Music recording and reproduction Books

Book SynopsisFirst published in 1987 and now considered a classic, The Recording Angel charts the ways in which the phonograph and its cousins have transformed our culture. In a new Afterword, Evan Eisenberg shows how digital technology, file trading, and other recent developments are acceleratingor reversingthese trends. Influential and provocative, The Recording Angel is required reading for anyone who cares about the effect recording has hadand will haveon our experience of music.Trade ReviewPraise for the first edition:“Witty, perceptive, informed, and dazzlingly allusive.”—David Hamilton, The Nation“[The Recording Angel] throws out one arresting idea after another.”—Timothy Day, author of A Century of Recorded Music“An excellent work... Eisenberg explores so much uncharted territory... Long overdue.” —Michael Kimmelman, The Philadelphia Inquirer“A marvelous book, unlike any other.”—Garry Giddins -- Garry Giddins “A work of great originality and constantly stimulating argument.”—Geoffrey O’Brien -- Geoffrey O’Brien “Witty, perceptive, informed, and dazzlingly allusive.”—David Hamilton, Nation -- David Hamilton * Nation *

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Book SynopsisReimagining Sample-based Hip Hop: Making Records within Records presents the poetics of hip-hop record production and the significance of sample material in record making, providing analysis of key releases in hip-hop discography and interviews with experts from the world of Hip Hop and beyond.Beginning with the history of hip-hop music making, this book guides the reader through the alternative techniques deployed by beat-makers to avoid the use of copyrighted samples and concludes with a consideration of the future of Hip Hop, alongside a companion album that has been created using findings from this research. Challenging previous theoretical understandings about Hip Hop, the author focuses on deconstructing sonic phenomena using his hands-on engineering expertise and in-depth musicological knowledge about record production.With a significant emphasis on both practice and theory, Reimagining Sample-based Hip Hop will be of interest to adTrade Review"This book needed to be written. We’re lucky the job was done by such a creative soul, expert engineer, and insightful scholar. The gift we’re left with is a penetrating exposition of the poetic fabric of contemporary music recording practice and culture."Albin Zak, Professor of Music Emeritus, University at Albany"Reimagining Sample-based Hip Hop is a tour de force and the best example I have seen of theory and practice coming together in hip-hop studies to date. Not only does this book provide a useful template for practice-as-research based methods, but it is rich in theorizing sampling, remix and beatmaking cultures. Exarchos has combined a number of worlds in ways that we were all waiting for someone to do expertly."Justin A. Williams, Associate Professor of Music, University of Bristol"Reimagining Sample-based Hip Hop provides deep insight into the rich tapestry of underlying layers that embody sample-based Hip-Hop. Michail Exarchos meticulously and clearly poses alternative practices to Hip-Hop production and to beat-making, using originally constructed source material rather than previously released phonographic content. The reader will benefit from the strong coverage of authenticity and mechanical borrowing as applied to a great breadth of music and production approaches that define the style’s unique sonic signature of material ‘play’ with phonographic objects. This is a must read for anyone interested in the workings of or creation of Hip-Hop."William Moylan, Professor of Music and Sound Recording Technology, University of Massachusetts LowellTable of Contents0. Sample-based Hip Hop as metamodern phonographic practice (An autoethnography of oscillating between—and beyond—analogue nostalgia and digital futurism) Part 1: (Inter-stylistic) Composition, and Tools 1. Sonic necessity, mother of compositional invention (Making Blues for sample-based Hip Hop) 2. Boom-bap aesthetics and the machine Part 2: (Reverse) Engineering 3. Sonic pasts in Hip Hop’s future Part 3: (The magic of sample-based) Production 4. Phonographic ghosts and meta-illusions in contemporary beat-making Part 4: Mixing (records within records) 5. Manufacturing phonographic ‘otherness’ for sample-based Hip Hop Part 5: (Exponential) Re/Mastering 6. ‘Past’ masters, present beats

