Music recording and reproduction Books

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Book Synopsis''By mixing lo-fi charm into hi-fi science Into the Groove captures all the wonder and absurdity of its subject, jumping and skipping with real analogue delight.'' - Sunday TimesThe story of recorded sound the technological developments, the people that made them happen and the impact they had on society from the earliest inventions via the phonograph to LPs, EPs and the recent resurgence of vinyl.While Thomas Edison''s phonograph, the first device that could both record and reproduce sound, represented an important turning point in the story of recorded sound, it was really only the tip of the iceberg, and came after decades of invention, tinkering and experiment. Into the Groove tells the story of the birth of recorded sound, from the earliest serious attempts in the 1850s all the way up to the recent vinyl resurgence. This book celebrates the ingenuity, rivalries and science of the modulated groove.Vinyl collector and music bu

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Book Synopsis"...a terrific read for lovers of great music and vinyl" —Ruth O'Connor, Irish Examiner "Peppered with more than 200 colour and black and white images, this book shows off how photogenic the world of vinyl is for photographers." —Amateur Photography "From a recording medium to a cult object - this book is for fans of music and vintage items." —New Design The good old record is still spinning! With its demise predicted over and over, the vinyl has shown itself to triumphant over technology trends, beloved by music professionals and fans, collectors and DJs alike. This richly illustrated photo book celebrates the history of the record with over 200 colour and black and white images, seasoned with essential vinyl knowledge on record magazines, consoles, shops and cafes. From the art legends who shaped the cover art to the LPs that became coveted collector’s items, this is a must-have compendium for all vinyl fans and collectors. Text in English and German.Trade Review"Vinyl World - You Spin Me Right Round is a terrific read for lovers of great music and vinyl. It's the story of the record's place in the history of pop culture, media and technology. There's lots to explore including how records are made, significant album cover art, record stores and record bars around the world." - Ruth O'Connor, Irish Examiner"Peppered with more than 200 colour and black and white images, this book shows off how photogenic the world of vinyl is for photographers." - Amateur Photography"From a recording medium to a cult object - this book is for fans of music and vintage items." - New DesignTable of ContentsForeword Vinyl Lifestyle Hear & Collect How to do a record Pop culture Cover Art Boutique Style Listening Bars Record Shops

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Book SynopsisA photographic look into the world of vinyl record collectors—including Questlove—in the most intimate of environments—their record rooms. Compelling photographic essays from photographer Eilon Paz are paired with in-depth and insightful interviews to illustrate what motivates these collectors to keep digging for more records. The reader gets an up close and personal look at a variety of well-known vinyl champions, including Gilles Peterson and King Britt, as well as a glimpse into the collections of known and unknown DJs, producers, record dealers, and everyday enthusiasts. Driven by his love for vinyl records, Paz takes us on a five-year journey unearthing the very soul of the vinyl community.

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Book SynopsisThe Beatles. The Beach Boys. Blur, Bowie, Kylie Minogue, Kate Bush and Coldplay. EMI was one of the big four record companies, with some of the biggest names in the history of recorded music on its roster. Dominating the music industry for over 100 years, by 2010 EMI Group had reported massive pre-tax losses. The group was divided up and sold in 2011. How could one of the greatest recording companies of the 20th century have ended like this? With interviews from insiders and music industry experts, Eamonn Forde pieces together the tragic end to a financial juggernaut and a cultural institution in forensic detail. The Final Days of EMI: Selling the Pig is the story of the British recording industry, laid bare in all its hubris and glory.

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Book SynopsisAudio production is an incredibly rewarding craft. To take the raw, basic tracks of a fledgling idea and shape them into one glorious stereophonic sound wave is an amazing feat. The transformation from analogue to digital dominance has brought many advances in sound quality and new techniques, but producing digital music with only a standard computer and DAW can be problematic, time-consuming and sometimes disappointing without the right approach and skills. In Template Mixing and Mastering, renowned mix engineer Billy Decker tackles the challenges of in-the-box production through his innovative template approach. He shares his passion and knowledge from over twenty years of industry experience, including an introduction to templates and a step-by-step guide to their set-up and a discussion of drum replacement technology. Channel and setting information for each of the drum, instrument and vocal sections of his template is discussed along with the master channel and his methodology of mixing and mastering. Finally, he gives professional advice and best practice. This book features the full template used on sixteen No 1 records!Trade ReviewThis book is a gift of gratitude to anyone that wants to take a step into out-of-this-world sounding songs. -- Rodney Atkins, multi-million selling recording artistThis book is accessible and engaging, with plenty of pithy one-liners that make serious and thought-provoking points. Essential reading for anyone interested in improving their mixing skills, and streamlining their working methods. -- Paul Tingen * Sound on Sound *Some absolute gems of advice to pick up here. The brilliant and clear way everything is presented and the actual (hallelujah!) settings for your template laid out for you, make this essential for any mix engineer, or anyone striving to be one. * Computer Music Review *The book is also an excellent reference for identifying frequencies a pro mixer will often cut or boost on certain instruments; I always nodded my head at Billy’s choices. Throughout the book there are a lot of thoughts and practices that will help a mix engineer keep their focus, searching for “feel” as opposed to “perfection.” There really is a lot of information packed into these 126 pages. -- Larry Crane reviewer Tape Op * Tape Op *

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Book SynopsisPRO TOOLS 101 AN INTRODUCTION TO PRO TOOLS 11 takes a comprehensive approach to learning the fundamentals of Pro Tools systems. Now updated for Pro Tools 11 software, this new edition from the definitive authority on Pro Tools covers everything you need to know to complete a Pro Tools project. Learn to build sessions that include multitrack recordings of live instruments, MIDI sequences, and virtual instruments. Through hands-on tutorials, develop essential techniques for recording, editing, and mixing. PRO TOOLS 101 AN INTRODUCTION TO PRO TOOLS 11 is the first of two courses designed to prepare users for the Avid Pro Tools 11 Certified User exam. The second course, Pro Tools 110: Pro Tools Production I, is available exclusively through Avid Learning Partners. To find an Avid Learning Partner, please visit http://www.avid.com/support/training/find-partner.

