Music recording and reproduction Books
McFarland & Company Jukeboxes An American Social History
Book SynopsisThis work traces the history of the jukebox from its origins in the invention of the phonograph by Thomas Alva Edison in the 1880s up to its relative obscurity in the year 2000. Other socially important elements of the jukebox's development are also covered.
£30.66
McFarland & Company From Edison to Marconi The First Thirty Years of Recorded Music
Book SynopsisThe advent of sound recording ushered in a period of explosive and imaginative experimentation, growth and competition. This history of the earliest years of sound recording - the time between the phonograph's appearance and the licensing of commercial radio - examines a newly created technology and industry.
£23.96
Scarecrow Press Audio and Video Equipment Basics for Libraries
Book SynopsisSound recordings have existed since the last quarter of the 19th century, and libraries have collected them since the early 20th century. Where recordingsboth audio and videodiffer most notably from books is that they all need some kind of playback device: some intermediary piece or pieces of equipment between the user and the object. The world of audio and video gear is frequently foreign to many librarians, and what libraries need in terms of equipment is often different from the needs of both the individual audiophile and the professional sound archivist. Moreover, today''s changing audio landscapeincluding audio/video streaming via the internet and the emergence of the iPod culturehave called into question the need for valuable library space to be occupied by listening/viewing carrels. Audio and Video Equipment Basics for Libraries presents all the information librarians need to know to make intelligent decisions about providing listening and viewing facilities in libraries. EverytTrade ReviewRecommended. * CHOICE *...offers relevant and insightful information...This volume fills a long-existing void, and is a welcome addition...Farrington has done the library community a great service...I highly recommend Audio and Video Equipment Basics for Libraries... * Notes: Quarterly Journal of the Music Library Association, Vol. 64, No. 1 (September 2007) *Author Jim Farrington explains everything librarians need to know about providing listening and viewing facilities in libraries. He covers tips on how to buy new equipment, and how to design a new listening facility or retrofit an existing space. * American Libraries *Table of ContentsPart 1 Introduction Chapter 2 1. The Listening Environment Chapter 3 2. Source Components Chapter 4 3. Video Chapter 5 4. Electronics Chapter 6 5. Sound Producers Chapter 7 6. Miscellaneous Part 8 Glossary Part 9 Selected Bibliography Part 10 Sources for Equipment Reviews Part 11 Index Part 12 About the Author
£53.10
Scarecrow Press Inside the recording studio Working with Callas
Book SynopsisRecord producer Peter Andry recounts his experiences over 50 years in the classical music industry in Inside the Recording Studio, offering portraits of great singers, instrumentalists, and conductors such as Maria Callas, Yehudi Menuhin, and Herbert von Karajan against a background of the dramatic changes in the recording industry.Trade ReviewA volume in the line from the late John Culshaw's legendary Decca-related memoirs, this is an engaging stringing-together of tales from Peter Andry's distinguished decades as a producer....No one can fail to enjoy this. * Classical Music, October 2008 *There are wonderful stories, and you will get to know what went on behind the scenes when great recordings were being made. * American Record Guide, May/June 2009 *Inside the recording studio is remarkably honest.... Highly recommend this title for any library which has a large collection of recordings. -- Richard LeSueur * Notes: Quarterly Journal of the Music Library Association, March 2009 *Engaging style... * BBC Music Magazine, August 2008 *
£60.30
Scarecrow Press Recording History The British Record Industry
Book SynopsisIn Recording History, Peter Martland uses a range of archival sources to trace the genesis and early development of the British record industry from1888 to 1931. A work of economic and cultural history that draws on a vast range of quantitative data, it surveys the commercial and business activities of the British record industry like no other work of recording history has before. Martland's study charts the successes and failures of this industry and its impact on domestic entertainment. Showcasing its many colorful pioneers from both sides of the Atlantic, Recording History is first and foremost an account of The Gramophone Company Ltd, a precursor to today's recording giant EMI, and then the most important British record company active from the late 19th century until the end of the second decade of the twentieth century. Martland's history spans the years from the original inventors through industrial and market formation and final take-offincluding the riveting battle in recording formats. Special attention is given to the impact of the First World War and the that followed in its wake. Scholars of recording history will find in Martland's study the story of the development of the recording studio, of the artists who made the first records (from which some like Italian opera tenor Enrico Caruso earned a fortune), and the change records wrought in the relationship between performer and audience, transforming the reception and appreciation of musical culture. Filling a much-needed gap in scholarship, Recording History documents the beginnings of the end of the contemporary international record industry.Trade ReviewThe present book is in many ways an expansion of Martland’ s previous work. ... Recording History is still a very important book. . . . the part on Columbia is excellent, and the book can also be considered the definitive study of entire British sound recording industry up to 1918, as Martland’s original dissertation also