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See below for a selection of the latest books from Music recording & reproduction category. Presented with a red border are the Music recording & reproduction books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Music recording & reproduction books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
A comprehensive guide to London's 60 independent record shops. Features extensive original photography by Sam Mellish that documents and celebrates London's record shop culture. From the author of the bestselling The 500 Hidden Secrets of London. Forms part of a wider series that explores creative London. London's record shop scene is at its most vital and buoyant point since the 1990s, following a resurgence of interest in vinyl over recent years. Tom Greig, who has immersed himself in the world of London's record shops for close to two decades, profiles and tells the story of 60 distinctive independent record stores, selling both new and used vinyl. Vinyl London is at once a practical guide, featuring maps, addresses, opening times and stock information, and an attractive visual celebration of London's record shops. The book is organised geographically, and contains the following chapters; Soho; North; East; South; West; Suburbs; Markets; Vinyl Cafes.
Bass along with drums provide the rhythmic foundation in so many genres of music from pop to hip-hop to world music. Yet getting a great bass sound is difficult because it can't be buried in the mix but it can't take over either. This book written in a clear practical non-intimidating style covers how to get great electric bass recordings. Topics include:THTHU Getting the sound right at the source (tuning truss rod pickup adjustment cables touch and more)THU Miking bass amps using bass with direct boxes getting the most out of bass amp simsTHU How to apply effects without losing the low endTHU Parallel effects with bass optimizing the bass sound with dynamics and EQ during the mixTHU Bass considerations when mixing for vinylTHU And even how to double electric bass a easily a with synth bassTHTHIn additional to useful technical information on obtaining great bass sounds EHow to Record and Mix Electric BassE also covers artistic topics as well a how bass can best contribute to arrangements editing bass parts in recording software and interacting with drums to tighten the rhythm section. Fully illustrated and with tech talk sidebars to give details on selected topics for those who want to know why as well as how EHow to Record and Mix Electric BassE gives the lowdown on how to have bass fit into the low end.
An examination of computational creativity in music offers a series of models that illustrate selected aspects of musical creativity and then presents a process that integrates these aspects and produces music creatively. In this original and provocative study of computational creativity in music, David Cope asks whether computer programs can effectively model creativity -- and whether computer programs themselves can create. Defining musical creativity, and distinguishing it from creativity in other arts, Cope presents a series of experimental models that illustrate salient features of musical creativity. He makes the case that musical creativity results from a process that he calls inductive association, and he contends that such a computational process can in fact produce music creatively. Drawing on the work of many other scholars and musicians -- including Douglas Hofstadter, Margaret Boden, Selmer Bringsjord, and Kathleen Lennon -- Cope departs from the views expressed by most with his contentions that computer programs can create and that those who do not believe this have probably defined creativity so narrowly that even humans could not be said to create. After examining the foundations of creativity and musical creativity, Cope describes a number of possible models for computationally imitating human creativity in music. He discusses such issues as recombinance and pattern matching, allusions, learning, inference, analogy, musical hierarchy, and influence, and finds that these experimental models solve only selected aspects of creativity. He then describes a model that integrates these different aspects -- an inductive-association computational process that can create music. Cope's writing style is lively and nontechnical; the reader needs neither knowledge of computer programming nor specialized computer hardware or software to follow the text. The computer programs discussed in the text, along with MP3 versions of all the musical examples, are available at the author's website, http://arts.ucsc.edu/faculty/cope.
This book uncovers how music experience-live and recorded-is changing along with the use of digital technology in the 2000s. Focussing on the Nordic region, this volume utilizes the theory of mentalization: the capacity to perceive and interpret what others are thinking and feeling, and applies it to the analysis of mediated forms of agency in popular music. The rise of new media in music production has enabled sound recording and processing to occur more rapidly and in more places, including the live concert stage. Digital technology has also introduced new distribution and consumption technologies that allow record listening to be more closely linked to the live music experience. The use of digital technology has therefore facilitated an expanding range of activities and experiences with music. Here, Yngvar Kjus addresses a topic that has a truly global reach that is of interest to scholars of musicology, media studies and technology studies.
In audio engineering, whether for broadcast, live sound, games or film, one typically has many different recordings of sound sources (vocals, sound effects, wind instruments, etc.), each one represented on a separate track. These tracks need to be heard simultaneously in the final audio mixture. Each track may have been created in a different way, in a unique environment, at a different loudness level than other tracks. Some tracks may mask each other, some may be too loud or too quiet, some may blend in well with the others most of the time, but then have periods where they sound terrible. The ways in which a sound engineer solves these problems can vary based on the individual, making it a difficult problem to model. Audio production is still very time consuming, and requires a complex set of creative and technical skills. Furthermore, there is a lack of fundamental understanding of how we perceive mixed audio content, and what user preferences might be for different production styles. In this book, we provide insight into these areas of ambiguity, and attempt to provide computational models of these inherently complex subjective processes. In related domains such as image and video production, a plethora of tools including autofocus, face detection, context-aware editing and red eye removal provide intuitive and simple ways to manipulate and interact with content, however intelligent system in audio production tend to be less prominent in commercially released hardware and software. Commercially available audio editing devices are essentially deaf, they tend not `listen' to the incoming audio, and have no knowledge of the sound scene or of preferred production techniques. Researchers today aim to change that situation, making systems able to `listen' to the audio and suggest or even perform steps to improve mixing and mastering. In this book we detail the state of the art in intelligent music production systems, ranging from systems for semantic control of audio processing tools, to semi- and fully-automated mixing and mastering systems. This book brings together both published and unpublished work in the field of audio and presents a range of academic research projects in an understandable and usable format. Readers of the book will be provided with a range of demos and examples, including a repository of links, code snippets and software tools for incorporation of the techniques into their workflow.