Adrian Kerridge was part of the British recording industry for the past 50 years. His revolutionary and often forthright approach within the music industry put him at the centre of the recording world for half a century. As owner of the eminent Lansdowne Studios - birth place of the Dave Clark Five, and home to numerous household name artists and session stories as well as the cofounding father of the CADAC console brand - he witnessed first-hand the technological changes of an industry transitioning from analogue tape to multi-track to digital recording and editing in the 80s and forwards; was a forerunner in the 60s of the then experimental practice of direct injection - now widely employed by sound engineers and laid the foundations for a more modern upfront sound that was lacking in the 50s and early 60s. Renowned for creating unique sonic signatures for bands and other recording artists, Adrian's approach to recording was unlike anything the industry had seen in the years previous. He recorded "hot," clean and gutsy while his contemporaries were more conservative in their approach. This book traces his personal and professional journey from war time Britain to the swinging 60s. Imparting his professional knowledge through his explanations and diagrams intertwined with the remarkable story of his life Adrian Kerridge 1938 - 2016
Adrian Kerridge has been part of the British recording industry for the past 50 years. His revolutionary and often forthright approach within the music industry has put him at the centre of the recording world for half a century. As owner of the eminent Lansdowne Studios - birth place of the Dave Clark Five, and home to numerous household name artists and session stories as well as the cofounding father of the CADAC console brand - he witnessed first-hand the technological changes of an industry transitioning from analogue tape to multi-track to digital recording and editing in the 80s and forwards; was a forerunner in the 60s of the then experimental practice of direct injection – now widely employed by sound engineers and laid the foundations for a more modern upfront sound that was lacking in the 50s and early 60s. Renown for creating unique sonic signature for bands and other recording artists, Adrian's approach to recording was unlike anything the industry had seen in the years previous. He recorded "hot" while his contemporaries were more conservative in their approach. This book traces his personal journey from war time Britain to the swinging 60s taking in the technical and social changes that were to shape the way music was recorded. It tells the story of a choir boy from West London who fell in love with Jazz and landed a job at a music shop. A chance invitation to sit in on a studio recording of the Sydney Lipton band sparked in Adrian an interest that was to put him on a path from choir boy to the foremost "Ears" in the business. Adrian describes how his first job at IBC London, one of the UK's largest independent recording studios at the time, led him to work with the legendary and sometimes volatile Joe Meek. Working with Joe gave Adrian crucial insights into the talented engineer's innovative techniques, which he describes in technical and personal detail, After a brief stint of National Service, Adrian returned to the recording industry but instead of resuming his old job at IBC he was offered a job alongside Joe Meek at a completely new London studio – Lansdowne Recording Studios – with producer Denis Preston, who ran his own Record Supervision jazz label. Adrian describes his experience of working with Joe and Denis, becoming responsible for his own sessions, and the studios' prolific output. He paints the picture of Joe's complex character, as well as his ground breaking and highly successful recording techniques. Joe's premature departure from Lansdowne meant Adrian suddenly found himself catapulted into the job of senior engineer and solely responsible for running the studios. It was during this time that Adrian, along with the Dave Clark Five, led the British "invasion" of the U.S. music scene in the 1960s pioneering new audio techniques using equipment considered primitive by today's standards. Adrian relates how in the early 1960s, the Dave Clark Five first came into the studio, and how his contribution to the band's development helped create their signature "Tottenham Sound". He provides unique insights into the recording of numerous hits such as "Glad All Over" which resulted in huge success for the band knocking the Beatles' song "I want to hold your hand" off the top of the U.K. charts in January 1964, going on to sell 2.5M copies. Nowadays you can get a number one with 10-20,000 copies. He describes his intriguing experiences in Germany and Belgium, recording material for the KPM Music Library and other music libraries.
Adrian Kerridge has been part of the British recording industry for the past 50 years. His revolutionary and often forthright approach within the music industry has put him at the centre of the recording world for half a century. As owner of the eminent Lansdowne Studios - birth place of the Dave Clark Five, and home to numerous household name artists and session stories as well as the cofounding father of the CADAC console brand - he witnessed first-hand the technological changes of an industry transitioning from analogue tape to multi-track to digital recording and editing in the 80s and forwards; was a forerunner in the 60s of the then experimental practice of direct injection – now widely employed by sound engineers and laid the foundations for a more modern upfront sound that was lacking in the 50s and early 60s. Renown for creating unique sonic signature for bands and other recording artists, Adrian's approach to recording was unlike anything the industry had seen in the years previous. He recorded "hot" while his contemporaries were more conservative in their approach. This book traces his personal journey from war time Britain to the swinging 60s taking in the technical and social changes that were to shape the way music was recorded. It tells the story of a choir boy from West London who fell in love with Jazz and landed a job at a music shop. A chance invitation to sit in on a studio recording of the Sydney Lipton band sparked in Adrian an interest that was to put him on a path from choir boy to the foremost "Ears" in the business. Adrian describes how his first job at IBC London, one of the UK's largest independent recording studios at the time, led him to work with the legendary and sometimes volatile Joe Meek. Working with Joe gave Adrian crucial insights into the talented engineer's innovative techniques, which he describes in technical and personal detail, After a brief stint of National Service, Adrian returned to the recording industry but instead of resuming his old job at IBC he was offered a job alongside Joe Meek at a completely new London studio – Lansdowne Recording Studios – with producer Denis Preston, who ran his own Record Supervision jazz label. Adrian describes his experience of working with Joe and Denis, becoming responsible for his own sessions, and the studios' prolific output. He paints the picture of Joe's complex character, as well as his ground breaking and highly successful recording techniques. Joe's premature departure from Lansdowne meant Adrian suddenly found himself catapulted into the job of senior engineer and solely responsible for running the studios. It was during this time that Adrian, along with the Dave Clark Five, led the British "invasion" of the U.S. music scene in the 1960s pioneering new audio techniques using equipment considered primitive by today's standards. Adrian relates how in the early 1960s, the Dave Clark Five first came into the studio, and how his contribution to the band's development helped create their signature "Tottenham Sound". He provides unique insights into the recording of numerous hits such as "Glad All Over" which resulted in huge success for the band knocking the Beatles' song "I want to hold your hand" off the top of the U.K. charts in January 1964, going on to sell 2.5M copies. Nowadays you can get a number one with 10-20,000 copies. He describes his intriguing experiences in Germany and Belgium, recording material for the KPM Music Library and other music libraries.
