe Valière and Bénédicte Palazzo-Bertholon 3. Temple soundspaces and ancient Hindu ritual texts Gérard Colas PART 2. Experiencing the sacred through sound 4. The worldmaking ways of church bells: Three stories about the Cathedral Notre-Dame de Paris Gaspard Salatko 5. What should the reverberation inside a masjid be? A study exploring the demands of Imams Ahmed Elkhateeb 6. ‘Soundwalks in Shiva temple’: A situated approach to perceived ambiance Christine Guillebaud 7. Bells, auspiciousness and the god of music: Reflections on sound in ritual space in Nepalese Hindu traditions Astrid Zotter 8. Resonant voices and spatial politics: An acoustemology of citizenship in a Muslim neighbourhood of the Kenyan coast Andrew J. Eisenberg PART 3. Restoring the sound ambiances of the past 9. The church beyond worship: Experiencing monumental soundspaces in the Roman Catholic churches of Montréal (Québec, Canada) Josée Laplace 10. Sound heterotopia in a Cistercian monastery Pascal Joanne 11. The original acoustics of the sixteenth-century Mughal heritage of Burhanpur (India) Amit J. Wahurwagh Akshay P. Patil Alpana R. Dongre AFTERWORD A world of attunements Jean-Paul Thibaud

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Book SynopsisFully updated second edition of the premier reference book on muffler and lined duct acoustical performance Engine exhaust noise pollutes the street environment and ventilation fan noise enters dwellings along with fresh air. People have become conscious of their working environment.Table of ContentsPreface xiii 1 Propagation of Waves in Ducts 1 1.1 Plane Waves in an Inviscid Stationary Medium 2 1.2 Three-Dimensional Waves in an Inviscid Stationary Medium 5 1.3 Waves in a Viscous Stationary Medium 12 1.4 Plane Waves in an Inviscid Moving Medium 16 1.5 Three-Dimensional Waves in an Inviscid Moving Medium 18 1.6 One-Dimensional Waves in a Viscous Moving Medium 20 1.7 Waves in Ducts with Compliant Walls (Dissipative Ducts) 23 1.8 Three-Dimensional Waves along Elliptical Ducts 34 References 39 2 Theory of Acoustic Filters 41 2.1 Units for the Measurement of Sound 41 2.2 Uniform Tube 43 2.3 Radiation Impedance 46 2.4 Reflection Coefficient at an Open End 48 2.5 A Lumped Inertance 49 2.6 A Lumped Compliance 50 2.7 End Correction 51 2.8 Electroacoustic Analogies 51 2.9 Electrical Circuit Representation of an Acoustic System 52 2.10 Acoustical Filter Performance Parameters 53 2.11 Lumped-Element Representations of a Tube 58 2.12 Simple Area Discontinuities 60 2.13 Gradual Area Changes 62 2.14 Extended-Tube Resonators 67 2.15 Helmholtz Resonator 69 2.16 Concentric Hole-Cavity Resonator 70 2.17 An Illustration of the Classical Method of Filter Evaluation 71 2.18 The Transfer Matrix Method 74 2.19 TL of a Simple Expansion Chamber Muffler 85 2.20 An Algebraic Algorithm for Tubular Mufflers 88 2.21 Synthesis Criteria for Low-Pass Acoustic Filters 91 References 94 3 Flow-Acoustic Analysis of Cascaded-Element Mufflers 97 3.1 The Exhaust Process 97 3.2 Finite Amplitude Wave Effects 101 3.3 Mean Flow and Acoustic Energy Flux 102 3.4 Aeroacoustic State Variables 105 3.5 Aeroacoustic Radiation 108 3.6 Insertion Loss 111 3.7 Transfer Matrices for Tubular Elements 112 3.8 Perforated Elements with Two Interacting Ducts 119 3.9 Acoustic Impedance of Perforates 126 3.10 Matrizant Approach 129 3.11 Perforated Elements with Three Interacting Ducts 131 3.12 Other Elements Constituting Cascaded-Element Mufflers 137 References 143 4 Flow-Acoustic Analysis of Multiply-Connected Perforated Element Mufflers 147 4.1 Herschel-Quincke Tube Phenomenon 147 4.2 Perforated Element with Several Interacting Ducts 151 4.3 Three-Pass Double-Reversal Muffler 154 4.4 Flow-Reversal End Chambers 158 4.5 Meanflow Lumped Resistance Network Theory 163 4.6 Meanflow Distribution and Back Pressure Estimation 169 4.7 Integrated Transfer Matrix Approach 175 References 186 5 Flow-Acoustic Measurements 187 5.1 Impedance of a Passive Subsystem or Termination 187 5.2 Four-Pole Parameters of a Flow-Acoustic Element or Subsystem 203 5.3 An Active Termination – Aeroacoustic Characteristics of a Source 210 References 229 6 Dissipative Ducts and Parallel Baffle Mufflers 233 6.1 Acoustically Lined