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Classical Recording: A Practical Guide in the Decca Tradition is the authoritative guide to all aspects of recording acoustic classical music. Offering detailed descriptions, diagrams, and photographs of fundamental recording techniques such as the Decca Tree, this book offers a comprehensive overview of the essential skills involved in successfully producing a classical recording. Written by engineers with years of experience working for Decca and Abbey Road Studios and as freelancers, Classical Recording equips the student, the interested amateur, and the practising professional with the required knowledge and confidence to tackle everything from solo piano to opera.

iTake-Over: The Recording Industry in the Digital Era sheds light on the way large corporations appropriate new technologies related to recording and distribution of audio material to maintain their market dominance in a capitalist system.

Analog Culture in the Digital Age: Pressing Matters looks at music technologies from a popular culture studies perspective, taking into consideration the ways in which human beings bring these technologies into their lives and the discursive practices they create. Focusing on the resurgence of vinyl records, this book examines the ways in which interacting with analog technologies creates and shapes listening subjectivity in its users.

The Bloomsbury Handbook of Music Production provides a detailed overview of current research on the production of mono and stereo recorded music. The handbook consists of 33 chapters, each written by leaders in the field of music production. Examining the technologies and places of music production as well the broad range of practices – organization, recording, desktop production, post-production and distribution – this edited collection looks at production as it has developed around the world. In addition, rather than isolating issues such as gender, race and sexuality in separate chapters, these points are threaded throughout the entire text.

Mixing and Mastering in the Box is the ultimate reference manual for the home recordist and the perfect basic to intermediate text for any DAW (Digital Audio Workstation) training class in mixing or mastering. The book also provides ideal training for musicians who either do their own mixing and mastering or wish to be better informed when collaborating on mixes and masters.

Designed for music technology students, enthusiasts, and professionals, Audio Processes: Musical Analysis, Modification, Synthesis, and Control describes the practical design of audio processes, with a step-by-step approach from basic concepts all the way to sophisticated effects and synthesizers. The themes of analysis, modification, synthesis, and control are covered in an accessible manner and without requiring extensive mathematical skills. The order of material aids the progressive accumulation of understanding, but topics are sufficiently contained that those with prior experience can read individual chapters directly. Extensively supported with block diagrams, algorithms, and audio plots, the ideas and designs are applicable to a wide variety of contexts. The presentation style enables readers to create their own implementations, whatever their preferred programming language or environment. The designs described are practical and extensible, providing a platform for the creation of professional quality results for many different audio applications. There is an accompanying website (www.routledge.com/cw/creasey), which provides further material and examples, to support the book and aid in process development. This book includes: A comprehensive range of audio processes, both popular and less well known, extensively supported with block diagrams and other easily understood visual forms. Detailed descriptions suitable for readers who are new to the subject, and ideas to inspire those with more experience. Designs for a wide range of audio contexts that are easily implemented in visual dataflow environments, as well as conventional programming languages. Abbreviations, Preface, Acknowledgements, Chapter 1. Introduction, PART I — ANALYSIS, Chapter 2. Audio Data Fundamentals, Chapter 3. Time Domain Analysis, Chapter 4. Frequency Domain Analysis, PART II — MODIFICATION, Chapter 5. Basic Modifications, Chapter 6. Filtering, Chapter 7. Distortion, Chapter 8. Audio Data Techniques, Chapter 9. Modulated Modifiers, Chapter 10. Acoustic Environment, Chapter 11. Dynamics Processes, Chapter 12. Frequency Domain Methods, PART III — SYNTHESIS, Chapter 13 Basic Synthesis, Chapter 14. Signal Generators and Shaping, Chapter 15. Sample-Based Synthesis Methods, Chapter 16. Additive Synthesis, Chapter 17. Subtractive Synthesis, Chapter 18. Noise in Synthesis, Chapter 19. Blending Synthesized Sounds, Chapter 20. Modulation for Synthesis, Chapter 21. Waveguide Physical Models, Chapter 22. Granular Synthesis, PART IV - CONTROL, Chapter 23. Process Organisation and Control, Chapter 24. Control Mapping, Appendix A. Mathematics for Audio Processes, Appendix B. Windowing and Window Functions, Appendix C. Block Diagram Techniques, Index Dr David Creasey is a Senior Lecturer in Music Technology at the University of the West of England, Bristol. He has taught audio process design and implementation for more than a decade, utilising a number of different programming languages and environments. He previously worked as a software developer, and has been creating electronic circuits and software for audio for more than twenty-five years.

Awarded a Certificate of Merit at the ARSC Awards for Excellence 2018 In the past two decades digital technologies have fundamentally changed the way we think about, make and use popular music. From the production of multimillion selling pop records to the ubiquitous remix that has become a marker of Web 2.0, the emergence of new music production technologies have had a transformative effect upon 21st Century digital culture. Sonic Technologies examines these issues with a specific focus upon the impact of digitization upon creativity; that is, what musicians, cultural producers and prosumers do. For many, music production has moved out of the professional recording studio and into the home. Using a broad range of examples ranging from experimental electronic music to more mainstream genres, the book examines how contemporary creative practice is shaped by the visual and sonic look and feel of recording technologies such as Digital Audio Workstations.

Traveling Music Videos offers a new interdisciplinary perspective on how contemporary music videos travel across, shape, and transform various media, online platforms, art institutions, and cultural industries worldwide. With the onset of digital technologies and the proliferation of global video-sharing websites at the beginning of the 21st century, music video migrated from TV screens to turn instead to the internet, galleries, concert stages, and social media. As a result, its aesthetics, technological groundings, and politics have been radically transformed. From the kinaesthetic experience of TikTok to the recent reimaginations of maps and navigation tools through music video cartographies, from the ecofeminist voices mediated by live-stream concerts to the transmedia logic of video games and VR, from the videos’ role in contemporary art galleries to their political interventions —the chapters map the ways music video is continually reconfiguring itself. The volume tracks music video’s audiovisual itineraries across different geographies, maps its transmedia routes, and tackles the cultural impact that it has on our current media ecosystem.

From the Fairlight CMI through MIDI to the digital audio workstations at the turn of the millennium, Modern Records, Maverick Methods examines a critical period in commercial popular music record production: the transformative digital age from the late 1970s until 2000.

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production.