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Book SynopsisLeadership in Music Technology Education examines the pedagogical, sociocultural, and philosophical issues that affect curriculum, research, and decision-making in music technology in higher education. This book considers a range of cutting-edge topics, including the impact of the COVID-19 pandemic, professional development concepts, partnerships between higher education and the creative and cultural industries, and the effects technology has on sustainability. Drawing on Leadership theories, including Transformational, Situational, Servant, and Social Change Model Theory, the book puts forward a new model, Creative Industry Leadership, which considers the sociocultural aspects of Music Technology Education, and interrogates biased ideologies that limit opportunities for a broad range of learners and practitioners in education and beyond. Additionally, Leadership in Music Technology Education examines educators' informal leadership capacities during the COVID-Trade Review'Leadership in Music Technology Education provides an ambitious and dazzlingly wide-ranging exploration of opportunities and challenges in a complex, fast-changing interdisciplinary field. In this remarkable book, Walzer discusses and exemplifies transformational leadership aimed at intriguing and inspiring anyone working at the liminal intersections of music, technology and education.'Gareth Dylan Smith, Assistant Professor of Music, Boston University, USA'Leadership in Music Technology Education is a key text for educators. Dan offers a captivating critical reflection on Music Technology through Leadership theory, allowing the reader to consider the present and future of the field. Central to the volume, and an essential contribution, is how Leadership can be a gateway towards greater engagement with equality, diversity and inclusion.'Professor Mariana López, Professor in Sound Production and Post Production, University of York, UKTable of ContentsIntroduction: A Challenging Period in Education Part 1: Philosophy 1. What is Leadership? 2. Where is Music Technology Education? 3. Perspectives on Technology 4. Gendered Aspects of Music Technology Education 5. Praxis in Music Technology Education Part 2: Pedagogy 6. Inspiring Critical Thinking and Aesthetics 7. Inclusive and Reflective Creativity Part 3: Praxis 8. Leadership Theory into Practice Epilogue

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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 SynopsisUnderstanding and Crafting the Mix, 3rd edition provides the framework to identify, evaluate, and shape your recordings with clear and systematic methods. Featuring numerous exercises, this third edition allows you to develop critical listening and analytical skills to gain greater control over the quality of your recordings. Sample production sequences and descriptions of the recording engineer's role as composer, conductor, and performer provide you with a clear view of the entire recording process. Dr. William Moylan takes an inside look into a range of iconic popular music, thus offering insights into making meaningful sound judgments during recording. His unique focus on the aesthetic of recording and mixing will allow you to immediately and artfully apply his expertise while at the mixing desk. A companion website features recorded tracks to use in exercises, reference materials, additional examples of mixes and sound qualities, and mixed tracks.Table of ContentsIntroduction- Overview of Organization and Materials Establishing an Accurate Playback of Recordings- Part One. Defining the Art of Recording: The Sound Characteristics and the Aesthetic Qualities of Audio Recordings Chapter 1. The Elements of Sound and Audio Recording Chapter 2. The Aesthetic and Artistic Elements of Sound in Audio Recordings Chapter 3. The Musical Message and the Listener Part Two. Learning to Listen, Beginning to Hear: Acquiring Fundamental Listening Skills and Establishing an Effective Approach to Listening Chapter 4. Listening and Evaluating Sound for the Aspiring Audio Professional Chapter 5. Fundamental Listening Skills Chapter 6. A System for Evaluating Sound Chapter 7. Evaluating Pitch in Audio and Music Recordings Chapter 8. Evaluating Loudness in Audio and Music Recordings Chapter 9. Evaluating Sound Quality Chapter 10. Evaluating the Spatial Elements of Two Channel Sound Chapter 11. Evaluating the Spatial Elements of Surround Sound Chapter 12. Complete Evaluations and Understanding Observations Chapter 13. The Roles of the Recordist and the Aesthetics of Recording Production Chapter 14. The Sounds of Recordings: Shaping Musical Ideas and Musical Expression Chapter 15. Preproduction and Preliminary Stages: Embracing Reality and Defining the Materials of the Project Chapter 16. Recording and Tracking: Capturing and Shaping the Performance Chapter 17. Crafting the Mix, and Finalizing the Production

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Book SynopsisIf youâve ever handled live sound, you know the recipe for creating quality live sound requires many steps. Your list of ingredients, shall we say, requires an understanding of sound and how it behaves, the know-how to effectively use a sound system), and the knowledge to choose and use your gear well. Add a dash of miking ability, stir in a pinch of thinking on your feet for when your system starts to hum or the vocals start to feed back, and mix.In practice, there really is no recipe for creating a quality performance. Instead, musicians and engineers who effectively use sound systems have a wealth of knowledge that informs their every move before and during a live performance. You can slowly gather that knowledge over years of live performance, or you can speed up the process with The SOS Guide to Live Sound. With these pages, you get practical advice that will allow you to accomplish your live-sound goals in every performance. Learn how to choose, set up, anTable of ContentsPrefaceChapter 1 — Drivers and LoudspeakersChapter 2 — Practical PA SystemsChapter 3 — Live-sound Monitoring OptionsChapter 4 — Audio MixersChapter 5 — MicrophonesChapter 6 — DI BoxesChapter 7 — Other PA ComponentsChapter 8 — Equalisers And EffectsChapter 9 — Managing The BacklineChapter 10 — Radio Microphones And Guitar SystemsChapter 11 — Microphone Choice And PlacementChapter 12 — The Role Of The Mix EngineerChapter 13 — The Technical StuffGlossary

