• Table of Contents
• List of Illustrations
• Acknowledgements
• Introduction: Living Stereo (Paul Th berge, Kyle Devine and Tom Everrett)
• (AUDIO) POSITIONS
• 1. The "Sweet Spot": The Technology of Stereo and the Field of Auditorship (Tony Grajeda)
• 2. The Stereophonic Spaces of Soundscape (Jonathan Sterne)
• 3. Sonar and the Channelization of the Ocean (John Shiga)
• LISTENING CULTURES
• 4. Training the Listener: Stereo Demonstration Discs in an Emerging Consumer Market (Tim J. Anderson)
• 5. Mono in the Stereo Age (Eric Barry)
• 6. Looking Past the Stereo Loudspeakers: From the Home to the Amplified Concert Hall (Jonathan Tee)
• 7. Recorded British Folk Song (Allan F. Moore)
• MULTICHANNEL SOUND and SCREEN MEDIA
• 8. Television: Now with Two Channels of Audio (David Sedman)
• 9. The Grandeur(s) of CinemaScope (Matthew Malsky)
• 10. Atmos Now: Dolby Laboratories, Mixing Ideology and Hollywood Sound Production (Benjamin Wright)
• 11. A Symphony of Sound: Surround Sound in Formula One Racing Games (Ruth Dockwray and Karen Collins)
• List of Contributors
• Index.
• (source: Nielsen Book Data)

Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.
(source: Nielsen Book Data) 9781623566654 20160618