surveyed the industry’s origins and Gramophone’s competitors in great detail. ... Recording History will become a standard reference work on the history of the recording industry. We must be especially grateful to the author for making available a huge amount of economic data from the EMI archives, as this part of the archives seems to have been completely closed to researchers for the past decade. And we should hope that one day Martland will also find the time to continue the history of the British record industry at least up to the 1950s. Certainly no one has the same qualifications for this job as he does. * ARSC Journal *This book is well-written and a worthy addition to every record collector's library. ... Until now, no book has examined the recording industry itself in detail as a business and examined how the marketing of phonographs and records was handled to become such a major industry. * WFOS.FM *Dr. Martland is nothing if not thorough and the ready availability of such a wealth of detailed information makes this work an invaluable resource for anyone interested in the business side of the recording industry. Any future rival volume on the subject will be redundant. * Teaching History: A Journal of Methods *This will surely stand as a major reference book in the field for a long time to come and is highly recommended. * In The Groove *This book is effectively a secondary source in its own right, bringing together an astonishing range of facts and figures, many not previously exposed to comparative historical gaze. Even the choice of photographs, while including old (and essential) favourites of the pioneers and their efforts, yields pleasing variations, along with reproductions of telling contemporary advertisements. * For the Record *Until now, no book has examined the recording industry itself in detail as a business and how the marketing of phonographs…and records was handled to become such a major industry. This history is just as interesting as the technological side, which Martland examines in considerable detail….This book is a well-written and worthy addition to every record collector’s library. -- Bill Russell, WFOS-FM (Chesapeake, VA)
£94.50
Rowman & Littlefield Publishers Writing Music for Commercials
Book SynopsisIn Writing Music for Commercials: Television, Radio, and New Media, professor, composer, arranger, and producer Michael Zager describes the process of composing and arranging music specifically for commercials across the growing variety of media formats. Writing music for commercials requires composers not only learn the craft of writing short-form compositions that can stand on their own, but also understand the advertising business. In this third edition of his original Writing Music for Television and Radio Commericals, Zager walks starting composers through the business and art of writing music that aims for a product's target audience and, when done well, hits its mark.Chapter by chapter, Zager covers a broad array of topics: how to approach and analyze commercials from a specifically musical perspective, the range of compositional techniques for underscoring and composing jingles, the standard expectations and techniques for arranging and orchestration, and finally the composing Table of ContentsPreface Acknowledgments Introduction 1: Advertising Agency and Process Structure 2: Composing for Television and Radio Commercials versus Composing for Films 3: Musical Skills (Approaching Composition for Commercials) 4: Analyzing Commercials (from a Musical Viewpoint) 5: Underscoring (Compositional Techniques) 6: Arranging and Orchestration Concepts (Including Sound Effects and Sound Design) 7: Jingle Writing 8: Composing Music for Radio Commercials 9: Corporate Videos and Infomercials (Long-Form Commercials) 10: Theatrical Trailer Music (Motion Picture Trailer Music) 11: Video Game Music 12: Internet Commercials, Website Music, and Web Series (Webisodes) 13: Sound Design and Foley Effects 14: The Business of Commercials 15: Conclusion Index About the Author
£48.60
Taylor & Francis Inc The Art of Producing
Book SynopsisThe Art of Producing is the first book to standardize a specific production process for creating a successful music project from start to finish. Learn how to develop a step-by-step process for critiquing all of the musical components that go into creating a highly refined production that works for all styles of music. The book provides a well-rounded perspective on everything that goes into producing, including vital information on how to creatively work with bands, groups and record companies, and offers insight into high level values and secrets that famous producers have developed through years of trial and error. The book covers detailed production techniques for working with today's latest digital technologies including virtual recording, virtual instruments, and MIDI tracking. Take these concepts, adapt them to your own personal style and you will end up with a successful project of the highest attainable quality with the most potential to be become a hit or just afTrade Review"I believe "The Art Of Producing" very rapidly, will become the aspiring Producers reference Bible. It is the most thorough book I've seen that goes in depth to the whole producers process of production techniques from start to finish". - Hubert Eaves III - Producer for Luther Vandross, Madonna, Whitney Houston, Aretha Franklin.Table of ContentsSection 1: The Producer’s Job Introduction Section 2: The Business Side of Production Finances, Organization, and Politics Section 3: The Virtual Mixer Concept Visual Representations of Imaging as a Tool for Production Section 4: Music Theory for Recording Engineers and Producers Music Theory Primer Section 5. The Production Process The Pre-Production Process Structuring and Critiquing the 11 Aspects Higher Level Concepts Producing in the Studio Overall Production Goals Digital Audio Production Section 6. Creativity Tapping into the Source – Inspiring Creativity Balancing Creativity and Mass Appeal (Industry Trends) Moment-to-Moment Awareness Songwriting Section 7. Selecting A Producer / Becoming a Producer Choosing a Producer Selling Yourself as a Producer Section 8. Protecting Your Music Protection Appendix A. Pre-production checklist Appendix B. Scatting Syllables Appendix C. Virtual Mixer Interface Appendix D. Forms