Rectangular Duct with Moving Medium 234 6.2 Acoustically Lined Circular Duct with Moving Medium 239 6.3 Transfer Matrix Relation for a Dissipative Duct 241 6.4 Transverse Wave Numbers for a Stationary Medium 244 6.5 Normal Impedance of the Lining 245 6.6 Transmission Loss 249 6.7 Effect of Protective Layer 251 6.8 Parallel Baffle Muffler 257 6.9 The Effect of Mean Flow 259 6.10 The Effect of Terminations on the Performance of Dissipative Ducts 260 6.11 Lined Bends 261 6.12 Plenum Chambers 261 6.13 Flow-Generated Noise 262 6.14 Insertion Loss of Parallel Baffle Mufflers 263 References 264 7 Three-Dimensional Analysis of Mufflers 267 7.1 Collocation Method for Simple Expansion Chambers 268 7.2 Finite Element Methods for Mufflers 275 7.3 Green’s Function Method for a Rectangular Cavity 292 7.4 Green’s Function Method for Circular Cylindrical Chambers 301 7.5 Green’s Function Method for Elliptical Cylindrical Chambers 303 7.6 Breakout Noise 306 References 316 8 Design of Mufflers 321 8.1 Requirements of an Engine Exhaust Muffler 321 8.2 Simple Expansion Chamber 322 8.3 Double-Tuned Extended-Tube Expansion Chamber 324 8.4 Tuned Concentric Tube Resonator 326 8.5 Plug Mufflers 327 8.6 Side-Inlet Side-Outlet Mufflers 329 8.7 Designing for Insertion Loss 331 8.8 Three-Pass Double-Reversal Chamber Mufflers 338 8.9 Perforated Baffle Muffler 347 8.10 Forked Dual Muffler System 349 8.11 Design of Short Elliptical and Circular Chambers 353 8.12 Back-Pressure Considerations 362 8.13 Practical Considerations 365 8.14 Design of Mufflers for Ventilation Systems 367 8.15 Active Sound Attenuation 369 References 375 Appendix A: Bessel Functions and Some of Their Properties 377 Appendix B: Entropy Changes in Adiabatic Flows 381 B.1 Stagnation Pressure and Entropy 381 B.2 Pressure, Density, and Entropy 382 Appendix C: Nomenclature 385 Index 389

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Book SynopsisIn Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether you're a dance producer in your home studio, a live mixer in a club, or an engineer in a big studio, the mindset is largely the same.The same goes for the questions you run into: where do you start? How do you deal with a context in which all the different parts affect each other? How do you avoid getting lost in technique? How do you direct your audience's attention? Why doesn't your mix sound as good as someone else's? How do you maintain your objectivity when you hear the same song a hundred times? How do your speakers affect your perception? What's the difference between one compressor and another?Following a clear structure, this book covers these and many other questions, bringing you closer and closer to answering the most important question of all: how do you tell a story with sound?Trade Review"Every now and then an indispensable book comes along that can profoundly influence you in the development of your audio skills – this might be one of them." David Baer, Sound Bytes"The usual topics of effects, compression, and EQ are covered but in more realistic, hands-on detail than most vague mixing guides usually are fluffed up with. Special attention is given early on to the importance of phase, space, and time and how all these interrelate. One of the best features of this book is that Wessel doesn’t generally hand out specific names of hardware or plug-ins to use but instead educates the user about actual techniques, what type of gear will achieve the desired goals, and why it works. These are the fundamental building blocks of quality mixing; not some whiz-bang plug-in template that claims to always deliver "perfect vocals" or some such lie. Other topics include the practical realities of maintaining objectivity, working with others, and even serving the clients’ needs as opposed to your own ego. Mixing with Impact is a perfect handbook for the mix engineer, and I find myself thumbing through it and nodding my head at all the truth within its pages." Larry Crane, Tape Op Magazine/Jackpot! Recording Studio"All in all, then, Mixing With Impact's 350 pages are packed with useful ideas, up-to-date, well-marshalled information, and great conceptual explanations backed up with lots of useful diagrams. It should help anyone