• Preface Acknowledgements
• 1 Music: Why We Record Increasing Your Involvement in Music Different Ways of Listening Why Record?
• 2 The Recording Process Types of Recording Pros and Cons of Each Method Recording the Mixes
• 3 Sound, Signals, and Studio Acoustics Sound Wave Creation Characteristics of Sound Waves Behavior of Sound in Rooms How to Tame Echoes and Reverb Making a Quieter Studio Signal Characteristics of Audio Devices
• 4 Equipping Your Studio Equipment Setting Up Your Studio Hum Prevention Reducing Radio Frequency Interference
• 5 Monitoring Speaker Requirements Nearfield[tm] Monitors Powered (Active) Monitors The Power Amplifier Speaker Cables and Polarity Control-Room Acoustics Speaker Placement Using the Monitors Headphones The Cue System Conclusion
• 6 Microphones Transducer Types Polar Pattern Frequency Response Impedance (Z) Maximum SPL Sensitivity Self-Noise Signal-to-Noise Ratio Polarity Microphone Types Microphone Selection Mic Accessories Summary
• 7 Microphone-Technique Basics Which Mic Should I Use? How Many Mics? How Close Should I Place the Mic? Where Should I Place the Mic? On-Surface Techniques The Three-to-One Rule Off-Axis Coloration Stereo Mic Techniques
• 8 Microphone Techniques Electric Guitar Electric Bass Synthesizer, Drum Machine, and Electric Piano Leslie Organ Speaker Drum Set Percussion Acoustic Guitar Singer/Guitarist Grand Piano Upright Piano Acoustic Bass Banjo Mandolin, Dobro, Bouzouki, and Lap Dulcimer Hammered Dulcimer Fiddle (Violin) String Section String Quartet Bluegrass Band and Old-Time String Band Harp Horns Saxophone Woodwinds Harmonica, Accordion, and Bagpipe Lead Vocal Background Vocals Spoken Word Choir and Orchestra Summary
• 9 Effects and Signal Processors Software Effects (Plug-Ins) Equalizer Compressor Limiter Noise Gate Delay--Echo, Doubling, Chorus, and Flanging Reverberation Preverb Enhancer Octave Divider Harmonizer Vocal Processor Pitch Correction Tube Processor Rotary Speaker Simulator Analog Tape Simulator Spatial Processor Microphone Modeler Guitar Amplifier Modeler Distortion De-Click and De-Noise Surround Sound Multi-effects Processor Looking Back Sound-Quality Glossary
• 10 Mixers and Mixing Consoles Stages of Recording Mixer Functions and Formats Analog Mixer Digital Mixer Software Mixer Control Surface
• 11 Mixer Operation Session Preparation Recording Playback Overdubbing Punching-In Composite Tracks Getting More Tracks Drum Replacement Mixdown Summary Automated Mixing Lo-Fi Recording: How to Trash Your Tracks
• 12 Judging Sound Quality Classical versus Popular Recording Good Sound in a Pop-Music Recording Good Sound in a Classical-Music Recording Training Your Hearing Troubleshooting Bad Sound
• 13 Digital Recording Analog versus Digital Digital Recording The Clock Digital Audio Signal Formats Dither Jitter Digital Transfers or Copies 2-Track Digital Recorders Multitrack Digital Recorders Backup
• 14 Computer Recording Basic Operation The Computer Audio Interfaces DSP Card Analog Summing Amplifier Recording Software Optimizing Your Computer for Multitrack Recording Using a DAW Audio for Video
• 15 Session Procedures, Mastering, and CD Burning Preproduction Setting Up the Studio Setting Up the Control Room Session Overview Recording Overdubbing Breaking Down Mixdown Mastering Transferring the Mastered Program to CD-R Master Log Copyrights and Royalties
• 16 MIDI and Looping MIDI Components Recording Music Made by Soft Synths "No sound" MIDI Troubleshooting Recording with a Keyboard Workstation Recording with a Drum Machine and Synth Using Effects Loop-Based Recording Summary
• 17 On-Location Recording of Popular Music Record Off the Board Record with Mics and a Portable Digital Recorder Record with a 4-Tracker Connect the PA Mixer Insert Sends to a Recording Mixer Splitting the Mic Signals Multitrack Recording in a Truck Preparing for the SessionPreparing for Easier Setup At the Session: Setup Mic Techniques Sound Check and Recording Teardown
• 18 On-Location Recording of Classical Music Equipment Selecting a Venue Session Setup Microphone Placement Setting Levels Recording a Concert Editing
• 19 Web Audio and Online Collaboration Streaming versus Downloading Data Compression Web-Related Audio Files What You Need How to Upload Compressed Audio Files Putting Your Music On Your Website Collaborating by Sharing Files Finding Studio Musicians, Producers and Engineers A dB or Not dB Definitions Sound Pressure Level Signal Level The VU Meter, Zero VU, and Peak Indicators Balanced versus Unbalanced Equipment Interfacing Balanced and Unbalanced Equipment Microphone Sensitivity B Optimizing Your Computer for Multitrack Recording Speeding Up Your Hard Drive Increasing Processing Speed Preventing Interruptions Setting the Buffer Size Minimizing Latency Other Tips Windows Vista and Windows
• 7 Optimizing MacIntosh for Multitrack Recording C Impedance What is Impedance? I'm connecting two audio devices. Is it important to match their impedances? What if I don't? What about microphone impedance? I'm connecting a mic to a mixer. Is impedance a consideration? Should I consider impedance when I connect two line-level devices? Can I connect one source to two or more loads? Can I connect two or more sources to one input? Summary D Phantom Power Explained Definition Using a Stand-Alone Supply Cautions for Use DC Bias E Where to Learn More Books and Videos Recording Magazines Pro Audio Magazines Consumer Audio Magazines Guides, Brochures, and Other Literature Guides to Recording Schools The Internet Recording Equipment Catalogs Experience Starting a Career as a Recording Engineer Glossary.
• (source: Nielsen Book Data)