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Book SynopsisThis book collects a wealth of information about spatial audio coding into one comprehensible volume. It is a thorough reference to the 3GPP and MPEG Parametric Stereo standards and the MPEG Surround multi-channel audio coding standard. It describes key developments in coding techniques, which is an important factor in the optimization of advanced entertainment, communications and signal processing applications. Until recently, technologies for coding audio signals, such as redundancy reduction and sophisticated source and receiver models did not incorporate spatial characteristics of source and receiving ends. Spatial audio coding achieves much higher compression ratios than conventional coders. It does this by representing multi-channel audio signals as a downmix signal plus side information that describes the perceptually-relevant spatial information. Written by experts in spatial audio coding, Spatial Audio Processing: reviews psychoacousticTable of ContentsAuthor Biographies. Foreword. Preface. 1 Introduction. 1.1 The human auditory system. 1.2 Spatial audio reproduction. 1.3 Spatial audio coding. 1.4 Book outline. 2 Background. 2.1 Introduction. 2.2 Spatial audio playback systems. 2.2.1 Stereo audio loudspeaker playback. 2.2.2 Headphone audio playback. 2.2.3 Multi-channel audio playback. 2.3 Audio coding. 2.3.1 Audio signal representation. 2.3.2 Lossless audio coding. 2.3.3 Perceptual audio coding. 2.3.4 Parametric audio coding. 2.3.5 Combining perceptual and parametric audio coding. 2.4 Matrix surround. 2.5 Conclusions. 3 Spatial Hearing. 3.1 Introduction. 3.2 Physiology of the human hearing system. 3.3 Spatial hearing basics. 3.3.1 Spatial hearing with one sound source. 3.3.2 Ear entrance signal properties and lateralization. 3.3.3 Sound source localization. 3.3.4 Two sound sources: summing localization. 3.3.5 Superposition of signals each evoking one auditory object. 3.4 Spatial hearing in rooms. 3.4.1 Source localization in the presence of reflections: the precedence effect. 3.4.2 Spatial impression. 3.5 Limitations of the human auditory system. 3.5.1 Just-noticeable differences in interaural cues. 3.5.2 Spectro-temporal decomposition. 3.5.3 Localization accuracy of single sources. 3.5.4 Localization accuracy of concurrent sources. 3.5.5 Localization accuracy when reflections are present. 3.6 Source localization in complex listening situations. 3.6.1 Cue selection model. 3.6.2 Simulation examples. 3.7 Conclusions. 4 Spatial Audio Coding. 4.1 Introduction. 4.2 Related techniques. 4.2.1 Pseudostereophonic processes. 4.2.2 Intensity stereo coding. 4.3 Binaural Cue Coding (BCC). 4.3.1 Time–frequency processing. 4.3.2 Down-mixing to one channel. 4.3.3 ‘Perceptually relevant differences’ between audio channels. 4.3.4 Estimation of spatial cues. 4.3.5 Synthesis of spatial cues. 4.4 Coding of low-frequency effects (LFE) audio channels. 4.5 Subjective performance. 4.6 Generalization to spatial audio coding. 5 Parametric Stereo. 5.1 Introduction. 5.1.1 Development and standardization. 5.1.2 AacPlus v2. 