Music recording and reproduction Books

Book SynopsisA clever resource for the ever-growing home recording market.ÞThe revised edition is updated with a greater focus on digital recording techniques the most powerful tools available to the home recordist. There are chapters devoted to instrument recording humanizing drum patterns mixing with plug-ins and virtual consoles and a new section on using digital audio skills. And since many true Guerrillas still record to analog tape we have retained the best of that world. This edition features many more graphics than in the original edition further enforcing ÊGuerrilla Home RecordingÊ''s reputation as the most readable user-frienly recording title on the market.

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Book SynopsisHolly Rogers is Reader in Music at Goldsmiths, University of London, UK. She is author of Sounding the Gallery: Video and the Rise of Art-Music (2013) and Twentieth Century Music (2021). She is editor of Music and Sound in Documentary Film (2014), The Music and Sound of Experimental Film (2017), Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics (Bloomsbury, 2019), Cybermedia (Bloomsbury, 2021) and The Cambridge Companion to Music Video (2022). Holly is one of the founding editors of Bloomsbury's New Approaches to Sound, Music and Media series and is the founding director of MIT's journal, Sonic Scope: New Approaches to Audiovisual Culture.Joana Freitas is a PhD student in Musicology at NOVA University of Lisbon, Portugal, and a researcher at the Centre for the Study of Sociology and Aesthetics of Music on video game music, audiovisual media and cybercommunities. She recently organisedTrade ReviewThis essential book unveils critical approaches to how YouTube has revolutionized the way we (re)create, (re)mix and (re)use sound, music and the moving image in the digital age. The editors and contributors explore innovative and collaborative music practices and trends that pulsate within audiovisual and streaming cultures, including its connection for all users involved, and its influence on contemporary societies, cultures and politics. Remediating Sound: Repeatable Culture, YouTube and Music is an important book for scholars seeking to unravel the entwined worlds of music and digital cultures. * Shara Rambarran, Senior Lecturer in Music, Business, and Media, University of Brighton, UK, and author of Virtual Music: Sound, Music, and Image in the Digital Era (Bloomsbury, 2021) *For two decades YouTube has both driven and showcased the emerging genres and aesthetics of new digital media. Central to such media is remediation, the transformation of sounds and moving images as they migrate from one genre, platform or technology to another: the result is a cultural practice in which collage, montage and quotation play an essential role, with fixed works and meanings giving way to dynamic, multimodal networking and emergent meaning. Based on the reworking and transformation of existing materials, creativity is redefined as social interaction. Held together by the focus on YouTube, and encompassing a wide range of digital practices and genres – from fanvidding and reaction videos to protest videos, SoundCloud rap and vaporwave – this multi-authored volume is an indispensable and cutting-edge guide to a technological, social and aesthetic phenomenon that has become a core dimension of life in the 21st century. * Nicholas Cook, Emeritus Professor of Music, University of Cambridge, UK *Table of ContentsPreface Jay Bolter, Georgia Institute of Technology, USA Introduction: “I feel like I’ve heard it before”: The Musical Echoes of YouTube Holly Rogers, Goldsmiths, University of London, UK, Joana Freitas, CESEM - NOVA FCSH, Portugal, and João Francisco Porfírio, CESEM - NOVA FCSH, Portugal 1. “Technology allows more people to do things”: Artificial Intelligence, Mashups and Online Musical Creativity Christine Boone, University of North Carolina Asheville, USA, and Brian Drawert, University of North Carolina Asheville, USA 2. From Contagion to Imitation: On Bass Drop Memes, Trolling Repertoires and the Legacy of Gabriel Tarde Edward Katrak Spencer, University of Oxford, UK 3. Sincere, Authentic, Remediated: The Affective Labour and Cross Cultural Remediations of Music Video Reaction Videos on YouTube Michael Goddard, Goldsmiths, University of London, UK 4. Internet Archiving: The Many Lives of Songs in the YouTube Age Henrik Smith Sivertsen, Royal Danish Library, Denmark 5. Listening Through Social Media: Soundscape Composition, Collaboration and Networked Sonic Elongation Holly Rogers, Goldsmiths, University of London, UK 6. “Only people with good imagination usually listens to this kind of music”: On the Convergence of Musical Tags, Video Games and YouTube in the Epic Genre Joana Freitas, CESEM - NOVA FCSH, Portugal 7. Of Clouds and Vapors: Transcending Ironic Distance in Networked Composition Jonas Wolf, GCSC, Justus-Liebig Universität Gießen, Germany 8. Performing Beyond the Platform: Experiencing Musicking On and Through YouTube, TikTok and Instagram Juan Bermúdez, University of Vienna, Austria 9. Library Music as the Soundtrack of YouTube Júlia Durand, CESEM - NOVA FCSH, Portugal 10. Meme and Variations: How Video Mashups of John Coltrane’s Giant Steps Became a Thing Scott B. Spencer, University of Southern California, USA 11. ‘Spinning Straw Into Gold’: Nacho Video and the Exquisite Corpse of Fan-editing Lisa Perrott, University of Waikato, New Zealand 12. Music Videos as Protest Communication Olu Jenzen, The University of Brighton, UK, Itir Erhart, Istanbul Bilgi University, Turkey, Hande Eslen-Ziya, University of Stavanger, Norway, Umut Korkut, Glasgow Caledonian University, UK, Aidan McGarry, Loughborough University, UK, and Derya Güçdemir, Independent Scholar, Turkey Index

