The first title in the Laurier Digital series. Representing Sound elucidates the base technical ontology, the machine essence, of every recorded musical communication. In so doing, it suggests the broad contours of an unprecedented theoretical basis for considering recording practice that posits no fundamental relationship between it and live performance. Representing Sound thus complicates common conceptions of sound to include different ontological states. This seemingly simple notion–that the acoustic phenomena we encounter in concert are, by nature, different from those we encounter when we listen to records–should have profound consequences for the way everyone, from musicologists to rock stars, considers recording practice. In the tradition of books like Marshall McLuhan’s and Quentin Fiore’s The Medium Is The Massage (1968), Representing Sound sets its text within more than one hundred original visual artworks, each designed to reinforce the essay’s broader creative resonances. This allows readers to approach the larger ontological argument either atomistically (i.e., on a frame-by-frame basis) or holistically, depending on their creative or analytic needs. In this way, Representing Sound provides a possible model for creative scholarly work in the impending post-book era.
Recording Practice is musical practice, a technical but artistic affair. Understanding Records explains the musical language of Recording Practice in a way that any interested reader can understand. Drawing on readily available hit records produced since 1945, each section of this book explains a handful of core production and engineering techniques in chronological record-making sequence, elucidating how those techniques work, what they sound like, how they function musically, where listeners can hear those techniques at work in the broader Top 40 soundscape, and where they fit in the broader record-making process at large.
The revised edition of Understanding Records explains the musical language of recording practice in a way any interested reader and student can easily understand. Drawing on readily available hit records produced since 1945, each section of this book explains a handful of core production and engineering techniques in chronological record-making sequence, elucidates how those techniques work, what they sound like, how they function musically, where listeners can hear them at work in the broader Top 40 soundscape, and where they fit within the broader record-making process at large. As the only book to introduce music production and its practical elements with no assumed prior knowledge, the revised edition includes: · Exclusive print and video interviews with emerging and established recordists, including: Alex Chuck Krotz (Drake, Three Days Grace, Mother Mother); Kevin O' Leary (Shawn Mendes, The Glorious Sons, Monster Truck); Alastair Sims (Rush, The Tragically Hip, Barenaked Ladies); Matt Shelvock (kingmobb, san holo, bitbird, DROLOE); and Russ Hepworth-Sawyer (Billy Ray Cyrus, Steve Earle, Amadou & Miriam) · Numerous “real word” audio examples, organized into easily accessible streaming playlists, culled from Juno-nominated sessions the author himself worked on, and numerous other professional sources. · Easy to understand explanations of each facet of the record production process, which avoid technical jargon and clarify terminology. · Information on new developments in recording practice and updated musical references. Completely reworked and expanded sections on mixing and audio mastering.
Audio Mastering: The Artists collects more than twenty interviews, drawn from more than 60 hours of discussions, with many of the world’s leading mastering engineers. In these exclusive and often intimate interviews, engineers consider the audio mastering process as they, themselves, experience and shape it as the leading artists in their field. Each interview covers how engineers got started in the recording industry, what prompted them to pursue mastering, how they learned about the process, which tools and techniques they routinely use when they work, and a host of other particulars of their crafts. We also spoke with mix engineers, and craftsmen responsible for some of the more iconic mastering tools now on the market, to gain a broader perspective on their work. This book is the first to provide such a comprehensive overview of the audio mastering process told from the point-of-view of the artists who engage in it. In so doing, it pulls the curtain back on a crucial, but seldom heard from, agency in record production at large.
The music industry is a rapidly evolving field, with new creative approaches and technological advances combining to catalyse and inspire innovations. Innovation in Music 2015 (InMusic'15) was an international conference organised by KES International and hosted by Anglia Ruskin University over the 7th to 9th June 2015 in Cambridge, UK. Innovation in Music broadly represents all aspects of innovation in the field of music, particularly encompassing music performance, audio technology, music production and the commercial music industries. The conference acted as a forum for industry experts and professionals to mix with researchers and academics to report on the latest advances and exchange ideas. Award-winning industry experts including David Wrench, Tim Exile, Peter Jenner, Mandy Parnell, Gary Bromham, Bryan Martin and Simon Gogerly contributed to the conference keynote presentations. This volume includes articles developed from presentations delivered
Recording Practice is musical practice, a technical but artistic affair. Understanding Records explains the musical language of Recording Practice in a way that any interested reader can understand. Drawing on readily available hit records produced since 1945, each section of this book explains a handful of core production and engineering techniques in chronological record-making sequence, elucidating how those techniques work, what they sound like, how they function musically, where listeners can hear those techniques at work in the broader Top 40 soundscape, and where they fit in the broader record-making process at large.
Is it possible to construct an artificial person? Researchers in the field of artificial intelligence have for decades been developing computer programs that emulate human intelligence. This book goes beyond intelligence and describes how close we are to recreating many of the other capacities that make us human. These abilities include learning, creativity, consciousness, and emotion. The attempt to understand and engineer these abilities constitutes the new interdisciplinary field of artificial psychology, which is characterized by contributions from philosophy, cognitive psychology, neuroscience, computer science, and robotics. This work is intended for use as a main or supplementary introductory textbook for a course in cognitive psychology, cognitive science, artificial intelligence, or the philosophy of mind. It examines human abilities as operating requirements that an artificial person must have and analyzes them from a multidisciplinary approach. The book is comprehensive in scope, covering traditional topics like perception, memory, and problem solving. However, it also describes recent advances in the study of free will, ethical behavior, affective architectures, social robots, and hybrid human-machine societies.
The Genealogy Annual is a comprehensive bibliography of the year's genealogies, handbooks, and source materials. It is divided into three main sections. FAMILY HISTORIES-cites American and international single and multifamily genealogies, listed alphabetically by major surnames included in each book. GUIDES AND HANDBOOKS-includes reference and how-to books for doing research on specific record groups or areas of the U.S. or the world. GENEALOGICAL SOURCES BY STATE-consists of entries for genealogical data, organized alphabetically by state and then by city or county. The Genealogy Annual, the core reference book of published local histories and genealogies, makes finding the latest information easy. Because the information is compiled annually, it is always up to date. No other book offers as many citations as The Genealogy Annual; all works are included. You can be assured that fees were not required to be listed.
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