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Book SynopsisÊThe Great British Recording StudiosÊ tells the story of the iconic British facilities where many of the most important recordings of all time were made. The first comprehensive account of British recording studios ever published it is endorsed by and was written with the cooperation of the British APRS (Association of Professional Recording Services headed by Sir George Martin) to document the history of the major British studios of the 1960s and 1970s and to help preserve their legacy.ÞThe book surveys the era''s most significant British studios (including Abbey Road Olympic and Trident) with complete descriptions of each studio''s physical facilities and layout along with listings of equipment and key personnel as well as details about its best-known technical innovations and a discography of the major recordings done there. Seamlessly interweaving narrative text with behind-the-scenes anecdotes from dozens of internationally renowned record producers and a wealth of photogra

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Book SynopsisA beyond-cool look at the world of high-end audio design for passionate collectors, obsessive audiophiles, and design fansTrade Review'A showcase of the beautiful designs that set the bar for audio performance ... A great read for audiophiles and design fans alike.' – Acquire'Like all other books that bear the Phaidon name, Hi-Fi goes in-depth into the subject matter over the almost 300 page hardcover tome ... If you love old school audio as much as we do, it's a must read.' – Cool Material'This unique book explores the current renaissance of all things analog and the emergence of cutting-edge designs for die-hard audiophiles.' – Werd'Hi-Fi may give you a better idea of just why your friend insists that you appreciate the warmth of sound from his record player at every dinner party or why some people are willing to buy speakers from KEF that cost as much as a house.' –New York Magazine, The Strategist'[The] lavishly illustrated Hi-Fi: The History of High-End Audio Design is the perfect gift ... [A] designer's dream of an informative art book.' – Chronogram'Gideon Schwartz's book goes on a visual journey through the innovative world of home stereo design, from the tank-like amplifiers of the ‘50s to the sleek streaming hubs of today. Hi-Fi's 272 pages are filled with photos of iconic systems, including Bose's earliest forays into loudspeakers, and Dieter Rams' famous all-white turntable design for Braun. Warning: Perusing this book may result in eBay-fueled debt.' – WIRED'This timely tome will appeal to design lovers and audiophiles alike.' – ELLE Decoration'A stereo fetishist's wet dream.' – Sharp Magazine'A lavish photographic history to stun audiophiles who love the look, feel and sound of analog equipment.' – Globe & Mail'A bible for discriminating audiophiles and and industrial design junkies.' – The Awesomer'For anybody interested in analog technologies and music, Gideon Schwartz's Hi-Fi: The History of High-End Audio Design offers a deep dive into the history and renaissance of lo-fi audio. Audio fans will be delighted by the countless turntables, reel-to-reels, vacuum tubes, amplifiers, speakers and more.' – Cool Hunting'Some fine examples of the intersection of music and design appreciation are on display.' – Core77'For those who pride themselves on their superior knowledge and taste in audio equipment, this book offers an in-depth history of the evolution of audio equipment.' – InsideHook'Hi-Fi is a quick, easy read ... with photos you'll want to linger over.' – Stereophile

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Book SynopsisIn this new edition, discover how to achieve commercial-grade recordings, even in the smallest studios, by applying power-user techniques from the world's most successful producers.Recording Secrets for the Small Studio is based on the backroom strategies of more than 250 famous names. This thorough and down-to-earth guide leads you through a logical sequence of practical tasks to build your live-room skills progressively from the ground up, with user-friendly explanations that introduce technical concepts on a strictly need-to-know basis. On the way, you'll unravel the mysteries of many specialist studio tactics and gain the confidence to tackle a full range of real-world recording situations.Specifically designed for small-studio enthusiasts, this book provides an intensive training course for those who want a fast track to releasing quality results, while the chapter summaries, assignments, and extensive online resources are perfect for school aTrade Review'A perfectly targeted and very readable mine of technical information, practical advice and real-world home-studio experience [...] it’s a book that I’d be very happy to recommend unreservedly to enthusiasts, students and experienced practitioners alike.'Hugh Robjohns, Sound on SoundTable of ContentsPart 1: One Source, No Mics 1. Recording a Machine 2. The Human Element 3. Instruments with Pickups Part 2: One Source, One Mic 4. Basic Vocal Recording 5. Beyond Vanilla Vocals 6. Single-Mic Instrument Recording Part 3: One Source, Multiple Mics 7. Multimiking in Mono 8. Multimiking in Stereo Part 4: Multiple Sources, Multiple Mics 9. Ensemble Recording with a Dominant Array 10. Adding Spot Arrays 11. Ensemble Recording with Peer Arrays 12. Going Freestyle 13. Conclusion

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Book SynopsisThis unique book reveals the origins and tells the history of vintage recording gear, told by the man who coined the term. The products of 22 manufacturers are illustrated with over 450 never before published photographs and reprints of original manufacturers sales brochures from the authors collection.

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Book SynopsisEver since his father gave him a disc recorder at the tender age of 10 Bruce Swedien has known what he wanted to do for the rest of his life. The names of the people he has worked with are too many to list but when one mentions musicians like Count Basie Duke Ellington Oscar Peterson Sarah Vaughan Eddie Harris Quincy Jones Jennifer Lopez and even Michael Jackson a great deal is immediately understood. In this book Swedien generously gives away detailed information from his lifetime in the studio-from a musical technical and very personal perspective. This book has something for everyone who is interested in music especially those curious about the stories behind the scenes of some of the best music to ever come out of the recording studio.

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Book SynopsisHow one man discovered B. B. King, Johnny Cash, Jerry Lee Lewis and Elvis Presley, and how his tiny label, Sun Records of Memphis, revolutionised the world.Trade ReviewAuthor Peter Guralnick has no equals when it comes to researching the characters around Fifties andSixties rock music, and this biography has been many years in the writing. ...(a) valuable and fascinating book. -- Ray Connolly * DAILY MAIL - Book of the Week *In the hands of a storyteller as deft as Peter Guralnick it effortlessly engages the reader throughout. -- Lou Glandfield * TIMES LITERARY SUPPLEMENT *Guralnick's book is exhaustive but exhilarating. Writing about music is notoriously difficult ... Guralnick manages to do so with ease, so that every description of a recording gets you scurrying to YouTube, to check if he's right. He invariably is. It's a big book about a huge personality whose influence on popular music has been enormous. -- JOHN CLARKE * THE INDEPENDENT *Guralnick brilliantly captures the period, its attitudes and its characters in a book that is essential reading for anyone interested in popular music. -- Edward Argyle * DAILY EXPRESS *Getting to know Sam, Mr. Guralnick explains, opened up "a world in which I had clearly not grown up but to which I so desperately sought admittance, as historian, as writer, as fan." So began the quest that has produced the gold-standard Presley bio and now a complete portrait of his inspiration.Mr. Guralnick has captured what was different, real and raw about a great artist. His Sam Phillips comes out perfectly imperfect. -- PRESTON LAUTERBACH * WALL STREET JOURNAL *

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Book SynopsisTony Wilson is one of the most legendary music industry figures of his generation. Nicknamed Mr Manchester, he transformed the Northern music scene as founder of Factory Records and the Hacienda nightclub after earning a cult following as a television presenter. The author explores Wilson's existence through the eyes of those closest to him.