£37.99
Duke University Press Sound
Book SynopsisAppearing here in English for the first time, Michel Chion's Sound addresses the philosophical questions that inform our encounters with sound, stimulating our thinking about being open to new sounds and to explore the links between language, technology, culture, and hearing.Trade Review"Chion's work is refreshing in many ways.... It is clear that Chion lives his topic deeply, and has not simply “researched” it. Alongside the extended theorisation, the book teems with thought-provoking observations, like the best of Jean Baudrillard (who could always be appreciated for his vignettes if not for his theories) or Roland Barthes. How good it is to find that someone else has asked himself why being subjected to one side of a conversation on a mobile phone is even more frustrating than overhearing a two-way conversation in person – and Chion has an answer." -- David Revill * Times Higher Education *"This work . . . is an excellent addition to the literature on sound. It is a stimulating and thought-provoking book that addresses not only basic philosophical ideas but also highly practical questions that inform the reader about encounters with sound. . . . The notes that are provided at the end of the work offer further details and are extremely useful. The glossary is incredibly valuable, especially in describing the French words the author uses. The bibliography is also extensive. In summary, the book is excellent. Recommended. All readers." -- M. G. Prasad * Choice *"Michel Chion’s opus is itself a delight to read. . . . His writing miraculously foregrounds sound without fixating upon its objecthood. Organizationally, he provides clarity through schematic listings of key points throughout the essays and a helpful glossary of terms that he has generated throughout his career." -- Shayna Silverstein * TDR: The Drama Review *"Chion and Schaeffer are part of an active, interventionist, history: they are about how humans seize technologies and put them to undesigned uses, they are about how to dis-alienate the spectacular. Bravo!" -- Tim Hodgkinson * Cultural Critique *Table of ContentsIntroduction. Closed Grooves, Open Ears / James A. Steintrager vii Preface to the French Edition of 2010 xxvii I. Hearing 1. Listening Awakes 3 2. The Ear 16 3. Sound and Time 29 II. A Divided World 4. Voice, Language, and Sounds 45 5. Noise and Music: A Legitimate Distinction? 55 III. The Wheel of Causes 6. The Sound That You Cause: Ergo-Audition 83 7. Sounds and Its Cause: Casual Listening and Figurative Listening 101 8. Sound and What It Causes: Real and Supposed Effects 121 IV. Sound Transformed 9. How Technology Has Changed Sound 131 10. The Audiovisual Couple in Film: Audio-Vision 150 V. Listening, Expressing 11. Object and Non-Object: Two Poles 169 12. Between Doing and Listening: Naming 212 Notes 243 Glossary 265 Bibliography 269 Index 275
£98.60
Duke University Press Sound
Book SynopsisAppearing here in English for the first time, Michel Chion's Sound addresses the philosophical questions that inform our encounters with sound, stimulating our thinking about being open to new sounds and to explore the links between language, technology, culture, and hearing.Trade Review"Chion's work is refreshing in many ways.... It is clear that Chion lives his topic deeply, and has not simply “researched” it. Alongside the extended theorisation, the book teems with thought-provoking observations, like the best of Jean Baudrillard (who could always be appreciated for his vignettes if not for his theories) or Roland Barthes. How good it is to find that someone else has asked himself why being subjected to one side of a conversation on a mobile phone is even more frustrating than overhearing a two-way conversation in person – and Chion has an answer." -- David Revill * Times Higher Education *"This work . . . is an excellent addition to the literature on sound. It is a stimulating and thought-provoking book that addresses not only basic philosophical ideas but also highly practical questions that inform the reader about encounters with sound. . . . The notes that are provided at the end of the work offer further details and are extremely useful. The glossary is incredibly valuable, especially in describing the French words the author uses. The bibliography is also extensive. In summary, the book is excellent. Recommended. All readers." -- M. G. Prasad * Choice *"Michel Chion’s opus is itself a delight to read. . . . His writing miraculously foregrounds sound without fixating upon its objecthood. Organizationally, he provides clarity through schematic listings of key points throughout the essays and a helpful glossary of terms that he has generated throughout his career." -- Shayna Silverstein * TDR: The Drama Review *"Chion and Schaeffer are part of an active, interventionist, history: they are about how humans seize technologies and put them to undesigned uses, they are about how to dis-alienate the spectacular. Bravo!" -- Tim Hodgkinson * Cultural Critique *Table of ContentsIntroduction. Closed Grooves, Open Ears / James A. Steintrager vii Preface to the French Edition of 2010 xxvii I. Hearing 1. Listening Awakes 3 2. The Ear 16 3. Sound and Time 29 II. A Divided World 4. Voice, Language, and Sounds 45 5. Noise and Music: A Legitimate Distinction? 55 III. The Wheel of Causes 6. The Sound That You Cause: Ergo-Audition 83 7. Sounds and Its Cause: Casual Listening and Figurative Listening 101 8. Sound and What It Causes: Real and Supposed Effects 121 IV. Sound Transformed 9. How Technology Has Changed Sound 131 10. The Audiovisual Couple in Film: Audio-Vision 150 V. Listening, Expressing 11. Object and Non-Object: Two Poles 169 12. Between Doing and Listening: Naming 212 Notes 243 Glossary 265 Bibliography 269 Index 275