with an open mind, be they seasoned pros or aspiring engineers taking their first tentative steps into the world of mixing, to reflect on and improve their own way of working." Matt Houghton, Sound on Sound Table of ContentsColophonPreface Travel guide for this bookChapter 1: The world of mixing1.1 Who is the mixer?1.2 Why is mixing necessary?1.3 What is the challenge?1.4 On rulesChapter 2: Listening2.1 Perception2.2 Your ear is a compressor2.3 Your ear is an equalizer2.4 Tuning in2.5 A fixed reference2.6 Taking professional care of your earsChapter 3: Laying the foundation 3.1 Before you start3.2 Foundation3.3 Balance3.4 Panning3.5 Mute is your friendChapter 4: The frequency spectrum4.1 Association is key4.2 Masking4.3 The goal of EQ4.4 EQ compassChapter 5: Dynamics5.1 Dynamics versus time5.2 Technical and musical dynamics5.3 Using compressors5.4 Reducing masking with compression5.5 Dynamics and loudnessChapter 6: Space6.1 Hearing space and distance6.2 Simulating space and distance6.3 How reverb works6.4 Using reverb6.5 How delay works6.6. Using delayChapter 7: Time and phase7.1 Interaction7.2 Combining microphones hierarchically7.3 Combining microphones non-hierarchically7.4 Phase manipulationChapter 8: Identity8.1 Innovation, imitation and inspiration8.2 Shaping identityChapter 9: Effects9.1 Distortion - simulating intensity9.1.1 How it works9.1.2 Distortion in a mix9.2 Re-amping - providing context9.2.1 How it works9.2.2 Re-amping in a mix9.3 Modulation - putting things in motion9.3.1 How it works9.3.2 Modulation in a mix9.4 Pitch manipulation - creating what wasn't there9.4.1 How it works9.4.2 Pitch shifting in a mix9.5 Triggering - cause and effect9.5.1 How it works9.5.2 Triggering in a mix9.6 Spectral editing - unreal reality9.6.1 How it works9.6.2 Spectral processing in a mixChapter 10: Automation10.1 Faders for each function10.2 Parallel constructions10.3 Change and conquer10.4 ExpressivityChapter 11: Advanced techniques11.1 The floor: keeping low frequencies in check11.2 The ceiling: creating clear mixes11.3 Securing the house: dynamic interventions11.4 The exterior walls: stereo processing11.5 Beyond the exterior walls: 3D panningChapter 12: Bus Compression12.1 Influence12.2 Choices and settings12.3 Multibus setups: painting on a colored canvasChapter 13: Templates13.1 Time is money13.2 Building templates13.3 Integrating equipment in the 21st centuryChapter 14: Preparing for mastering14.1 Communication14.2 What is a good mix?14.3 Mixbus processing14.4 Stems14.5 Consequences of loudness normalizationChapter 15: Mindset15.1 Doubt is fatal for a mix15.2 Imposed limitations - working in a context15.3 A guide for your mix15.4 Ways to stay freshChapter 16: The outside world16.1 Speaking the same language16.2 Reference tracks16.3 Feedback on the source material16.4 Feedback on the mix: revisions16.5 Working at a distance16.6 ConclusionChapter 17: Tools17.1 Basic acoustics17.1.1 Space17.1.2 Optimization17.2 Monitoring17.3 Subwoofers17.3.1 Why use a subwoofer?17.3.2 Choosing a subwoofer17.3.3 Installing and adjusting17.4 Headphones17.5 How EQ works and its side-effects17.6 How compressors work and their side-effectsIndex

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Book SynopsisModern Theatres 19502020 is an investigation of theatres, concert halls and opera houses in Asia, Europe, the Middle East and North and South America.The book explores in detail 30 of the most significant theatres, concert halls, opera houses and dance spaces that opened between 1950 and 2010. Each theatre is reviewed and assessed by experts in theatre buildings, such as architects, acousticians, consultants and theatre practitioners, and illustrated with full-colour photographs and comparative plans and sections. A further 20 theatres that opened from 2009 to 2020 are concisely reviewed and illustrated.An excellent resource for students of theatre planning, theatre architecture and architectural design, Modern Theatres 1950 2020 discusses the role of performing arts buildings in cities, explores their public and performances spaces and examines the acoustics and technologies needed in a great building. This beautifulTable of ContentsChapter 1.00: Aspects of Modern Theatres 