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Book SynopsisMore than simply the book of the award-winning DVD set ÊArt & Science of Sound Recording the BookÊ takes legendary engineer producer and artist Alan Parsons'' approaches to sound recording to the next level. In book form Parsons has the space to include more technical background information more detailed diagrams plus a complete set of course notes on each of the 24 topics from The Brief History of Recording to the now-classic Dealing with Disasters. ÞWritten with the DVD''s coproducer musician and author Julian Colbeck ÊASSR the BookÊ offers readers a classic big picture view of modern recording technology in conjunction with an almost encyclopedic list of specific techniques processes and equipment.ÞFor all its heft and authority ä authored by a man trained at London''s famed Abbey Road studios in the 1970s ä ÊASSR the BookÊ is also written in plain English and is packed with priceless anecdotes from Alan Parsons'' own career working with the Beatles Pink Floyd

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Book SynopsisTHE DRUM PROGRAMMING HANDBOOK: THE COMPLETE GUIDE TO CREATING GREAT RHYTHM TRACKS

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Book SynopsisToday''s music industry is constantly changing at a dizzying pace and this ÊMusic 4.1: A Survival Guide for Making Music in the Internet AgeÊ is fully equipped to help you navigate it. Written for artists overwhelmed by the seemingly endless options of the quickly evolving Internet this is the only book that offers a comprehensive strategy for online success.ÞIn ÊMusic 4.1Ê Bobby Owsinski includes an in-depth look at the economics of streaming music with the real information about royalties that distributors and record labels don''t want you to know and that simply can''t be found anywhere else. The book also looks at how revenue is generated from YouTube and other video streaming services and it provides techniques for optimizing both videos and channels for maximum success. Also included are lists of effective tips (both high- and low-tech) and checklists with every chapter as well as a reference list of online tools for inexpensive music and merchandise distribution sales ma

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Book SynopsisToday, jazz is considered high art, America's national music, and the catalog of its recordings - its discography - is often taken for granted. This book examines recorded jazz from its careless handling as a novelty in the 1920s, through the deluge of 12-inch vinyl in the twentieth century, to the use of computers by today's discographers.Trade Review"On the surface, More Important Than the Music is an esoteric book, but Bruce D. Epperson has successfully managed to breathe life into the subject, weaving a story that opens up the field to a broader base of interest. He deals in fine detail with the origins and development of jazz discography, providing fascinating personal background on the major figures as well as addressing foundational issues such as plagiarism. A major contribution to jazz studies." (Eric Charry, Wesleyan University)"

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Book SynopsisThe first photographic celebration of the most famous recording studio in the world with a foreword by Sir George Martin.Trade ReviewLucid and lavishly illustrated—a fine gift for pop and music history buffs. Appropriately ambitious biography of the recording studio that gave the world the Beatles’ eponymous swan song—but also, lest it be forgotten, the works of Helen Shapiro and Vanessa-Mae. Helen and Vanessa who? It helps to be a music geek, if not of a certain age, to appreciate the depths of BBC music critic Lawrence’s history of Abbey Road studios, which has been online for nearly nine decades now. For those who are not such geeks, then the basic bits of essential knowledge, all to be found in his pages, are these: The studio was built in the heart of St. John’s Wood, “London’s first garden suburb,” in a refitted Georgian mansion, and in those august surroundings was inaugurated under the baton of none other than Edward Elgar, he of “Pomp and Circumstance” fame. It was also a sonic laboratory, a place to test not only gear to help King George VI work through his stutter (the stuff of the hit movie The King’s Speech) but also the stereophonic, aurally deceptive goodies that would be put to use in the psychedelic era under the tutelage of good Sir George Martin. Before all that, though, Abbey Road had to make the transition from stuffy classical facility to pop wonderland. If you knew that the first pop hit to emerge from Abbey Road was “Cowpuncher’s Cantata” in 1952, then you will not need or profit from Lawrence’s considerable labors, but if you did not—or did not know that Pink Floyd, Radiohead and even Mel Gibson recorded here—then this book is certainly worthy of time and exploration. One might quibble with some of his assessments (Was Jeff Beck’s Truth really a forerunner of metal? Were the Hollies really just another cover band?), but Lawrence makes up for it with plenty of fine factual writing, especially on the technological side. Lucid and lavishly illustrated—a fine gift for pop and music history buffs. * Kirkus *The book is as captivating as the story it tells [...] The book is pure quality from start to finish – from the production, to the design, to the layout and content [...] For fans of music, for musicians, and for cultural historians, this book is definitely a must-have! -- Donna Jackson * British Beatles Fan Club *Abbey Road: The Best Studio in the World is an incredible documentation of cultural history for anyone who values music and how it's made. -- Anita Awbi * PRS for Music *This is the kind of book you dip into for a few minutes and emerge from two hours later – the text always informative, the photographs fresh as yesterday... -- Steven Carroll * The Sydney Morning Herald *Abbey Road is a big book worth lifting. * Rick Librarian *

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Book SynopsisThe Island Book of Records brings the early years of this iconic record label to life.A fifteen-year labour of love, the volumes will fully document the analogue era of Island. Offering a comprehensive archive of album cover design and photography, together with the voices of the musicians, designers, photographers, producers, studio engineers and record company personnel that worked on each project, the volumes show in unique depth the workings of the label, covering every LP.Featuring material from recent interviews and from media interviews of the time, and each including a comprehensive discography of 45s, the books are lavishly illustrated with gig adverts (very many at venues which no longer exist), concert tickets, flyers, international LP variants, labels, LP and 45 adverts and other ephemera.These LP-sized editions are a collector’s dream, offering a truly unparalleled resource for those interested in music history and a perfect gift for any music lover.Trade ReviewOne of The Telegraph's best music books of 2023'It’s like entering the record shop of your dreams.'David Hepworth, author, podcaster and Radio Times columnist'Eyewitness accounts underpin a vault-load of memorabilia across 390 elegant pages where the footnotes are as fascinating as major events in what is an exemplary piece of musical archaeology.'Phil Alexander, MOJO'I had the pleasure of running Island Records for a decent stretch, but in my time there I never saw such a staggering overview of the early years compiled like this new book! The images, the details, the stories, everything! Rather amazing!'Ted Cockle, former head of EMI Records'LP-sized and weighing in at 390 pages, it’s both an elegant coffee table book and a proper history, with a sizeable amount of written information to complement the fascinating photographs of record covers, artists and other ephemera, including gig adverts, concert tickets and flyers.'Peter Mason, Morning Star 'The details are exhaustive, the images beautiful and wonderfully laid out in an unfussy clear manner that never overpowers the original sleeves.'Cally Calloman, Caught by the River 'This is the anecdote rich inside story of the eventful first decade in the life of the maverick label which carved a distinctive niche within the UK's booming record biz of the 60s' as told by a cast of label employees, photographers, musicians, producers, and the man who started it all, Chris Blackwell.'Grahame Bent, Shindig!One of Shindig! magazine's Books of the Year 2023 -- .Table of ContentsPreface – Genesis & Revelations Escaping Torquemada & Harrow on the Hill – tracing Island founder Chris Blackwell’s roots Boogie in my Bones via Half Moon Bay – Chris Blackwell’s first productions and the first Jamaica–only LPsUnderneath the Mango Tree – Chris Blackwell and Jamaican music’s role in the first James Bond movie, Dr. NoLondon Calling, from Rutland Gate Mews to Cambridge Road – the early growth of the label Did you ever wonder why all those early 45s were faded at 2’50”? Graeme Goodall on engineering early recordings Too Much, Too Young – the Spencer Davis Group’s split and the formation of TrafficMiles From Nowhere – Traffic’s famed Berkshire CottageHow’s yer arse since the pig bit ya? – Albert Heaton, Island’s first super–roadie by Spooky Tooth’s drummerGoing Up, Second Floor – 155 Oxford Street and the creative hub which ushers in the pink (label) revolutionThere are only two Phil Spectors and I’m one of them – Guy Stevens, from the Scene Club to the Sue label and beyondNorth London to the world – the move to the scout hut on Neasden Lane Season of the Witch – the formation of Joe Boyd’s production company Withering Tree – Traffic grinds to a haltPrefix and suffix – the most comprehensive listing of all Island and sub–label 45s and EPs from this era.El Pea – every Island album issued between 1959/1968 as well as those known and/or scheduled but not released including subsidiary labels (Surprise, Big Shot, Studio One etc)