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Book SynopsisThis is a book about video art, and about sound art. The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form. Paul Hegarty considers the work of a range of artists (including Steve McQueen, Christian Marclay, Ryan Trecartin, and Jane and Louise Wilson), proposing different theories according to the particular strategy of the artist under discussion. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts. Applying contemporary sound theory to the world of video art, Paul Hegarty offers an entirely fresh perspective on the interactions between sound, sound art, and the visual.Trade ReviewIn Rumour and Radiation, Paul Hegarty provides novel insight into and strong evidence of the audiovisual nature of video arts as it turns out to play a key role in contemporary crossmedia practices. His arguments are convincing: that sound and image in video are different yet connected to each other. His many examples are fascinating, particularly the importance of sounds in the creation of spatial effects in video works where the artists, like Bruce Nauman, Jane and Louise Wilson, Christian Marclay, or Ryoji Ikeda, explore materials and perceptions across usual borders. This work is an illuminating source that sets a new tone for readjustments and critical engagement with multi-sensorial processes in our still predominantly 'visually' conceived culture. * Yvonne Spielmann, Dean of Faculty of Fine Arts, Lasalle College of the Arts, Singapore, author of Video. The Reflexive Medium (2008) and Hybrid Culture (2013) *Table of ContentsAcknowledgements List of Illustrations Introduction: How Video Works and How It Sounds 1 Expanding Cinema 2 Bruce Nauman and the Audiospatial 3 Body as Screen 4 Gary Hill, Seeing Language 5 Bill Viola, Elemental Ambience 6 Dan Graham, Stan Douglas, Laurie Anderson, Dara Birnbaum: Performing Musically 7 Christian Marclay, The Medium as multiple 8 Pipilotti Rist, Immersing 9 Pierre Huyghe, Repurposing Sound 10 Steve McQueen, The Destabilizing Ground 11 Jane and Louise Wilson, An Other Index 12 Total Screen (Ryoji Ikeda, Carsten Nicolai, Granular Synthesis 13 Ryan Trecartin, Videocore End: Elizabeth Price, Noise Capture Bibliography Index

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Book SynopsisBoost your music production efficiency using Studio One's seamless workflows and deliver professional-grade tracks Purchase of the print or Kindle book includes a free PDF eBook Key Features Learn how to arrange and record your own music with Studio One’s unique, intuitive workflow Use Song, Project, and Show windows to create, master, and perform professional quality music Utilize Studio One’s virtual instruments and effects plug-ins to create music without any extra software Book DescriptionThe Ultimate Studio One Pro Book is a detailed, step-by-step guide to creating music with Studio One’s extensive set of production tools. This practical, goal-oriented resource will help musicians start producing their own music with Studio One and teach audio professionals how to include Studio One in their production workflow. The book begins by showing you how to set up Studio One to work smoothly on your system. The following chapters will walk you through the process of creating a project, along with recording audio and using virtual instruments to construct a MIDI arrangement. As you advance, you’ll find out how to edit your songs to perfection using Melodyne, Audio Bend, and an extensive collection of MIDI modifiers. You’ll also discover how to mix in Studio One with the effects plugins included in it, along with applying audio mastering in the Project window. Throughout this book, you’ll gain the skills needed to leverage Studio One confidently and effectively, as well as build your own unique music production workflow. By the end of this book, you’ll be able to effortlessly translate your musical ideas into complete songs using Studio One’s powerful tools.What you will learn Configure Studio One and run it smoothly in your production environment Record and edit MIDI using Studio One’s excellent manipulation tools Record audio and edit confidently using Melodyne and Audio Bend Work with Studio One’s stock virtual instruments to create an arrangement Mix a song with Studio One’s stock effects plugins Master a song using the Project window Take your music on stage with the Show window Who this book is forThis book is for musicians, bands, and composers who want to learn Studio One from scratch to create their own music on a professional level. Producers and audio professionals who already have experience in another Digital Audio Workstation but now wish to switch to Studio One or include it in their workflow will also find this book useful. Basic knowledge and experience of musical processes, such as arranging, recording, mixing, and mastering are needed to make the most of this book. However, this book will teach you how to perform these processes more effectively in Studio One.Table of ContentsTable of Contents Choosing Your Flavor of Studio One Installing and Configuring Your Studio One Environment Exploring the Studio One Environment Creating a New Song Recording Your First Audio Track Adding Virtual Instruments and Recording MIDI Editing and Rearranging Your Song Editing Audio Editing MIDI Using Global Tracks Preparing for the Mix Working with Effects Plugins to Craft a Mix Optimizing Signal Flow and Elevating Your Mix Navigating the Project Page and Producing Final Masters Using Additional Studio One Features Appendix: Customizing Studio One and Following Best Practices