1.01. Edwin O. Sachs – A British Theatrical Enigma David Wilmore 1.02. Cities, global and regenerating David Staples 1.03. Theatres and publicness Bostjan Vuga 1.04. Prevailing Themes in 20th Century Theatre Architecture Joshua Dachs 1.05. Towards a new theatre architecture: developments in Britain after 1950 Alistair Fair 1.06. Front of House moves to the forefront Robert Shook 1.07. Concert Halls, Music, and Audiences Chris Blair 1.08. The Modern Opera House Nicholas Payne 1.09. Playhouses and spaces for drama Tim Foster 1.10. Stage Engineering Systems Mark Ager 1.11. Stage Lighting Mark White 1.12. Sound, and Opera’s Dirty Little Secret Chris Full 1.13. New Technologies and Performance Raj Patel 1.14. Acoustics and the Modern Theatre Sebastien Jouan Chapter 2.00: Thirty Significant Theatres 1950 to 2010 Chapter 3.00: Fifties 3.01. Royal Festival Hall, 1951, London, UK Miles Glendinning and Sebastien Jouan 3.02. Festival Theatre, 1957, Stratford, Ontario, Canada Gary McCluskie 3.03. Kalita Humphreys Theater, 1959, Dallas, Texas David Staples 3.04. Musiktheater im Revier, 1959, Gelsenkirchen, Germany Elain Harwood Chapter 4.00: Sixties 4.01. Arena Stage, Washington, DC, USA Joshua Dachs 4.02. Bunka Kaikan, 1961, Tokyo, Japan Shozo Motosugi 4.03. Philharmonie, 1963, Berlin, Germany Karin Winkelsesser Chapter 5.00: Seventies 5.01. Finlandia Hall, 1971, Helsinki, Finland David Staples 5.02. Sydney Opera House, 1973, Sydney, Australia David Staples 5.03. Teatro Regio, 1971, Torino, Italy David Staples and Simone Solinas 5.04. Royal National Theatre, 1976, London, UK Patrick Dillon 5.05. Royal Exchange Theatre, 1976, Manchester, England Andy Hayles Chapter 6.00: Eighties 6.01. Schaubühne at Lehniner Platz, 1981, Berlin, Germany Reinhold Daberto 6.02. Arts Centre Melbourne, 1982, Melbourne, Australia Tim Brinkman 6.03. Joyce Theater, 1982, New York, NY, USA Elizabeth Bradley 6.04. Derngate, 1983, Northampton, England Roger Hopwood 6.05. Lucent Danstheater, 1987, The Hague, Netherlands Eric Blom and Lian The 6.06. Opéra Bastille, 1989, Paris, France Michel da Costa Gonçalves Chapter 7.00: Nineties 7.01. Sadler’s Wells Theatre, 1998, London, UK Richard York Chapter 8.00: New Millennium 8.01. The Lowry, 2000, Salford, United Kingdom Alistair Fair 8.02. Esplanade – Theatres on the Bay, 2002, Singapore Gaurav Kripalani 8.03. Walt Disney Concert Hall, 2003, Los Angeles, California, USA Carl Giegold 8.04. KÀ Theater, 2004, MGM Grand Hotel, Las Vegas, AZ, USA David Barbour 8.05. Matsumoto Performing Arts Centre, 2004, Matsumoto, Japan Shozo Motosugi 8.06. Casa da Música, 2005, Porto, Portugal Maria Rita Liberal Arnaut 8.07. Auditório Ibirapuera ‘Oscar Niemeyer’, 2005, São Paulo, Brazil Claudia Toni 8.08. National Center for the Performing Arts, 2007, Beijing, China Jörg Kümmel 8.09. Operahuset, 2008, Oslo, Norway David Turnbull 8.10. National Opera House, 2008, Wexford, Ireland David Staples 8.11. DR Koncerthuset, 2009, Copenhagen, Denmark Allan Xenius Grige 8.12. Guangzhou Opera, 2010, Guangzhou, China David Staples Chapter 9.00: Snapshots of twenty theatres – 2011 to 2020 - David Staples 9.01. Dee and Charles Wyly Theatre, 2009, Dallas, Texas, USA Karin Winkelsesser 9.02. Onassis Cultural Centre, 2010, Athens, Greece Karin Winkelsesser 9.03. New World Center, 2011, Miami, FL, USA Karin Winkelsesser 9.04. Royal Opera House, 2011, Muscat, Oman Karin Winkelsesser 9.05. Harpa, 2011, Reykjavik, Iceland David Staples 9.06. Royal Shakespeare Theatre, 2011, Stratford-upon-Avon Alistair Fair 9.07. Heydar Aliyev Center, 2012, Baku, Azerbaijan David Staples 9.08. `A`ali`ikūhonua Creative Arts Center, 2012, Seabury Hall, Maui, USA David Staples 9.09. Musiktheater am Volksgarten, 2013, Linz, Austria Karin Winkelsesser 9.10. Everyman Theatre, 2014, Liverpool, UK Alistair Fair 9.11. Han Show Theatre, 2014, Wuhan, China Karin Winkelsesser 9.12. Harbin Opera House, 2015, Harbin, China David Staples 9.13. Dubai Opera, 2016, Dubai, UAE Karin Winkelsesser 9.14. Stavros Niarchos Foundation Cultural Center, 2017, Athens, Greece Karin Winkelsesser 9.15. Boulez Saal, 2017, Berlin, Germany Karin Winkelsesser 9.16. Elbphilharmonie, 2017, Hamburg, Germany Karin Winkelsesser 9.17. Bridge Theatre, 2017, London, UK David Staples 9.18. National Kaohsiung Center for the Arts, 2018, Taiwan Karin Winkelsesser 9.19. The Shed, The Bloomberg Building, 2019, New York David Staples 9.20. Xiqu Centre, 2019, Hong Kong David Staples Chapter 10.00: Conclusions 10.01. Postscript – "The Ghost Light" Chapter 11.00: Modern Theatres contributors