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Book SynopsisMixing Audio: Concepts, Practices, and Tools is a vital read for anyone wanting to succeed in the field of mixingâcovering the entire mixing process, from fundamental concepts to advanced techniques. Packed full of photos, graphs, diagrams, and audio samples, it teaches the importance of a mixing vision, how to craft and evaluate your mix, and then take it a step further. Mixing Audio describes the theory, the tools, and how these are put into practice while creating mixes. The companion website, featuring over 2,000 audio samples as well as Multitrack Audio Sessions, is a perfect complement to the book. The new edition includes: An extension of the discussion on mastering which now includes the loudness war, LUFS targets, and DIY mastering Updated figures and illustrations throughout A new section covering console emulation Trade Review"Roey Izhaki has put together a text complete with the history, background, tools and techniques needed to develop a solid foundation in the art of mixing audio. His easy-to-read explanations of the various techniques he employs along with the included audio examples will serve someone new to mixing or that seasoned professional looking for a refresher."Keith A. Umbach, Associate Professor of Music, Prince George’s Community College, USA"In Mixing Audio, the reader can find a good guide to learn how to do their mixings from scratch, learning everything you can need to carry out professional mixings from basic audio concepts to awesome equipment handling tricks, and even interesting practical examples!"José A. Ballesteros, Associate Professor, University of Castilla-La Mancha, SpainTable of ContentsPart I: Concepts and practices 1. Music and mixing 2. Some axioms and other gems 3. Learning to mix 4. The process of mixing 5. Related issues 6. Mixing and the brain 7. Mixing domains and objectives Part II: Tools 8. Monitoring 9. Meters 10. Mixing consoles 11. Software mixers 12. Phase 13. Faders 14. Panning 15. Equalizers 16. Introduction to dynamic range processors 17. Compressors 18. Limiters 19. Gates 20. Expanders 21. Duckers 22. Delays 23. Other modulation tools 24. Reverbs 25. Distortion 26. Drum triggering 27. Other tools 28. Automation Part III: Sample mixers 29. "Show Me" (rock n’ roll) 30. "It’s Temps Pt. II" (hip-hop/urban/grime) 31. "Donna Pomini" (techno) 32. "The Hustle" (DnB) 33. Hero (rock)

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Book SynopsisA perfect stocking stuffer or white elephant surprise, groove into the Christmas spirit with the Teeny-Tiny Christmas Turntable!  Specifications: Miniature record player (2 3/4' x 3 1/4' x 1 1/2'), with liftable lid and movable arm  3 mini LP records: Each record plays 30 seconds of Christmas cheer: 'We Wish You A Merry Christmas,' 'Joy to the World,' and wintry jazz Printed stickers: Includes stickers to decorate the records and sleeves Miniature book: An illustrated mini book highlights the best Christmas albums and songs of all time A perfect holiday present: Makes a great stocking stuffer or holiday party gift Includes button cell batteries.

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Book SynopsisIf you're a sound operator, you know that regardless of the musical genre or venue, high-quality audio is imperative to your and the artist's success. Any live act must sound great to be well received by today's increasingly demanding audiences.Fully revised and updated, The Ultimate Live Sound Operator's Handbook focuses on each aspect of live sound operation in a way that is straightforward and easy to understandfrom basic system and acoustic considerations to miking, mixing, and recording the live show. Plus media examples, along with hundreds of detailed illustrations and photographs, provide an incredibly powerful and useful learning experience.This third edition offers new sections on digital concepts, wireless considerations, digital mixers, modern digital snakes and routing schemes, and plug-ins for live sound.

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Book SynopsisThis 224 page book, which is accompanied by online media with over 10 hours of content, gives an in-depth insight into Rob's approach of working with subtractive synthesis.In 2001, Rob Papen began giving exclusive masterclasses teaching ''synthesizer sound design" in his studio. For these training sessions, Rob developed his own method to explain the secrets of subtractive synthesis, called "The 4 Element Synth".This masterclass training is now transformed into a combined book and online media package that also delivers numerous ''tips and tricks'' which will help you to design and tweak your own sounds. Throughout the masterclass, a variety of hardware and software synthesizers are explored. We are sure this synthesizer sound design training is an eye-opener for every synthesizer player, from novice to pro. A must have for everyone who takes his sounds seriously!

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Book SynopsisRecording On a Budget is a practical, comprehensive introduction to audio recording from a budget-conscious perspective.Trade ReviewRemarkably comprehensive in scope, written in down-to-earth language, Recording on a Budget thoroughly explains the recording process and helps the reader assemble a recording set-up tailored to his or her specific needs. * Bill Anschell, anist/composer/recording artist *Brent has created an indispensable, one-stop resource; thorough, accessible and up to date. If I had to buy just one book as my 'go to' for anything to do with recording, this would be the one. * Fran McKendree, performing/recording artist, producer, workshop leader *Recording on a Budget is perfect for all musicians, educators or anyone else looking to increase their knowledge of audio recording. The book is concise and well thought-out. It is indispensible for everyone, from the novice to the home-studio owner. * John H. Truebger, Multimedia Engineer, Eastman School of Music *A superb discussion of audio concepts presented in the context of what is necessary to know about producing quality music recordings in a budget-conscious setting. Whether a through-read or a reference, Edstrom's Recording on a Budget is a valuable addition to the catalog of audio recording texts; highly recommended reading. * Bruce H. Frazier, Western Carolina University *Classical Net music lovers who want to take a break from listening and record something of their own could well learn a lot...very informative...The book is very well-written...chock full of up-to-date resources, further reading suggestions, websites and manufacturers' details etc....Appendices, notes and an adequate index round out what it sure to more than meet the needs of anyone interested in making their own recordings. Production levels for the book are as high as its price is reasonable. * Classical.net *Table of ContentsACKNOWLEDGEMENTS; INTRODUCTION; CONCLUSION; APPENDIX; ORTF TEMPLATE; AUDIO EVALUATION TEMPLATE; LIST OF ONLINE EXCERPTS; ENDNOTES; BIBLIOGRAPHY; INDEX