This hands-on, practical guide covers all aspects of recording, perfect for beginning and intermediate recording engineers, producers, musicians, and audio enthusiasts. Filled with tips and shortcuts, this book gives advice on equipping a home studio (both low-budget and advanced), suggestions for set-up, acoustics, choosing monitor speakers, and preventing hum. This best-selling guide also instructs how to judge recordings and improve them to produce maximum results. New in the sixth edition: * Complete update of digital media material, including updated equipment and microphone descriptions * Digital performers and computer DAWs *Additional material regarding ProTools ability to let owners choose other interfaces with their software * More information on how the hook-ups in a studio work, with more advice on setting up a home project studio, and expansion of location recording material * Further information on things like Auto-tune and multiband limiting, a useful plug-in round up * Further information on workflow, addressing issues like file formats, uploading & downloading of songs and materials, and use of a computer as a recording device * Expansion on Internet issues * Updated home studio setup information, including the workflow with Windows 7 and Mac OSX * Expansion of technicalities of MIDI, including data structure and controller codes Companion website can be found at http://www.taylorandfrancis.com/cw/bartlett-9780240821535/.
(source: Nielsen Book Data) 9780240821535 20160610

• Introduction : breaking sound barriers / Gustavus Stadler
• Sound, knowledge, and the "immanence of human failure" : rethinking musical mechanization through the phonograph, the player-piano, and the piano / David Suisman
• Deaf jam : from inscription to reproduction to information / Mara Mills
• Splicing the sonic color-line : Tony Schwartz remixes postwar Nueva York / Jennifer Stoever-Ackerman
• Never heard such a thing : lynching and phonographic modernity / Gustavus Stadler
• Can you feel the beat? : freestyle's systems of living, loving, and recording / Alexandra T. Vasquez
• Buzz and rumble : global pop music and utopian impulse / Jayna Brown

This issue of "Social Text" offers fresh perspectives on the study of sound, music, and politics by centering its attention on recording. The contributors to "The Politics of Recorded Sound" seek to tell a broader story, both politically and historically, about the role of recording in modernity, moving beyond the usual focus on music alone, and portraying it as dialectically engaged with historical formations of race, gender, labor, disability, and nation. One essay uncovers the lost history of studio recordings of lynching re-enactments in the 1890s and analyzes the place of these re-enactments among representations of blackness in early phonography. Another essay provides a detailed account of the piano roll's centrality in technological and cultural conceptions of sound reproduction, while yet another essay exposes the role of experiments with the deaf in the development of sound recording technology. The final essay addresses the utopian impulse in contemporary global pop. Contributors include: Jayna Brown; Mara Mills; Gustavus Stadler; Jennifer Stoever-Ackerman; David Suisman; and, Alexandra T. Vazquez.
(source: Nielsen Book Data) 9780822367307 20160612

• Chapter 1 The Empowerment of Sound--
• Chapter 2 Our Amateur Beginnings--
• Chapter 3 Formerly titled The First Tuesday Night in February--
• Chapter 4 Success or Failure: Before the Camera Even Rolls--
• Chapter 5 The Challenging Battlefield of Production--
• Chapter 6 From the Set to the Laboratory--
• Chapter 7 Picture Editorial
• and the use of the Sound Medium--
• Chapter 8 Temp Dubs and Test Screenings:
• A Critical Objective View--
• Chapter 9 Spotting the Picture
• for Sound and Music--
• Chapter 10 Custom Recording Sound Effects --The Real Fun and Adventure--
• Chapter 11 The Sound Librarian : the curator of an audio empire--
• Chapter 12 Sound Design
• Myths and Realities--
• Chapter 13 Sound Editorial : Sync-sync
• Chop-chop--
• Chapter 14 Dialog Editors
• Hollywoods Unsung Heroes--
• Chapter 15 ADR -and- Looping
• Getting the Lips to Flap in Sync--
• Chapter 16 FOLEY : The Art of Footsteps, Props and Cloth Movement--
• Chapter 17 Nonlinear
• the Digital Workstation--
• Chapter 18 The Music Composer
• Audio Collaboration or Mud and Destruction--
• Chapter 19 The Rerecording Stage
• Predubbing and the Final Mix--
• Chapter 20 5.1
• Audio Restoration and Emerging Audio Technologies--
• Chapter 21 The venerable Nagra IV-S ( analog )--
• Chapter 22 The new recording hot-rod the Nagra V (digital)-- Glossary of Terms.
• (source: Nielsen Book Data)