5.2 Interaction between core coder and spatial audio coding. 5.3 Relation to BCC. 5.4 Parametric stereo encoder. 5.4.1 Time/frequency decomposition. 5.4.2 Parameter extraction. 5.4.3 Down-mix. 5.4.4 Parameter quantization and coding. 5.5 Parametric stereo decoder. 5.5.1 Analysis filterbank. 5.5.2 Decorrelation. 5.5.3 Matrixing. 5.5.4 Interpolation. 5.5.5 Synthesis filterbanks. 5.5.6 Parametric stereo in enhanced aacPlus. 5.6 Conclusions. 6 MPEG Surround. 6.1 Introduction. 6.2 Spatial audio coding. 6.2.1 Concept. 6.2.2 Elementary building blocks. 6.3 MPEG Surround encoder. 6.3.1 Structure. 6.3.2 Pre- and post-gains. 6.3.3 Time–frequency decomposition. 6.3.4 Spatial encoder. 6.3.5 Parameter quantization and coding. 6.3.6 Coding of residual signals. 6.4 MPEG Surround decoder. 6.4.1 Structure. 6.4.2 Spatial decoder. 6.4.3 Enhanced matrix mode. 6.5 Subjective evaluation. 6.5.1 Test 1: operation using spatial parameters. 6.5.2 Test 2: operation using enhanced matrix mode. 6.6 Conclusions. 7 Binaural Cues for a Single Sound Source. 7.1 Introduction. 7.2 HRTF parameterization. 7.2.1 HRTF analysis. 7.2.2 HRTF synthesis. 7.3 Sound source position dependencies. 7.3.1 Experimental procedure. 7.3.2 Results and discussion. 7.4 HRTF set dependencies. 7.4.1 Experimental procedure. 7.4.2 Results and discussion. 7.5 Single ITD approximation. 7.5.1 Procedure. 7.5.2 Results and discussion. 7.6 Conclusions. 8 Binaural Cues for Multiple Sound Sources. 8.1 Introduction. 8.2 Binaural parameters. 8.3 Binaural parameter analysis. 8.3.1 Binaural parameters for a single sound source. 8.3.2 Binaural parameters for multiple independent sound sources. 8.3.3 Binaural parameters for multiple sound sources with varying degrees of mutual correlation. 8.4 Binaural parameter synthesis. 8.4.1 Mono down-mix. 8.4.2 Extension towards stereo down-mixes. 8.5 Application to MPEG Surround. 8.5.1 Binaural decoding mode. 8.5.2 Binaural parameter synthesis. 8.5.3 Binaural encoding mode. 8.5.4 Evaluation. 8.6 Conclusions. 9 Audio Coding with Mixing Flexibility at the Decoder Side. 9.1 Introduction. 9.2 Motivation and details. 9.2.1 ICTD, ICLD and ICC of the mixer output. 9.3 Side information. 9.3.1 Reconstructing the sources. 9.4 Using spatial audio decoders as mixers. 9.5 Transcoding to MPEG Surround. 9.6 Conclusions. 10 Multi-loudspeaker Playback of Stereo Signals. 10.1 Introduction. 10.2 Multi-channel stereo. 10.3 Spatial decomposition of stereo signals. 10.3.1 Estimating ps,b, Ab and pn,b. 10.3.2 Least-squares estimation of sm, n1,m and n2,m. 10.3.3 Post-scaling. 10.3.4 Numerical examples. 10.4 Reproduction using different rendering setups. 10.4.1 Multiple loudspeakers in front of the listener. 10.4.2 Multiple front loudspeakers plus side loudspeakers. 10.4.3 Conventional 5.1 surround loudspeaker setup. 10.4.4 Wavefield synthesis playback system. 10.4.5 Modifying the decomposed audio signals. 10.5 Subjective evaluation. 10.5.1 Subjects and playback setup. 10.5.2 Stimuli. 10.5.3 Test method. 10.5.4 Results. 10.6 Conclusions. 10.7 Acknowledgement. Frequently Used Terms, Abbreviations and Notation. Terms and abbreviations. Notation and variables. Bibliography. Index.