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Book SynopsisIn Beyond the Score: Music as Performance, author Nicholas Cook supplants the traditional musicological notion of music as writing, asserting instead that it is as performance that music is loved, understood, and consumed. This book reconceives music as an activity through which meaning is generated in real time, as Cook rethinks familiar assumptions and develops new approaches.Table of ContentsContents ; About the companion web site ; List of figures ; List of media examples ; Introduction ; 1 Plato's curse ; Sounded writing ; Performative turns? ; 2 Page and stage ; Theorist's analysis ; Performer's analysis ; Performance analysis ; 3 What the theorist heard ; Affecting the sentiment ; Spoken melody, or sung speech ; Schenker vs. Schenker ; 4 Beyond structure ; Structure in context ; Mozart's miniature theatre ; Rhetoric old and new ; In time and of time ; 5 Close and distant listening ; Reinventing style analysis ; Forensics vs. musicology ; Performing Poland ; The savour of the Slav ; 6 Objective expression ; Nature's nuance ; Phrase arching in history ; Phrase arching in culture ; 7 Playing somethin' ; Referents and reference ; The work as performance ; 8 Social scripts ; An ethnographic turn ; Sociality in sound ; Performing complexity ; 9 The signifying body ; 31 August 1970, 3.30 am ; The white man's black man ; 10 Everything counts ; Pleasures of the body ; Bodies in sound ; Building bridges ; 11 The ghost in the machine ; Music everywhere ; Original and copy ; Signifying sound ; 12 Beyond reproduction ; The best seat in the hall ; Acoustic choreography ; Rethinking the concert ; Making music together ; List of references

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Book SynopsisIn Composing for Moving Pictures: The Essential Guide, author Jason Gaines offers practical tools with which to navigate the increasingly complex environment of movie music composition.Trade ReviewGaines provides a comprehensive, accessible guide to navigating technology that professional film composers utilize on a daily basis, while giving insight into the history and art of music in motion pictures. Composing for Moving Pictures is an excellent tool for amateur or professional film composers alike. * Terence Blanchard, jazz musician and film composer *[T]he perfect Swiss Army knife for learning the multidisciplinary art of film scoring. This one-of-a-kind text delivers just the sort of comprehensive and practical understanding professionals really need on the job. * Chris Mangum, Emmy Award-Winning Composer *[O]ffers a wealth of material not offered in the same manner elsewhere. The sections on Delivery, Collaboration and Archiving, Best Practices and Troubleshooting are a must read for any professional user of Logic X, not just film composers. Gaines explains how to create and effective workflow in an easy to understand manner. * Gary Atkins, Technology Coordinator, The Royal Conservatory of Music, Canada *Table of ContentsAcknowledgements ; Part I ; 1. A Brief History of Film ; 2. The Digital Audio Workstation ; 3. Recording and Editing Audio ; 4. Recording and Editing MIDI ; 5. To Loop or Not to Loop - An Exploration of Loops, Beds and Foley ; 6. Working with Videos ; 7. Music Creation on Mobile Devices and an Introduction to Basic Mixing ; 8. Delivery, Collaboration and Archiving ; 9. Best Practices and Troubleshooting ; Part II ; 10. Terence Blanchard ; 11. Marc Shaiman ; 12. Steve Horowitz ; 13. Nathan Barr ; 14. Trevor Morris