£25.19
Billboard Books Billboard Illustrated Home Recording Handbook
Book Synopsis
£20.42
Berklee Press Publications Producing in the Home Studio with Pro Tools
Book Synopsis
£23.60
Berklee Press Publications Recording and Producing in the Home Studio A
Book Synopsis
£27.99
Berklee Press Publications The Future of Music Manifesto for the Digital
Book Synopsis
£16.14
Berklee Press Publications Audio Mastering Essential Practices
Book Synopsis
£23.75
Berklee Press Publications Audio Post Production For Film and Television
Book Synopsis
£24.74
Berklee Press Publications The SingerSongwriters Guide to Recording in the
Book Synopsis
£16.99
Hal Leonard Corporation Diccionario Illustrado de M sica Electr nica
Book SynopsisDICCIONARIO ILLUSTRADO DE MUSICA ELECTRONICA
£16.16
Hal Leonard Corporation The Finale Primer Mastering the Art of Music
Book SynopsisFINALE PRIMER - 2ND EDITION SEE 331259
£21.21
Hal Leonard Corporation The Live Sound Manual
Book SynopsisTHE LIVE SOUND MANUAL : GETTING GREAT SOUND AT EVERY GIG
£23.75
Hal Leonard Corporation Digital Home Recording
Book SynopsisDIGITAL HOME RECORDING 2ND EDITION
£21.21
Hal Leonard Corporation Clive Young Crank It Up Live Sound Secrets Of
Book SynopsisCRANK IT UP LIVE SOUND: SECRETS OF THE TOP TOUR ENGINEERS
£17.95
Hal Leonard Corporation The Savvy Studio Owner A Complete Guide To
Book SynopsisSAVVY STUDIO OWNER A COMPLETE GUIDE TO SETTING UP AND RUNNING YOUR RECORDING STUDIO
£16.96
Hal Leonard Corporation Keith Hatschek The Golden Moment Recording
Book SynopsisGOLDEN MOMENT
£17.95
RLPG The Home Recording Handbook Use What Youve Got to
Book SynopsisTHE HOME RECORDING HANDBOOK
£21.25
Alfred Publishing Co Inc.,U.S. Playing Synthesizer Keyboard Magazine Library for
Book Synopsis
£7.95
Alfred Publishing Co Inc.,U.S. Basic MIDI Applications Keyboard Magazine Library
Book Synopsis
£7.95
Alfred Publishing Co Inc.,U.S. Digital Delays and How to Use Them
Book Synopsis
£6.81
£24.95
Sample Magic Classic Tracks The Real Stories Behind 68 Seminal
Book Synopsis
£18.90
Proper Music Publishing Ltd The Vinyl Revival And The Shops That Made It
Book Synopsis
£13.46
Cambridge University Press Rhythm and Heritage in Modern Flamenco Guitar
Book SynopsisDiscourses about rhythmic skill and feel have often been associated with forms of non-Western, and especially African and Afro-diasporic identity and heritage. How can we rethink rhythmic skill for the contemporary world where concepts of heritage and belonging are attaining new meanings across cultural and geographical borders? This Element addresses this question through the case study of modern flamenco guitar, an instrumental practice that has achieved daunting levels of rhythmic sophistication and has been flourishing across the globe for decades, even before flamenco was inscribed into UNESCO''s list of Intangible Cultural Heritage in 2010. Drawing on examples from local guitar traditions in Jerez de la Frontera and Morón de la Frontera and from an online guitar contest launched during the Covid-19 pandemic, this Element explores how rhythm can shape new ways of understanding and performing heritage in the global and digital age.
£17.00
Taylor & Francis Remastering Music and Cultural Heritage
Book SynopsisRemastering Music and Cultural Heritage presents a detailed account of the culture and practice of remastering music recordings. By investigating the production processes and the social, nostalgic and technological components of remastering practice, the book demonstrates the application of these techniques to iconic recordings by artists including The Beatles, Elton John and Oasis.Through comprehensive interviews with music production professionals directly involved in both the original productions and remastered releases of these iconic recordings â and detailed digital audio analysis â this book offers an extensive insight into music production and remastering practice. Readers learn about the music production techniques behind creating some of the most well-recognised and loved albums of all time, as well as the processes used to create the remasters, to help guide their own projects.Remastering Music and Cultural Heritage is essential reading for studentsTable of Contents1. Remastering from vintage formats 2. Remastering The Beatles' Abbey Road 3. Remastering Elton John's Goodbye Yellow Brick Road 4. Remastering Oasis' (What’s the Story) Morning Glory? 5. Remastering Mozart's The Magic Flute
£35.14
Taylor & Francis Ltd Aural Diversity
Book SynopsisAural Diversity addresses a fundamental methodological challenge in music and soundscape research by considering the nature of hearing as a spectrum of diverse experiences. Bringing together an interdisciplinary array of contributors from the arts, humanities, and sciences, it challenges the idea of a normative listening experience and envisions how awareness of aural diversity can transform sonic arts, environments, and design and generate new creative listening practices. With contributors from a wide range of fields including sound studies, music, hearing sciences, disability studies, acoustics, media studies, and psychology, Aural Diversity introduces a new and much-needed paradigm that is relevant to scholars, students, and practitioners engaging with sound, music, and hearing across disciplines.Table of ContentsList of FiguresList of TablesAcknowledgementsList of Contributors John L. Drever and Andrew Hugill: Aural Diversity: General introduction David M. Baguley: Aural Diversity: A clinical perspective PART I: ACOUSTIC ENVIRONMENTS AND SOUNDSCAPE Julian Henriques, Eric Jauniaux, Aude Thibaut de Maisieres, and Pierre Gélat: Sound Before Birth: Foetal hearing and the auditory environment of the womb John L. Drever: Phonating Hand Dryers: exploits in product and environmental acoustics, and