"Practical Art of Motion Picture Sound" embraces the subject of sound for films. Based on the experience of the author and other top sound craftspeople, this book provides numerous real-life examples and relevant technical data. It also is firmly grounded in practical techniques and it will show you an appreciation of all the processes involved in creating motion picture sound, from how to achieve great sound despite a small budget and less-than-perfect recording conditions to steps you will need to take to create an artful audio experience. This edition is completely revised and expanded, and the most popular sound editing systems, Pro Tools and Final Cut Pro, are covered in-depth. The accompanying new DVD presents demonstration material as well as a large library of sound effects, while numerous charts, illustrations, and photographs help to demonstrate techniques and common industry practices. Among other topics, "Practical Art of Motion Picture Sound, Third Edition" includes: preproduction planning; production tips; sound design; sound editing; ADR and looping; using Pro Tools; using Nagra's analog and digital systems; and custom recording sound effects. It includes an accompanying DVD with an ADR/Looping practice session, video interview with Ray Harryhausen, and more than 1000 photos and charts with audio clips. It is written by an experienced craftsman and professor who brings his experience in the movie biz as well as in front of the classroom to life. It gives a complete overview of film sound, including motion picture protocol, budgeting info, and technical information about recording.
(source: Nielsen Book Data)

• The audio dictionary
• The art and science of good acoustics
• Some frequently used symbols and units
• How to subdue a hi-fi salesperson
• Good acoustics in small rooms and auditoria
• Some notes on audio measurements
• The balanced line
• Some notes on digital audio
• Musical scales and the tuning of musical instruments
• Some notes on the history of high fidelity
• Some notes on decimal and binary arithmetic as used in computer terminology
• Some notes on impedance and frequency response.

The Audio Dictionary is a comprehensive resource, including historical, obsolete, and obscure as well as contemporary terms relating to diverse aspects of audio such as film and TV sound, recording, Hi-Fi, and acoustics. The Third Edition includes four hundred new entries, such as AAC (advanced audio coding), lip synch, metadata, MP3, and satellite radio. Every term from previous editions has been reconsidered and often rewritten. Guest entries are by Dennis Bohn, cofounder and head of research and development at Rane Corporation, and film sound expert Larry Blake, whose credits include Erin Brockovich and Ocean's Eleven. The appendixes - tutorials that gather a lifetime's worth of experience in acoustics - include both new and greatly expanded articles.
(source: Nielsen Book Data) 9780295984988 20160528

• Introduction-- Sound and Hearing-- Studio Acoustics and Design-- Microphones - Design and Application-- Analog Tape Recorder-- Digital Audio Technology-- MIDI-- Multimedia-- Synchronization-- Amplifiers-- Audio Production Console-- Signal Processors-- Noise Reduction Monitoring-- Product Manufacture-- Studio session procedures-- Yesterday, Today and Tomorrow.
• (source: Nielsen Book Data)

As the most popular and authoritative guide to recording available, "Modern Recording Techniques" provides everything you need to master the tools and day-to-day practice of music recording and production. The sixth edition has been expanded to cover the latest digital audio technology and features a new section on surround sound. For those who are just starting out or are looking for their next job in the industry, this edition also provides essential advice on career options and networking. David Miles Huber's approachable writing style, coupled with over 500 technical diagrams, screen shots and product illustrations, makes this an essential resource which you will want to refer to again and again. Learn from the resource that is used by more students, musicians and audio engineers than any other in the industry. This book is an international bestseller providing tips and techniques for getting the best results from both project and professional recording studios. The biggest edition yet - it is packed with new material, including surround sound and digital technology, as well as the latest career advice. The companion website provides even more resources and information.
(source: Nielsen Book Data) 9780240806259 20160528