Arranged in 6 sections, this title gives marketing practitioners and students critical examples of best practice from a variety of companies. Alongside 'Relationship Marketing: bringing quality, customer service and marketing together' and 'Relationship Marketing for Competitive Advantage: winning and keeping customers' this new title provides readers with insights into marketing in the 21st century.
The late twentieth century is undoubtedly the age of technology. Each technological development leads to more sophisticated devices and further scientific advances. Because of the pace of change, it is difficult to obtain a broad overview of the way fundamental science is linked to its everyday applications. Principles of Modern Technology describes the physical principles on which modern technology is based. Four primary areas have been singled out: computers and microelectronics, communications, nuclear energy and space flight. Each topic is treated in a way that gives the reader an insight into the underlying physics which makes the technology possible as well as the orders of magnitude involved. Based on a course taught at the University of Rochester, the book will be useful both as a textbook for courses in applied physics and engineering and as a reference book. It will be of interest to undergraduates taking introductory physics courses and anyone interested in modern technology.
Customer Relationship Management is a holistic strategic approach to managing customer relationships to increase shareholder value, and this major Handbook of CRM gives complete coverage of the key concepts in this vital field. It is about achieving a total understanding of the concepts that underlie successful CRM rather than the plethora of systems that can be used to implement it. Based on recent knowledge, it is underpinned by: * Clear and comprehensive explanations of the key concepts in the field * Vignettes and full cases from major businesses internationally * Definitive references and notes to further sources of information on every aspect of CRM * Templates and audit advice for assessing your own CRM needs and targets The most lucid, comprehensive and important overview of the subject and an invaluable tool in enabling the connection of the major principles to the real world of business.
With unparalleled access to some of the world’s most reflective and thoughtful philanthropists, this book explores the philanthropic journeys of 48 high net worth individuals (HNWIs) and ultra-high net worth individuals (UHNWIs) to uncover the person behind the giving. Their stories reveal the difference between the meaning they experience and the impact their philanthropy makes. Through the lens of philanthropic psychology, the authors examine how philanthropists experience their giving and the psychological challenges they need to overcome. This fascinating book provides a unique guide for new and experienced philanthropists and their trusted advisers and fundraisers in the creation of more meaningful philanthropic experiences.
This book presents an ecophilosophy of cinema: an account of the moving image in relation to the lived ecologies – material, social, and perceptual relations – within which movies are produced, consumed, and incorporated into cultural life. If cinema takes us on mental and emotional journeys, the author argues that those journeys that have reshaped our understanding of ourselves, life, and the Earth and universe. A range of styles are examined, from ethnographic and wildlife documentaries, westerns and road movies, sci-fi blockbusters and eco-disaster films to the experimental and art films of Tarkovsky, Herzog, Malick, and Brakhage, to YouTube's expanding audio-visual universe.
This innovative new book combines environmental justice scholarship with a material ecocriticism to explore the way in which early Victorian literature (1837–1860) responded to the growing problem of environmental injustice. As this book emphasises, environmental injustice – simply, the convergence of poverty and pollution – was not an isolated phenomenon, but a structural form of inequality; a product of industrial modernity’s radical reformation of British society, it particularly affected the working classes. As each chapter reveals in detail, this form of environmental inequality (or ‘classism’) drew sharply critical reactions from figures as diverse as Thomas Carlyle, Friedrich Engels, Charles Dickens, and John Ruskin, and from within the Chartist movement, as working-class writers themselves reacted to the hazardous realities of a divided society. But as this book also reveals, these writers recognised that a truly just society respects the needs of the nonhuman and takes account of the material world in all its own aliveness; even if only tentatively, they reached for a more inclusive, emergent form of justice that might address the social and ecological impacts of industrial modernity, an idea which is no less relevant today. This book represents an indispensable resource for scholars and students working in the fields of Victorian literature, environmental justice, and ecocriticism.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.