aural diverse composition and co-composition William Renel: The Auditory Normate: Engaging critically with sound, social inclusion and design Matt Lewis: Listening with Deafblindness Meri Kytö: Soundscapes of Code: Cochlear implant as soundscape arranger Patrick Farmer: 〰️ William J. Davies: Autistic Listening Karla Berrens: Fire, Drums and the Making of Place During a Correfoc Josephine Dickinson: Alphabetula Ed Garland: Textual Hearing Aids: How reading about sound can improve sonic experience PART II: MUSIC AND MUSICOLOGY Samuel Couth: The Show Must Go On: Understanding the effects of musicianship, noise exposure, cognition, and ageing on real-world hearing abilities Alinka Greasley: Diverse Music Listening Experiences: Insights from the hearing aids for music project Andrew Hugill: Consequences of Ménière's Disease for Musicians, Their Music-Making, Hearing Care, and Technologies Chris. J. H. Cook: Socialising and Musicking with Mild Cognitive Impairment: A case study from rural Cornwall Matthew Spring: Thomas Mace: A hearing-impaired musician and musical thinker in the seventeenth Century John D'Arcy: Do You Hear What I Hear? Some creative approaches to sharing and simulating diverse hearing Balandino Di Donato: Sign in Human–Sound Interaction Duncan Chapman: The Aural Diversity Concerts: Multimodal performance to an aurally diverse audience Jay Afrisando: Music–Making in Aurally Diverse Communities: An artist statement Simon Allen: Attention Reframed: A personal account of hearing loss as a catalyst for intermedia practice David Holzman: Lost and Found: A pianist's hearing journey Andrew Hugill: Composing with Hearing Differences Anya Ustaszewski: Composing 'Weird' Music Index
£35.14
Taylor & Francis Creative Confidence and Music Production
Book SynopsisCreative Confidence and Music Production: Overcome Your Insecurities is a practical guide for music producers to tackle self-doubt and navigate the relationship between confidence and creativity, by offering tools to overcome the most common creative blocks.The book begins by discussing the interrelationships between confidence, creativity, and working with technology. This is followed by chapters featuring expert tips and practical exercises to help readers overcome challenges such as struggling with confidence in their production process, and navigating the music industry as an artist. Also included are sections that focus on creative music production workflows, providing practical tips on how to find creative direction and how to work through creative blocks, before finishing with real stories from a range of diverse music professionals about their own workflows, what inspires them, and how they overcome doubt, uncertainty, and lack of inspiration.Although mainly aimed at music producers, Creative Confidence and Music Production has plenty of insights for anyone in the music industry, and can help beginners, music production students, and seasoned professionals alike, to face their fears and foster confidence in their practice.
£36.09
Taylor & Francis Ltd Film Music
Book SynopsisA comprehensive introduction to film music, this book provides a concise and illuminating summary of the process of film scoring, as well as a succinct overview of the rich history of contemporary film music.Written in a non-technical style, this book begins by presenting a brief history of film music from the last 30 years, covering topics ranging from blockbuster franchises to indie film scores. It explores film music from around the world, including Bollywood and European Avant-garde cinema, and film music in animation, like Disney-Pixar and Japanese anime. It then offers a guide to the language of film music analysis, the creative process behind composing film music, and the use of current technology. The book champions diversity in the industry, with case studies and interviews from a range of active film composers, including: Pinar Toprak (Captain Marvel, 2019), Kris Bowers (Bridgerton, 2020), Natalie Holt (Loki, 2021), and Rachel Portman (Emma, 1996),Complete with a glossary of key terms and further reading, this book is an invaluable resource for all those beginning to study film music, as well as lifelong film music buffs seeking to update their understanding of film music.Trade Review"… a comprehensive look into the history and creative process of contemporary film scoring. A must-read for all lovers of movies and movie music." –Pinar Toprak, Composer of Captain Marvel and Fortnite" Although there are a few books dealing with music written for films there are none that I know of written by an accomplished composer. Kenneth Lampl’s book contains numerous entertaining and instructive insights that are absent from other works in this genre" – Bruce Beresford, Director, Academy Award-winning Driving Miss Daisy and Breaker Morant"More than a how-to guide, and more than an overview of the history of film music, composer and industry insider Kenneth Lampl weaves together the best insights from the best in the business to understand why the soundtrack has come of age." –Dan Golding, Host, ABC Screen Sounds"Kenneth Lampl is a composer as capable of massive sci-fi epics as an intimately twisted psychological thriller. And you can tell that he’s more than well versed in all the shades of soundtracks" –Daniel Schweiger, The Film Music InstituteTable of Contents1. The History of Film Music in Hollywood 2. Film Music from Around the World 3. The History of Music for Animation 4. The Language of Film Music 5. The Creative Team 6. The Creative Process 7. Technology and Creativity 8. The Future of Film Scoring: An Introduction to Video Game Music (co-authored by Thomas Connell) 9. The Future of Film Scoring: The Trilogy, the Series and the Franchise 10. New Voices in Film Music: the Interviews 11. Glossary of Terms and Bibliography
£19.99
Taylor & Francis Ltd The Theory and Practice of Writing Music for