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Book SynopsisTells the story of how early US commercial recording companies captured American musical culture in a key period in both music and media history. Through an interdisciplinary and intermedial approach to recording industry history, Record Cultures creates new connections between different strands of media research.

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Book SynopsisProvides a wide-ranging, informative, entertaining history of recording's profound impact on the musical life of the past century, from Edison to the Internet. This title explores the developments in file-sharing, and includes an expanded conclusion and bibliography.Table of ContentsList of Illustrations Acknowledgments Introduction 1. Causes 2. Making America More Musical: The Phonograph and “Good Music” 3. Capturing Jazz 4. Aesthetics Out of Exigency: Violin Vibrato and the Phonograph 5. The Rise and Fall of Grammophonmusik 6. The Turntable as Weapon: Understanding the Hip-Hop DJ Battle 7. Music in 1s and 0s: The Art and Politics of Digital Sampling 8. Listening in Cyberspace Conclusion Notes Bibliography List of Supplementary Web Materials Index

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Book SynopsisEmphasising the creative aspect of music technology, this introduction sets out an overview of the field for music students in a non-scientific and straightforward way. Engaging and user-friendly, the book covers studio concepts: basic audio and the studio workflow, including audio and MIDI recording. It explores synthesisers, samplers and drum machines as well as basic concepts for electronic performance. In considering the role of the DJ, the book addresses remixing and production, drawing upon many examples from the popular music repertoire as well as looking at the studio as an experimental laboratory. The creative workflow involved in music for media is discussed, as well as controllers for performance and the basics of hacking electronics for music. The book as a whole reflects the many exciting areas found today in music technology and aims to set aspiring musicians off on a journey of discovery in electronic music.Table of ContentsPreface; 1. Representing and storing sound; 2. A studio overview; 3. Synthesiser, samplers and drum machines; 4. Live music technology (the FAQs); 5. Select, remix, mashup; 6. The producer; 7. Music, sound and visual media; 8. The studio as experimental lab; 9. Controllers: new creative possibilities in performance; 10. Hacking electronics for music; Further avenues for exploration; Glossary; Bibliography; Filmography; Discography.

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Book SynopsisTHE TIMES & UNCUT MUSIC BOOK OF THE YEARCritically-acclaimed and bestselling author Paul Morley's long-awaited biography of Factory Records co-founder and Manchester icon Tony Wilson.A BOOK OF THE YEARSUNDAY TIMES, NEW STATESMAN, MOJO, LOUDER THAN WAR'Compelling . . . befitting its extraordinary subject.'BRIAN ENO'Bracing and often surprisingly tender . . . the perfect monument.'SUNDAY TIMES'Via Morley's magical prose Tony Wilson comes back to life . . . inspiring.'RICHARD RUSSELLTony Wilson was a man who became synonymous with his beloved city. As the co-founder of the legendary Factory Records and the HaÃienda, he appointed himself a custodian of Manchester's legacy of innovation and change, becoming a cultural pioneer for the North. To Paul Morley, he was this and much more: bullshitting hustler, fTrade Review'From Manchester with Love is the perfect monument.' - SUNDAY TIMES'Epic . . . More than a mind map, the book's peculiarity and expanse and, yes, love, means it becomes an immersive experience. I found it very moving indeed.' - OBSERVER'A gigantic, haphazard and unexpectedly emotional monolith dedicated to the "irritating dilettante", "pretentious charlatan" and "huckster extraordinaire" who put his city on the musical map . . . Here he burns on fantastically bright.' - UNCUT (9/10)'This is no ordinary biography . . . [From Manchester with Love] is a work unto itself, solidifying Tony Wilson as a postmodern hero . . . it's brilliant . . . I have to imagine Tony Wilson (if ghosts of dead impresarios read from their graves) is pleased with From Manchester with Love.' - LOUDER THAN WAR'Written with Technicolour perspective, humour, pathos and empathy in fluid, immensely readable prose, it is a book that does justice to Wilson's memory and enduring influence.' - RECORD COLLECTOR (5/5)'Captivating . . . Across 600 pages, each of the 51 chapters weaves dream states with journalistic investigation, a tale of how one human being, with the help of like-minded spirits, psychically co-opted an entire city.' - CONFIDENTIALS

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Book SynopsisA revised edition of this bestseller. From the days when the staff wore white coats, through the rock ''n'' roll years to today''s big stars, Abbey Road''s fascinating history is brought to life for everyone who''s ever wondered what goes on behind the graffiti-covered walls.

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Book SynopsisAnalogue recordings sound better, don''t they? But it was never all about tape recorders, valves or vinyl. It is a way of working and a way of thinking. Digital recording encourages you to click on a plugin to solve a problem or look for a new idea; with analogue, you make decisions and find creative solutions using your own imagination and inventiveness. Recording needn''t be complicated, even if everything that surrounds it seems to make it so. There are many misconceptions. You definitely do not have to use twelve mics on the drums, EQ and compress every track, or wade through sixty-four alternate takes and repairs when you mix really! The Analogue Approach to Digital Recording and Mixing is a complete, comprehensive guide to the entire process of recording, from setting up your studio to mastering a final mix. It explains how traditional analogue techniques and methods can be adapted to any digital recording system, without the need for any new equipment or software.

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Book SynopsisThis book is for beginners, hobbyists and semi-professionals wanting to enhance and improve their knowledge of recording sound. Focusing on using microphones to capture a few instruments, both the theory and the practical considerations are explained in a concise and digestible manner.Many artists can craft standout productions by working solely in the box' with their DAW of choice, or with hardware such as synths and processing tools that do not require a microphone. However, musicians and artists may want to start working towards capturing a variety of sounds, instruments and environments, as this can enhance the listening soundstage and feel of a production. This book succinctly presents aspects of the recording process. It explores different ways to get started on your journey as a recording engineer or artist, be it hiring a studio, setting up a recording space or recording on location. This book is an essential read for any budding producer, engineer or artist who i

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