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Book SynopsisLoudspeakers: For Music Recording and Reproduction, Second Edition is a comprehensive guide, offering the tools and understanding needed to cut out the guesswork from loudspeaker choice and set-up. Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell, combine their years of experience in the design, application, and use of loudspeakers to cover a range of topics from drivers, cabinets, and crossovers, to amplifiers, cables, and surround sound. Whether using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post-production facility, home, or musician's studio, or if you simply aspire to improve your music-production system this book will help you make the right decisions.This new edition provides significant updates on the topics of digital control, calibration, and cinema loudspeaker systems.Trade Review"If electro-acoustics happens to be a subject you wish you understood more, or if before a speaker purchase you'd like to be better informed, there is, as far as I'm aware, absolutely no better place to start." - Phil Ward, Sound on Sound"This new edition finds the book continuing in its place [...] as one of the essential reference books on loudspeakers." - Mark Gander, Journal of the Audio Engineering SocietyTable of ContentsIntroduction 1. What Is a Loudspeaker?2. Diversity of Design 3. Loudspeaker Cabinets 4. Horns5. Crossovers 6. Amplifiers and Loudspeaker Cables - A General Review7. Loudspeaker Behaviour in Rooms 8. Form Follows Function 9. Subjective and Objective Assessment 10. The Mix, the Music and the Monitors - The Instability of Perception 11. Low Frequency and Transient-Response Dilemmas 12. The Challenges of Surround Sound 13. Loudspeakers for Cinema Soundtrack Mixing14. What to Measure: And Why - The Influence of Advanced Measurement and Psychoacoustic Concepts on Loudspeaker DesignGlossary of TermsIndex

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Book SynopsisLoudspeakers: For Music Recording and Reproduction, Second Edition is a comprehensive guide, offering the tools and understanding needed to cut out the guesswork from loudspeaker choice and set-up. Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell, combine their years of experience in the design, application, and use of loudspeakers to cover a range of topics from drivers, cabinets, and crossovers, to amplifiers, cables, and surround sound. Whether using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post-production facility, home, or musician's studio, or if you simply aspire to improve your music-production system this book will help you make the right decisions.This new edition provides significant updates on the topics of digital control, calibration, and cinema loudspeaker systems.Trade Review"If electro-acoustics happens to be a subject you wish you understood more, or if before a speaker purchase you'd like to be better informed, there is, as far as I'm aware, absolutely no better place to start." - Phil Ward, Sound on Sound"This new edition finds the book continuing in its place [...] as one of the essential reference books on loudspeakers." - Mark Gander, Journal of the Audio Engineering SocietyTable of ContentsIntroduction 1. What Is a Loudspeaker?2. Diversity of Design 3. Loudspeaker Cabinets 4. Horns5. Crossovers 6. Amplifiers and Loudspeaker Cables - A General Review7. Loudspeaker Behaviour in Rooms 8. Form Follows Function 9. Subjective and Objective Assessment 10. The Mix, the Music and the Monitors - The Instability of Perception 11. Low Frequency and Transient-Response Dilemmas 12. The Challenges of Surround Sound 13. Loudspeakers for Cinema Soundtrack Mixing14. What to Measure: And Why - The Influence of Advanced Measurement and Psychoacoustic Concepts on Loudspeaker DesignGlossary of TermsIndex

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