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Book SynopsisHow to Write for Percussion is a comprehensive resource that clearly explains and simplifies all issues that percussionists and composers face with respect to each other.Trade Review"This is simply the best book on composing for percussion music out there. Solomon anticipates every question that a composer might have concerning the practical, physical and expressive ramifications of making sound by hitting things. The previous version was a fixture on my desk and this new edition with its media upgrades will be my manual for teaching."--Steven Mackey, Professor of Music, Princeton University, Grammy Award-winning composer "Percussion isn't a particular thing; it is a lifetime of learning that can never be completely known. Mr. Solomon's deeply thoughtful work is essential to my work, an invaluable guide, an extraordinary accomplishment."--Matthew Duvall, multi-Grammy-winning percussionist with eighth blackbird "Here is a volume which is truly practical, for Sam Solomon is a very fine performer and writes from a practitioner's point of view, giving advice which is invaluable to all of us...This is a "musician's book" and a true contribution to the literature of orchestration."--Samuel Adler, Professor Emeritus, Eastman School of Music, Excerpt from the Foreword to How To Write For Percussion (First Edition)Table of ContentsTable of Contents Introduction How This Book is Organized Instruments Covered Working with Percussionists Location Specifics The Value of Not Reading This Book 1. General Framework A Dysfunctional Family Comparison of Family Relationships The Problem of Pitch The Pitches of Percussion The Validations and Limitations of Novelty Three Methods for Indeterminately Pitch Instruments The Written/Improv Divide Expanding the Color Palette (to Shrink the Setup) The Value of Improvised and Non-Notated Music Social Composition Write for People, Not Sounds Write What is Wanted, Not What To Do Working with Percussionists 2. General Logistics Instrument Choice and Management Six Stories, Three Sad and Three Happy Why Use Fewer Instruments? How to Consolidate Inexpensive Instruments Exotic Instruments Electronic Percussion Multiple Options for a Specified Instrument Instruments Percussionists May Not Play Multiple Percussionists Section Setup Orchestra Wind Ensemble Broadway Pit Drum Corps and Marching Bands Specialists Non-Percussionists Playing Percussion Chairs and Stands Issues of Playability Excessive Polyphony How Fast Percussionists Can Play Unidiomatic Writing-Music that Often Requires Memorization Dynamics Reaching Instruments Instruments with Pedals Physical Exertion and Shaking Working with Headphones or Headset Microphones 3. General Notation Basics of Percussion Parts and Scores Instrument List Instrument Key Setup Diagram Language Parts Cues Percussion in the Conductor's Score Dynamics Designing a Notational System Clefs Staves Noteheads Mixing Determinately and Indeterminately Pitched Instruments Key Signatures What Goes Where on the Staff The Chicken or the Egg? Unspecified Instruments (Indeterminate Instrumentation) How Much to Notate Systems of Notation for Which There is No Standard Return to a "Normal" Method of Playing Note Length, Articulation, and Phrasing Note Length Chart Exact or Inexact Note-Length Indications Muting (Muffling, Dampening) Dead Stroke Damper Pedals Rolls Notations that are Not Recommended Symbol Notation Altered Keyboard Notation (Timbre-Staff) 4. Beaters To Indicate or Not to Indicate? Beater Lingo Logistical Beater Issues Sticks Mallets Triangle Beaters, Knitting Needles Brushes Rute Chime Hammers Superball Mallet Beaters as Instruments Hands Bows 5. Keyboard Percussion Ranges and Construction Writing for Keyboard Percussion Stacked Instruments Multiple Players Extended Techniques Miscellaneous 6. Drums Sticks on Drums Mallets on Drums Hands on Drums Playing on the Rim or Shell Beating Spot Mutes Pitch Bending Drum Size Two-Headed Drums Multiple Drums in Setups Idiomatic Writing for Drums Timpani Tom-toms Snare Drum, Field Drum, Tenor Drum Concert Bass Drum, Pedal Bass Drum Bongos, Congas Timbales Roto-Toms Frame Drums Tambourines Djembe, Doumbek Boobams Drumset 7. Metal Cymbals Gongs Finger Cymbals Cowbells, Almglocken Temple Bowls, Mixing Bowls Brake Drums, Metal Pipes, Anvils, Bell Plates Thundersheet Junk Metal, Tin Cans, Pots and Pans Ribbon Crasher Spring Coil Church Bells Hand Bells Steel Drums Tambourines Sleighbells Metal Wind Chimes, Mark Tree, Bell Tree Flexatone Extended Techniques 8. Wood Woodblocks, Templeblocks, Log Drum Wooden Planks Wood Drums, Wooden Boxes, Cajón, Mahler Hammer Claves Castanets Rute Guiro Slapstick Ratchet Bamboo Wind Chimes 9. Miscellaneous Instruments Bottles Cabasa Conch Shell Crystal Glasses Maracas, Shakers Rainstick Rice Bowls, Flower Pots Sandpaper Blocks Sirens String Drum, Cuica Stones, Prayer Stones Thumb Piano Vibraslap Wind Chimes Whistles Wind Machine Appendix A. Repertoire Analysis Percussion Ensemble Edgard Varèse, Ionisation (1929-31) John Cage, Constructions (1939-1942) Iannis Xenakis, Persephassa (1969) Steve Reich, Drumming (1970-71) Steve Mackey, It is Time (2010) John Luther Adams, Inuksuit (2009) Ryan Streber, Cold Pastoral (2004) Nico Muhly, Ta & Clap (2004) Adam Silverman, Naked and On Fire (2011) Paul Lansky, Travel Diary (2007) Orchestral Bela Bartók Sergei Prokofiev Maurice Ravel Gustav Mahler Dmitri Shostakovich Leonard Bernstein Carl Nielsen Jean Sibelius Wind Ensemble Smaller Mixed Ensemble John Adams, Chamber Symphony (1992) Stephan Hartke, Meanwhile (2007) Jacob Druckman, Come Round (1992) Charles Wuorinen, New York Notes (1982) Pierre Boulez, Sur Incises (1996/1998) Percussion Solo-Drums Michio Kitazume, Side by Side (1991) Elliott Carter, Eight Pieces for Four Timpani (1950/1966) Casey Cangelosi, Meditation No. 1 (2011) Percussion Solo-Keyboards Jacob Druckman, Reflections on the Nature of Water (1986) Paul Simon, Amulet (2008) Steve Mackey, See Ya Thursday (1992) Steve Swallow/Gary Burton, I'm Your Pal/Hullo Bolinas Donald Martino, Soliloquy (2003) Percussion Solo-Multi-Percussion Iannis Xenakis, Psappha (1975) David Lang, Anvil Chorus (1991) Roger Reynolds, Watershed (1995) Four Pieces for "Setup #1" Nico Muhly, It's About Time (2004) Michael Early, Raingutter (2007) Marcos Balter, Descarga (2006) Judd Greenstein, We Shall Be Turned (2006) Percussion Concerto James MacMillan, Veni Veni Emmanuel (1992) Einojuhani Rautavaara, Incantations (2008) Steven Mackey, Micro-Concerto (1999) Orchestrating Native Sounds Appendix B. Sample Setups Appendix C. Extended Techniques Return to a "Normal" Method of Playing Manipulations of Timbre Striking Unusual Parts of an Instrument Unusual Usage of Beaters Dead Stroke Beating Spot Bowing Friction Roll Scrape Prepared Instruments Pitch Bending Vibrato Adding Mass Sympathetic Resonance Clusters Harmonics Appendix D. Pitch Specification Appendix E. Dynamics Appendix F. Register Appendix G. Beaters Appendix H. Percussion Family Tree Pitch Clarity Chart Note Length Chart Register Chart Sound Production Chart The Percussion Family Tree

