Download Aural History: Essays on Recorded Sound fb2
by Andy Linehan
In: ARSC Journal, Vol. 33, No. 1, pp. 103-104.
In: ARSC Journal, Vol. View it in the Music Periodicals Database.
Linehan, Andy is the author of 'Aural History Essays on Recorded Sound' with ISBN 9780712347419 and . Book condition guidelines. New (perfect condition). Pages are clean and are not marked by notes, highlighting or fold. Like new (excellent condition)
Linehan, Andy is the author of 'Aural History Essays on Recorded Sound' with ISBN 9780712347419 and ISBN 0712347410. Like new (excellent condition). Pages are clean and are not marked by notes, highlighting or folds. Very good (good condition). Pages are intact and may have minimal notes and/or highlighting or folds.
This set is often saved in the same folder a. .History Chapter 5. 25 terms.
Natural history essays; by. Renshaw, Graham. American Museum of Natural History Library. Canon 5D. External-identifier. urn:oclc:record:1049878159. to describe typical examples of the mammalian fauna of Africa. ark:/13960/t3mw2pz74.
Records like Tubular Bells or Queen albums would never have been . Auto Tune, developed by former seismologist Andy Hildebrand, was released as a Pro Tools plugin in 1997.
Records like Tubular Bells or Queen albums would never have been possible in the 60. When people talk about a shortage of ‘warm’ or ‘natural’ recording, they often blame digital technology. It’s a red herring, because copying a great recording onto CD or into an iPod doesn’t stop it sounding good. It automatically corrects out of tune vocals by locking them to the nearest note in a given key. The L1 Ultramaximizer, released in 1994 by the Israeli company Waves, launched the latest round of the loudness war.
The essays stimulate thinking on key questions: What is aural history? Why has vision tended to triumph over .
Some essays show the historian of technology at work, others highlight how military, social, intellectual, and cultural historians have tackled historical acoustemologies.
The British Library Sound Archive (formerly the British Institute of Recorded Sound; also known as the National Sound Archive (NSA)) in London, England is among the largest collections of recorded sound in the world, including music, spoken word and.
The British Library Sound Archive (formerly the British Institute of Recorded Sound; also known as the National Sound Archive (NSA)) in London, England is among the largest collections of recorded sound in the world, including music, spoken word and ambient recordings. It holds more than six million recordings, including over a million discs and 200,000 tapes. These include commercial record releases (chiefly from the UK), radio broadcasts (many from the BBC Sound Archive), and privately made recordings.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high qu.MoreLess Show More Show Less.
Writing stories to inspire.
Sound On Sound magazine's mix specialist Mike Senior shows you how to achieve release-quality mixes even in.Ihde contrasts visual perception with aural experiments, mixing up the examples and talking about pop music and opera in the same analytical voice
Sound On Sound magazine's mix specialist Mike Senior shows you how to achieve release-quality mixes even in the smallest studios, by applying power-user techniques from the world's most successful producers. Показать полность. ixing Secrets For The Small Studio is a down-to-earth primer for small-studio enthusiasts who want chart-ready sonics in a hurry. Ihde contrasts visual perception with aural experiments, mixing up the examples and talking about pop music and opera in the same analytical voice.
This collection of essays presents a stimulating review of current professional issues for sound and audio-visual archivists and other custodians of time-based media. The book pays particular attention to the variety of institutional holdings and collections, as well as to the numerous and innovative ways in which sound recordings are being used in academic and creative spheres.
The essays illustrate the wide variety of subject matters and uses of sound recordings encountered by the modern archivist. Music, oral history, broadcasts, performance art and wildlife sound are assessed and analysed through a number of different approaches. Both the informed no-specialist and the professional archivist will find much that appeals in this book, with audiovisual archives increasingly responding to present their rich holdings to new and established audiences. Contributors to this collection include Peter Copeland, Timothy Day, Daniel Leech-Wilkinson, Toby Oakes, Rob Perks, Richard Ranft, Andrew Simons, Sean Street and Janet Topp Fargion.