Book SynopsisThe nature of game music charges the modern-day composer with understanding a whole host of aesthetic and technical principles unique to the medium. Based on years of working in the field, as well as teaching the subject at colleges and universities, The Theory and Practice of Writing Music for Games is an invaluable resource for those looking for a classroom tested, directed course of study.As players and composers, themselves, authors Steve Horowitz and Scott R. Looney share the inspiration and joy of game music with an emphasis on critical thinking and the creative process, exploring the parallels and distinctions to concert music, film, TV, cartoons, and other popular forms.Each chapter builds on the next and guides the reader step by step through the essentials. Along with all the theory, a multitude of clearly defined hands-on projects and exercises are included, designed to prepare the reader to go out into the field with a complete undTable of ContentsChp. 01 The Adaptive Composer Chp. 02 Building Blocks Chp. 03 The Composer's Toolbox Chp. 04 Music As Information Chp. 05 Cinematic Transitions Chp. 06 Living in Limbo Chp. 07 Get In The Game, Applied Musical Concepts Chp. 08 Middleware Music concepts & The Technical Composer Chp. 09 Advanced Approaches Chp. 10 Lessons Earned Section II Assignment 01 Composer Report Assignment 02 Create the Music Section of a GDD (Game Design Document) Assignment 03 (A) Setting Up YourWork Space Assignment 03 (B) Welcome To The Screen Shot Challenge Assignment 04 Notation Exploration Assignment 05 Classic To Modernity, The Art of Translation Assignment 06 Composing For Cinematics Assignment 07 Defining Form Assignment 08 Welcome to the Limbo Challenge Assignment 09 Gameplay Music Analysis Assignment 10 Breakout! Assignment 11 THE MUSIC MAZE Assignment 12 Mood Board Assignment 13 DAY & NIGHT Assignment 14 Create A Technical Design Document (TDD) Assignment 15 Create a Website and Artists statement
£56.99
Taylor & Francis Music Production in the Music City
Book SynopsisMusic Production in the Music City considers how music is produced in specific urban contexts.Music Production in the Music City features four case studies from a diverse set of cities â Berlin, Nashville, Chennai, and Brisbane â to investigate how music comes to be created in locally specific music production contexts. These case studies inform a thorough examination of the various factors that shape music production practices specific to urban contexts. The author uses a new conceptual framework called the âundersongâ to analyse the aural foundations of a city, examining how policy design can help or hinder a productive music production scene.This is a cutting-edge contribution to music city studies, and will be of great interest to researchers, postgraduates, and advanced undergraduates studying music production and world music. This book will also be of interest to those involved in urban policy work related to the live and recorded music industries.
£37.99
Taylor & Francis Ltd Mixing with Impact
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
£47.49
Taylor & Francis Ltd Loudspeakers
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
£128.25
Taylor & Francis Ltd Loudspeakers
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
£68.39
Taylor & Francis Ltd Acoustic and MIDI Orchestration for the
Book SynopsisAcoustic and MIDI Orchestration for the Contemporary Composer, Second Edition provides effective explanations and illustrations to teach you how to integrate traditional approaches to orchestration with the use of the modern sequencing techniques and tools available to today's composer. By covering both approaches, Pejrolo and DeRosa offer a comprehensive and multifaceted learning experience that will develop your orchestration and sequencing skills and enhance your final productions.A leading manual on its subject, the second edition allows experienced composers and producers to be exposed to sequencing techniques applied to traditional writing and arranging styles. The book continues to provide a comprehensive and solid learning experience and has been fully revised to include the latest tools and techniques. The new edition has been updated to include: A new chapter on cover writing and sequencing for vocal ensembles Coverage oTable of ContentsTable of Contents Foreword Chapter 1 - Basic Concepts for the MIDI Composer, Arranger and Orchestrator Chapter 2 – Writing and Sequencing for Rhythm Section Chapter 3 – Writing and Sequencing for the String Orchestra Chapter 4 – Writing and Sequencing for the Woodwind Section Chapter 5 – Writing and sequencing for the Brass Section Chapter 6 – Writing and sequencing for Vocal Ensembles Chapter 7 – Writing and sequencing for Vocal Ensembles and Other Final Considerations Appendix A – Music Scores and examples
£49.39
Taylor & Francis Ltd Audio Production and Critical Listening
Book SynopsisAudio Production and Critical Listening: Technical Ear Training, Second Edition develops your critical and expert listening skills, enabling you to listen to audio like an award-winning engineer. Featuring an accessible writing style, this new edition includes information on objective measurements of sound, technical descriptions of signal processing, and their relationships to subjective impressions of sound. It also includes information on hearing conservation, ear plugs, and listening levels, as well as bias in the listening process.The interactive web browser-based ear training software practice modules provide experience identifying various types of signal processes and manipulations. Working alongside the clear and detailed explanations in the book, this software completes the learning package that will help you train you ears to listen and really hear your recordings.This all-new edition has been updated to include: Audio and psychoaTable of ContentsList of Illustrations Introduction Chapter 1: Listening Chapter 2: Tonal Balance and Equalization Chapter 3: Spatial Attributes and Reverberation Chapter 4: Dynamic Range Control Chapter 5: Distortion and Noise Chapter 6: Amplitude Envelope and Audio Edit Points Chapter 7: Analysis of Sound Bibliography Index