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Book SynopsisMixing and mastering, the two final steps in the complex process of sound engineering, require both artistic finesse and technical facility. Even the slightest difference in the way a sound is processed can lead to a shift in the overall aesthetic of a piece, and so sound engineers must work towards an understanding of sound engineering that is particularly oriented towards the artistic and aesthetic. In order to create effective mixes, a sound engineer must maintain a distinct set of artistic goals while drawing on an in-depth understanding of the software involved in the process. Creating final masters requires specialized aural skills and a similarly advanced understanding of the software in order to fine-tune the product with respect to these goals. Mixing and Mastering in the Box addresses the practical and technological necessities of these two final steps without neglecting the creative process that is integral to the creation of high-quality recordings. Savage focuses primarilyTrade ReviewSteve Savage is not only a superb music producer, mixer and mastering engineer, but also an excellent educator and communicator. His books manage to cover the most complex aspects of music production in a manner that is engaging and clear, bringing expert insight to both beginners and advanced music makers. Steve manages to find a perfect blend between discussing the creative and technical aspects of music technology, whilst keeping things concise, relevant and up to date. Everyone interested in creating and producing music can learn something from Steve Savage! * Dr. Rob Toulson, Music Producer and Director of the Cultures of the Digital Economy Research Institute at Anglia Ruskin University, Cambridge UK *Steve and I have worked on countless records together; he's mixed and mastered most of the records I've produced, including my own. He also taught me a lot about mixing and mastering - he's one of those rare guys who works at a very high level but can also explain what it is he's doing and why. If you want to know more about making your recorded music sound better, get this book! * Bonnie Hayes, Chair of Songwriting, Berklee College of Music *Table of ContentsContents ; Introduction ; Part I - Mixing & Mastering ; Introduction to Part I ; 1. The Starting Point ; 1.1 Preparing to mix and master ; 1.2 Where to mix and master ; 1.3 The tools of mixing and mastering ; 1.4 Introduction to the <"Quick Guide>" ; 2. Quick Guide to Great Mixes and Masters: Five best practices ; 2.1 Have a concept ; 2.2 Monitor level ; 2.3 Monitoring options ; 2.4 Revise, revise, revise ; 2.5 Live with your mix or master ; 3. Quick Guide to Great Mixes and Masters: Four common mistakes ; 3.1 Poor control of the low end ; 3.2 Overly bright mixes and masters ; 3.3 Overly compressed mixes and masters ; 3.4 Trusting inadequate monitoring ; Part II - Mixing ; Introduction to Part II ; 4. Building a Mix: The concepts and tools in detail ; 4.1 Starting concepts and setting level ; 4.2 Panning ; 4.3 Processing: EQ ; 4.4 Processing: Dynamics ; 4.5 Processing: Effects ; 4.6 Processing: What else is in the box? ; 4.7 The stereo buss ; 5. Automation and Recall: Fine-tuning ; 5.1 Online versus off-line automation ; 5.2 Details of online automation ; 5.3 Details of off-line automation ; 5.4 Timeline of automation ; 5.5 From simple to complex mixes ; 5.6 Fades ; 5.7 Advanced automation techniques ; 5.8 Recall ; 6. Mixing Piece by Piece: How to approach individual elements ; 6.1 Drums and percussion ; 6.2 Bass ; 6.3 Guitar ; 6.4 Keyboards ; 6.5 Vocals ; 6.6 Horns ; 6.7 Strings ; 7. Mix Collaboration: The mix team ; 7.1 How to communicate about mixes ; 7.2 Levels of mixer intervention ; 7.3 Managing remote mixing projects ; 8. Delivering Mixes: Formats, mix types and multiple mixes ; 8.1 Digital formats for mix delivery ; 8.2 Full mixes, TV mixes, and clips ; 8.3 Multiple versions of a single mix ; PART III - Mastering ; Introduction to part III ; 9. Setting Up to Master: Tools and files ; 9.1 Tools ; 9.2 Creating a template ; 9.3 Building the timeline ; 10. How to Listen for Mastering: From your ear to action ; 10.1 Level ; 10.2 Frequency/EQ ; 10.3 Dynamics and effects ; 10.4 Consistency ; 11. Creating a Master: The concepts and tools in detail ; 11.1 Creating a reference track ; 11.2 Processing: EQ ; 11.3 Processing: Level ; 11.4 Processing: Dynamics and effects ; 11.5 What else is in the box? ; 12. The Final Master: Creating and delivering ; 12.1 Creating a master ; 12.2 Formats and delivery options ; 13. Mastering Collaboration: The mastering team ; 13.1 How to talk about mastering ; 13.2 Levels of mastering intervention ; 13.3 Managing remote mastering projects ; Addendum I: Notes on surround mixing and mastering ; Addendum II: Why mixing and mastering can no longer be separated ; Index

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Book SynopsisThe first book to consider the shellac disc as a global format. With the rise of the gramophone around 1900, the shellac disc traveled the world and eventually became the dominant sound format in the first half of the twentieth century. Format Friction brings together a set of local encounters with the shellac disc, beginning with its preconditions in South Asian knowledge and labor, to offer a global portrait of this format. Spun at seventy-eight revolutions per minute, the shellac disc rapidly became an industrial standard even while the gramophone itself remained a novelty. The very basis of this early sound reproduction technology was friction, an elemental materiality of sound shaped through cultural practice. Using friction as a lens, Gavin Williams illuminates the environments plundered, the materials seized, and the ears entangled in the making of a sound format. Bringing together material, political, and music history, Format Friction decenters the story of a beloved med

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Book SynopsisEargle''s Microphone Book is the only guide you will ever need for the latest in microphone technology, application and technique. This new edition features more on microphone arrays and wireless microphones, new material on digital models; the latest developments in surround; expanded advice on studio set up, recording and mic selection. Ray A. Rayburn provides detailed analysis of the different types of microphones available and addresses their application through practical examples of actual recording sessions and studio operations. The book takes you into the studio or concert hall to see how performers are positioned and how the best microphone array is determined. Problem areas such as reflections, studio leakage and isolation are analyzed from practical viewpoints. Creative solutions to stereo sound staging, perspective, and balance are covered in detail. Eargle''s Microphone Book is an invaluable resource for learning the ''whTrade Review"...this is a very interesting book which is well written and copiously illustrated with both graphs and pictures throughout. For anyone involved in using, specifying or manufacturing microphones this will prove an invaluable read." - Lighting and Sound International"Besides being a "must-have reference source for recording engineers, producers or anybody who desires to better understand and utilize mics, The Microphone Book is an engaging read from its first chapter on microphone history to the 21st chapter and Eargle's unique take on classic microphones and their influence on the art and science of recording...The Microphone Book is unique in its balance of broad and meticulously detailed practical information." - Music Connection magazineReviews for the previous edition:"John has brought his successful experience in classical and other music recording to the book's many pages, and one can find the best microphone arrangements for nearly every conceivable situation and guides to proceed for the more unusual ones." - The American Organist"John Eargle has prepared another useful book for audio system contractors, engineers, designers and enthusiasts.Sound & Communications magazine"Highly recommended for everyone who wants to know more. Read it. Amazon.com customer review"The Microphone Book will save you time and money, even if you only ever buy one microphone to use in a home studio. If you do live sound, record on location, or are kitting out a slightly more ambitious project studio, then this book will be invaluable. It takes you far further than the 'microphone' sections of general guides to studio recording. Amazon.co.uk customer review"This book is a must for people in the recording and road show industry. It will not only help them understand the physics of microphones but also proper microphone placement. Glen Ballou, editor of The Handbook for Sound EngineersTable of ContentsA Short History of the MicrophoneBasic Sound Transmission and Operational Forces on MicrophonesThe Pressure MicrophoneThe Pressure Gradient MicrophoneFirst-Order Directional MicrophonesHigh-Directionality MicrophonesMicrophone Measurements, Standards, and Specifications Electrical Considerations and Electronic Interface Overview of Wireless Microphone Technology; Microphone Accessories Basic Stereophonic TechniquesStereo Microphones; Classical StereoRecording Techniques and PracticeStudio Recording TechniquesSurround Sound Microphone TechnologySurround Recording Case StudiesA Survey of Microphones in Broadcast and CommunicationsFundamentals of Speech and Music Reinforcement Overview of Microphone Arrays and Adaptive Systems Care and Maintenance of MicrophonesClassic Microphones: The Author's View