• Music: Why You Record-- The Recording Chain-- Sound, Signals, and Studio Acoustics-- Setting Up Your Studio-- Monitoring-- Microphones-- Microphone-Technique Basics-- Microphone Techniques-- Digital Recording-- Signal Processors and Effects-- Recorder-Mixers and Mixing Consoles-- Operating the Multitrack Recorder and Mixer-- Computer Recording-- Judging Sound Quality-- Session Procedures-- The MIDI Studio: Equipment and Recording Procedures-- On-Location Recording of Popular Music-- On-Location Recording of Classical Music-- Surround Sound: Techniques and Media-- Putting Your Music on the Web. Appendices: dB or Not dB-- Optimizing Your Computer for Digital Audio-- Optimizing Macintosh for Audio-- Introduction to SMPTE Time Code-- Further Education-- Impedance-- Glossary.
• (source: Nielsen Book Data)

"Practical Recording Techniques" is a hands-on practical guide for all aspects of recording, ideal for beginning and intermediate recording engineers, producers, musicians and audio enthusiasts. Filled with tips and shortcuts, this book offers advice on equipping a home studio (both low-budget and advanced), with suggestions for set-up, acoustics, choosing monitor speakers, and preventing hum. This best-selling guide also tells how to judge recordings and improve them to produce maximum results. Two extensive glossaries clearly explain audio jargon and sound-quality descriptions. The new material includes: extensive coverage of digital recording technology and techniques, including computer DAWs and optimizing them for best performance; extra coverage of the basics, such as speed of sound, inverse square law, sound-wave interference, reflection and diffusion; a comprehensive look at all types of microphones, including live-vocal, digital and headworn mics; and, a detailed instrument frequency range chart. Also new to this edition is an accompanying audio CD (Mac and PC compatible), which will enable you to actually hear the effects and techniques described in the book. This bestselling guide to recording covers the latest digital techniques for professional and home studios, as well as recording on location. It includes a CD packed with audio clips to enhance the text. Fully revised and updated, this edition also includes essential information on computer recording.
(source: Nielsen Book Data) 9780240806853 20160528

• Microphones Classic Microphones Basic Recording Equipment Basic Stereo Techniques Basic Multichannel Tracking Preparing the Drum Kit for Recording Individual Instrument Miking Techniques The Session Surround Microphone Techniques Surround Microphones The Interviews.
• (source: Nielsen Book Data)

Working as a recording engineer presents challenges from every direction of your project. From using microphones to deciding on EQ settings, choosing outboard gear to understanding how, when and why to process your signal, the seemingly never-ending choices can be very confusing. Professional Audio's bestselling author Bobby Owsinski (The Mixing Engineer's Handbook, The Mastering Engineer's Handbook) takes you into the tracking process for all manner of instruments and vocals-- providing you with the knowledge and skill to make sense of the many choices you have in any given project. From acoustic to electronic instruments, mic placement to EQ settings, everything you need to know to capture professionally recorded audio tracks is in this guide.
(source: Nielsen Book Data) 9781932929003 20160528

How did one of the great inventions of the 19th century - Thomas Edison's phonograph - eventually lead to one of the most culturally and economically significant technologies of the 20th and 21st centuries? Sound Recording tells that story, tracing the history of the business boom and the cultural revolution begun by Edison's invention. Ever since, recorded sound has been all around us - not just in reproducing and playing popular music, but also in more mundane areas, such as office dictation machines, radio and television programmes, and even telephone answering machines. Just as the styles of music have evolved over the years, the formats on which this music was played have changed as well. The quest for better sound was one of the driving forces of technological change, but so too were business strategies, patent battles, and a host of other factors. Sound Recording contains information that will appeal anyone interested in the history of recorded music and sound technology, such as the following facts: The composer John Phillip Sousa once denounced sound recordings as a threat to good musical taste, but made many recordings over the years; The first modern "cassette" tape cartridge and the stereophonic LP record were both introduced by RCA in 1958. The tape cartridge flopped almost immediately; the stereo LP was the music industry's biggest hit ever; Chrysler automobiles of the late 1950s offered "Highway Hi-Fi, " a dashboard phonograph that could play a record without skipping; The predecessor of the Compact Disc was a 12-inch home videodisc system from the late 1970s - the first of its kind - called DiscoVision. The volume includes a timeline and a bibliography.
(source: Nielsen Book Data) 9780313330902 20160527