£61.74
Taylor & Francis Ltd Practical Recording Techniques
Book SynopsisPractical Recording Techniques covers all aspects of recording, perfect for beginning and intermediate recording engineers, producers, musicians, and audio enthusiasts. Filled with tips and shortcuts, this hands-on, practical guide gives advice on equipping a home studio (whether low-budget or advanced) and suggestions for set-up, acoustics, effects, choosing mics and monitor speakers, and preventing hum. This best-selling guide also instructs how to mike instruments and vocals, judge recordings and improve them, work with MIDI and loops, do mastering, and put your music on the web. Two chapters cover live recording of classical and popular music. New in the seventh edition: Complete update of all types of recording equipment, plug-ins, and recording software Increased focus on current industry and classroom trends like DAW signal flow and operation (during recording and mixdown), while still covering analog fundamentals UTrade Review"[This] is a comprehensive text, written clearly so concepts are easy to understand and apply. It is a good resource for my students both for the class and afterward, as they pursue their careers. Although I hadn't used the companion website before, now that I've looked at it more closely, I already plan to incorporate it into my classes.” -- Tom Wolfe, University of Alabama School of Music "Bartlett's book covers all the major areas for my Recording 1 students with simplicity and just enough depth, taking a logical approach to everyday recording applications. It's a solid stepping-stone and excellent guide to start your recording career." -- Jeremiah Slovarp, Faculty & Technical Director, School of Music at Montana State University and Emmy Award Winning Sound & Recording Engineer "Bartlett’s 7th edition carries on its reputation of handling the fundamentals of sound recording with reader-friendly writing, helpful illustrations, and the expertise that’s made it a classic in audio education for so many years." – Stanley R. Alten, Syracuse University "I have used this text (and previous editions of this text) as I find it well written, easy to understand/accessible to new learners and is available at a moderate cost to the learner.Great Job!" -- David Haggadone, Lansing Community College "I like that the language is accessible to beginners, and I think the breadth of topics is great for an intro course. The companion website also makes my job as an instructor easier" -- Colleen M. Clark, Salisbury University "I’ve been teaching with Bartlett’s Practical Recording Techniques since the 4th edition because it is accessible to all of my students, who really run the gamut when it comes to prior knowledge and/or experience. It also covers both studio and concert hall approaches -- both of which I deal with in various classes throughout the year. The 7th edition not only taught me some new things but also gave me fresh ideas and perspectives for further utilizing it in my classes.” -- Kevin Harbison, recording engineer, Technical Director of Grusin Music Hall, University of Colorado Boulder "Whether you are recording others or capturing your own muse, this book can help you find your way. Bartlett combines an expert's knowledge and an aficionado’s love of music, and he's produced a book and accompanying online materials that both seasoned professionals and absolute newbies can learn a lot from." -- Flawn Williams, Georgetown University Department of Performing Arts Table of ContentsACKNOWLEDGMENTS PREFACE CHAPTER 1: A Basic Overview of the Recording Process CHAPTER 2: Sound and Psychoacoustics CHAPTER 3: Studio Acoustics CHAPTER 4: Signal Characteristics of Audio Devices CHAPTER 5: Equipping Your Studio CHAPTER 6: Monitoring CHAPTER 7: MicrophonesCHAPTER 8: Microphone Technique Basics CHAPTER 9: Microphone Techniques for Instruments and Vocals CHAPTER 10: Equalization (EQ) CHAPTER 11: Effects and Signal Processors CHAPTER 12: Mixers and Mixing Consoles CHAPTER 13: Digital Audio CHAPTER 14: Computer Recording CHAPTER 15: DAW Signal Flow CHAPTER 16: DAW Operation CHAPTER 17: Judging Sound Quality with Critical Listening CHAPTER 18: MIDI and Loops CHAPTER 19: Session Procedures CHAPTER 20: Mastering and CD BurningCHAPTER 21: On-Location Recording of Popular Music CHAPTER 22: On-Location Recording of Classical Music CHAPTER 23: Web Audio, Streaming, and Online Collaboration APPENDIX A: dB or Not dB APPENDIX B: Optimizing Your Computer for Multitrack Recording APPENDIX C: Impedance APPENDIX D: Phantom Power Explained APPENDIX E: Legacy Recording Devices AUDIO GLOSSARY INDEX
£56.04
Orion Publishing Co I Thought I Heard You Speak
Book SynopsisFactory Records has become the stuff of legend. The histories of the label have been told from many perspectives, from visual catalogues and memoirs to exhibitions. Yet no in-depth history has ever been told from the perspectives of the women who were integral to Factory''s cultural significance. The untold history of Factory Records is one of women''s work at nearly every turn: recording music, playing live gigs, running the label behind the scenes, managing and promoting bands, designing record sleeves, making films and music videos, pioneering sound technology, DJing, and running one of the most chaotic clubs on the planet, The Haçienda. Told entirely in their voices and featuring contributions from Gillian Gilbert, Gina Birch, Cath Carroll, Penny Henry and over fifty more interviewees, I THOUGHT I HEARD YOU SPEAK is an oral history that reveals the true cultural reach of the label and its staying power in the twenty-first century.Trade ReviewThe book I've been waiting for my entire adult life. A wonderful and fresh retelling of a time and a place that has never been significantly seen or heard from the perspective of women. Unfolding like a detective story bringing