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Book SynopsisTrade Review"Reali’s cultural history of the magical, mystical Shoals captures the multifaceted layers of this little Alabama spot that produced so much storied music from artists as diverse as Wilson Pickett, Aretha Franklin, The Rolling Stones, and the Osmond family." --No Depression"A fascinating study of a musical microcosm, reveling in contradictions and debunking myths. " --Kirkus Reviews"Grounded in oral histories and meticulous archival research, Reali's work takes us deep into the story of the Muscle Shoals sound, providing additional complexity and context that helps to answer the question scholars and music enthusiasts have been asking for over half a century: 'Why Muscle Shoals?'" --Carolyn M. Crawford, Director, Muscle Shoals National Heritage Area"Reali’s work successfully shatters misconceptions about soul music and an identifiable Shoals sound." --Library Journal ​​"Reali’s meticulous research--including his use of original oral histories and new archival finds--situates Muscle Shoals’s rich musical history within a broader understanding of its impact on pop music and culture in the United States."--Charles L. Hughes, author of Country Soul: Making Music and Making Race in the American South"Reali's account is fascinating, essential reading for anyone interested in American music and cultural history." --Shepherd Express"Thanks to a fine effort by the author, readers can now enjoy a well-rounded, succinct history of Muscle Shoals, and many of the musical highlights that have been created there over the last seven decades. A solid addition to the College of Musical Knowledge!" --Blues Blast Magazine"Music and Mystique in Muscle Shoals is among the rarest of nonfiction books that require no subtitle. It is one of many details that makes Christopher M. Reali's account an outstanding contribution to the understanding of not only Muscle Shoals and its music but also the wider postwar South." --Journal of Southern History

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Book SynopsisTrade ReviewJudith McCulloh Public Sector Award, Society for Ethnomusicology, 2016. ASCAP Deems Taylor Award, 2013. Award for Excellence for Best Research in Folk, Ethnic, or World Music, Association for Recorded Sound Collections (ARSC), 2013. "Extraordinary. . . . A masterpiece of humane scholarship.”--The Wall Street Journal“These stories and the recordings — capturing the voices of everyday people, not pop stars — simply crackle.”-Los Angeles Times"Offers an understanding not only of a musical thread vital to American culture, but of America itself."--Publishers Weekly "Astonishing. . . . These stories are compelling, moving and revelatory."--Chicago Tribune "As compelling as a good detective story, this investigation of field recordings of a bygone era will be embraced by music fans. This book reminds readers that they don't need pop icons to experience passionate music."--Library Journal"A unique, personal, thoroughly documented book, a labor of love. . . . valuable for those with an interest in folklore, popular music, southern cultures, and race relations. . . . Highly recommended."--Choice"A thorough and creative exploration of the histories of recordings made for the Library of Congress in the 1930s and the artists who made them. Stephen Wade has gathered a prodigious quantity of new information and left no stone unturned. Of interest and use to anyone interested in American music."--Norm Cohen, author of Long Steel Rail: The Railroad in American Folksong"Superbly illustrated and with a hundred pages of notes and bibliography, The Beautiful Music All Around Us is at once an essential reference work and a thoroughly enjoyable book."--Times Literary Supplement "In revisiting the human transactions at the heart of these recordings, Wade essentially grants the songs a new life for a new age. Among the book's many virtues are its lively and imaginative narrative interpolations, its vivid song descriptions, its fascinating investigative work, its many colorful personalities and absorbing life-histories, and its often astonishingly trenchant accumulation of detail. A magisterial, monumental book of tremendous sympathy, scope, and imaginativeness."--Robert Cantwell, author of If Beale Street Could Talk: Music, Community, Culture "Wonderfully evocative of a lost America."--Shepherd Express "Combines the persistence of an investigative reporter with the loving hand of a storyteller who keeps peeling away the layers of the lives of his subjects. . . . Remarkable."--The Christian Science Monitor

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Book SynopsisTrade Review"Reali’s cultural history of the magical, mystical Shoals captures the multifaceted layers of this little Alabama spot that produced so much storied music from artists as diverse as Wilson Pickett, Aretha Franklin, The Rolling Stones, and the Osmond family." --No Depression"A fascinating study of a musical microcosm, reveling in contradictions and debunking myths. " --Kirkus Reviews"Grounded in oral histories and meticulous archival research, Reali's work takes us deep into the story of the Muscle Shoals sound, providing additional complexity and context that helps to answer the question scholars and music enthusiasts have been asking for over half a century: 'Why Muscle Shoals?'" --Carolyn M. Crawford, Director, Muscle Shoals National Heritage Area"Reali’s work successfully shatters misconceptions about soul music and an identifiable Shoals sound." --Library Journal ​​"Reali’s meticulous research--including his use of original oral histories and new archival finds--situates Muscle Shoals’s rich musical history within a broader understanding of its impact on pop music and culture in the United States."--Charles L. Hughes, author of Country Soul: Making Music and Making Race in the American South"Reali's account is fascinating, essential reading for anyone interested in American music and cultural history." --Shepherd Express"Thanks to a fine effort by the author, readers can now enjoy a well-rounded, succinct history of Muscle Shoals, and many of the musical highlights that have been created there over the last seven decades. A solid addition to the College of Musical Knowledge!" --Blues Blast Magazine"Music and Mystique in Muscle Shoals is among the rarest of nonfiction books that require no subtitle. It is one of many details that makes Christopher M. Reali's account an outstanding contribution to the understanding of not only Muscle Shoals and its music but also the wider postwar South." --Journal of Southern History

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Book SynopsisTrade ReviewMovies, Songs, and Electric Sound is an insightful study in the beginning of cinema's sound era. * popcultureshelf.com *Table of ContentsIntroductionPart I: Movies and Songs in Transition Chapter 1: Songs in Cinema in 1930Chapter 2: Electric Sound as New Medium Chapter 3: Voices and Bodies, Direct and Dubbed Part II: Transnational Trends Chapter 4: Film Editing after Electric SoundChapter 5: Export Cinema and Modular AestheticsPart III: Hollywood and Film EuropeChapter 6: American Films and Songs, at Home and AbroadChapter 7: Musical Films Made in GermanyEpilogue: Songs in Cinema, from Electric to Digital

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Book SynopsisTrade ReviewMovies, Songs, and Electric Sound is an insightful study in the beginning of cinema's sound era. * popcultureshelf.com *Table of ContentsIntroductionPart I: Movies and Songs in Transition Chapter 1: Songs in Cinema in 1930Chapter 2: Electric Sound as New Medium Chapter 3: Voices and Bodies, Direct and Dubbed Part II: Transnational Trends Chapter 4: Film Editing after Electric SoundChapter 5: Export Cinema and Modular AestheticsPart III: Hollywood and Film EuropeChapter 6: American Films and Songs, at Home and AbroadChapter 7: Musical Films Made in GermanyEpilogue: Songs in Cinema, from Electric to Digital

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