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Book SynopsisTake your music production to the next level with the ultimate FL Studio resource. Purchase of the print or Kindle book includes a free eBook in PDF format. Key Features Comprehensive coverage of FL Studio 21's tools and features Step-by-step explanations of music production techniques Insights into best practices for promoting and selling music Book DescriptionThe Music Producer's Ultimate Guide to FL Studio 21 is the essential handbook for any aspiring or professional music producer looking to take their craft to the next level. This comprehensive guide covers everything you need to make the most of FL Studio 21's powerful tools and features. You will learn the secrets to creating professional-sounding music, from creating chord progressions to tailoring your sounds to perfection with compression, equalization, and stereo width effects. You'll begin by getting up-and-running with FL Studio 21, creating a beat, and composing a melody. Once you're familiar with the piano roll and mixer console you'll learn how to use plugins to create your own instruments, explore audio width effects, and engage in sound design. You'll get insights into mixing and mastering, as well as promoting and selling your music. This new edition covers some of the most popular features and plugins in FL Studio 21, including FLEX, Luxeverb, Vintage Chorus, Vintage Phaser, Distructor, Fruity Newtime, VFX Sequencer, Pitch Shifter, Frequency Shifter, Fruity Granulizer, Multiband Delay, and Frequency Splitter.What you will learn Get up and running with FL Studio 21 Compose melodies and chord progressions on the piano roll Mix your music effectively with mixing techniques and plugins, such as compressors and equalizers Record into FL Studio, pitch-correct and retime samples, and follow advice for applying effects to vocals Create vocal harmonies and learn how to use vocoders to modulate your vocals with an instrument Create glitch effects, transform audio samples into playable instruments, and sound design with cutting-edge effects Develop your brand to promote your music effectively Publish your music online and collect royalty revenues Who this book is forThis book is for musicians, music producers, composers, songwriters, DJs, and audio engineers interested in creating their own music, improving music production skills, mixing and mastering music, and selling songs online. To get started with this book, all you need is a computer and FL Studio.Table of ContentsTable of Contents Getting started with FL Studio Exploring the Browser, Playlist, and Channel Rack Composing with the Piano Roll Routing to the Mixer and Applying Automation Sound Design and Audio Envelopes Compression, Sidechaining, Limiting, and Equalization Stereo Width (Panning, Reverb, Delay, Chorus, and Flangers) and Distortion Recording Live Audio and Vocal Processing Vocoders and Vocal Chops Creating Your Own Instruments and Effects Intermediate Mixing Topics and Sound Design Plugin Effects Mastering Fundamentals Marketing, Content Creation, Getting Fans, and Going Viral Publishing and Selling Music Online

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Book SynopsisElectric and Music Industries Ltd (EMI) first saw the light of day in the UK in 1931. In a visionary move for the gramophone age, it manufactured both hardware (recording and playback equipment) and software (the records and tapes its machines would play). For over half a century, EMI dominated both sectors, it's music division eventually becoming the most successful in the world with a roster that at various times included "The Beatles", Maria Callas, Frank Sinatra, Cliff Richard, Pink Floyd, "The Beach Boys", "Queen", Robbie Williams, "The Spice Girls", Kate Bush and Kylie Minogue. Then in the 1990s, things started to go wrong.This title explores and investigates EMI's extraordinary decline from the greatness over two decades of rejected takeovers, unsuccessful mergers, executive changes, profit warnings, artist and staff cuts, press criticism and never-ending speculation. It includes interviews with many key players including former EMI Group/EMI Music executives Sir Colin Southgate, Jim Fifield, Eric Nicoli, Tony Wadsworth, David Munns, Rupert Perry, Ray Cooper and Jon Webster. He has also interviewed many managers, music journalists, financial analysists and rival record company executives. The result is the definitive account of a major international company's travails. It is also an eye-opening expose of the speed at which the music industry has changed.

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