forth all the complex evidence, these fascinating, insightful, fun testimonies of what it was like to be connected to Factory are beautifully woven together. The range and power of the unleashed individual voices takes on a collective strength, becoming a fantastic roar: we were there all along and we will not be forgotten -- Carol MorelyI Thought I Heard You Speak is not simply an essential addition to Factory Records' archive of books, films, and exhibitions, it is recommended reading. Period -- DJ PauletteI was really pleased to talk to Audrey about my memories of working with New Order and Factory Records. I think it's really important that the story of Factory Records includes and recognises the contribution of several women right from the start to the legacy that continues today' -- Rebecca Boulton, Manager of New OrderAn important book on the women pivoting around the Factory/Manchester scene -- Sinéad GleesonIn an industry that primarily dismisses or conveniently forgets the vast contributions of women, I am delighted that this book exists. Bravo Audrey Golden. Thank you for bearing witness -- Shirley MansonIn the past, the mantra has often been to mythologise, printing the legend rather than the truth. This is why Audrey Golden's I Thought I Heard You Speak: Women At Factory Records had to be written to readdresses the imbalance. In years to come, it will be looked upon as one of the most important books written about the Factory organisation, maybe even the final word -- Iain Key * Louder Than War *
£21.25
Orion Publishing Co I Thought I Heard You Speak
Book SynopsisFactory Records has become the stuff of legend. The histories of the label have been told from many perspectives, from visual catalogues and memoirs to exhibitions. Yet no in-depth history has ever been told from the perspectives of the women who were integral to Factory''s cultural significance. The untold history of Factory Records is one of women''s work at nearly every turn: recording music, playing live gigs, running the label behind the scenes, managing and promoting bands, designing record sleeves, making films and music videos, pioneering sound technology, DJing, and running one of the most chaotic clubs on the planet, The Haçienda. Told entirely in their voices and featuring contributions from Gillian Gilbert, Gina Birch, Cath Carroll, Penny Henry and over fifty more interviewees, I THOUGHT I HEARD YOU SPEAK is an oral history that reveals the true cultural reach of the label and its staying power in the twenty-first century.
£11.69
Orion Publishing Co Too Much Too Young The 2 Tone Records Story
Book SynopsisA SUNDAY TIMES MUSIC BOOK OF THE YEAR 2023#2 UNCUT BOOK OF THE YEAR 2023A RESIDENT BOOK OF THE YEAR 2023In 1979, 2 Tone exploded into the national consciousness as records by The Specials, The Selecter, Madness, The Beat, and The Bodysnatchers burst onto the charts and a youth movement was born. 2 Tone was black and white: a multi-racial force of British and Caribbean island musicians singing about social issues, racism, class and gender struggles. It spoke of injustices in society and took fight against right wing extremism.The music of 2 Tone was exuberant: white youth learning to dance to the infectious rhythm of ska and reggae; and crossed with a punk attitude to create an original hybrid. The idea of 2 Tone was born in Coventry, masterminded by a middle-class art student raised in the church. Jerry Dammers had a vision of an English Motown. Borrowing 700, the label''s first record featured ''Gangsters'' by The Specials'' backeTrade ReviewA SUNDAY TIMES MUSIC BOOK OF THE YEAR 2023#2 UNCUT BOOK OF THE YEAR 2023A RESIDENT BOOK OF THE YEAR 2023'A brilliantly vivid account of one of British pop culture's most inspiring movements - surely the definitive telling of the 2-Tone story' * John Harris *'An incredible and detailed account of a massive watershed moment in British culture. Rachel's book captures the daily struggles and contradictions within both the groups and the audience during harsh political times and ultimately delivers a message of positivity and the power of the music to affect social and political change' * Gurinder Chadha, OBE *'We lived in Britain, a country that had hugely benefited from immigration, but curiously had an innate antipathy to the ideas of multiculturalism and diversity. Daniel Rachel has managed to capture the essence of that contradiction in those Margaret Thatcher governed years, with this comprehensive, cautionary but nonetheless celebratory saga of the 2 Tone label.' * Pauline Black, OBE *'Daniel Rachel has managed to talk to all the significant players and the story he tells is one that shines a light on the challenges of mixing pop with politics. This feels like the definitive story of 2 Tone. Masterful.' * Billy Bragg *'A great book about a time when record labels meant something and a brief period of hope when it seemed as if music might actually be able to change the world. This is a book about a few exceptionally talented people who came together and created something extraordinary.' * Charlie Higson *In Daniel Rachel, the great untold story of the post-punk era finally gets the storyteller it deserves. Too Much Too Young is every bit as thrilling, and just as achingly evocative as the music it was written to celebrate... a scintillating read * Pete Paphides *Daniel Rachel has bagged the whirlwind of 2 Tone with joy, honesty and compassion to create the definitive account of one of Britain's finest youth movements * Suggs *A brilliant book and a fitting account of one of British culture's most epochal moments. Nothing is left out of this definitive book * The Wire *Essential read for anyone who ever moonstomped in tonic suit, DMs and stingy-brimmed trilby * MOJO *
£23.75
Hal Leonard Sequencing Samples and Loops Hal Leonard
Book SynopsisHAL LEONARD RECORDING METHOD VOL. 4 SEQUENCING SAMPLES AND LOOPS BOOK AND DVD
£48.79
RLPG Sibelius 5 Intermediate Level DVD DVD
Book Synopsis
£40.88
