Encyclopedia Recorded Sound United States Marco PDF Book
Such depth of knowledge doesn't just give you the button pushes, it goes on to let you truly see and learn the art and craft of recording. An encyclopedia of modern recording tools and techniques Based on and companion to the award-winning DVD and video series from Alan Parsons. Art and Science of Sound Recording. Create new account Request new password.
Entries on people such as Blind Willie McTell really make the book a worthwhile addition, and the author's sometimes humorous and opinionated writing makes the book lively and entertaining. It is the organization of the book that is somewhat difficult and at times comical: I am not sure who would ever look for entries such as 'co-option of real music by advertising, the. It is a good choice for public, college and university libraries. One of the most startling demonstrations of this is Michael Gray's massive Bob Dylan Encyclopedia, which is an alphabetical amplification of research and opinions that he delivered in a more journalistic form in the critically acclaimed Song and Dance Man: The Art of Bob Dylan.
Gray's myriad entries cover songs and albums, events in Dylan's life, along topics, Dylan's collaborators and influences, and seemingly anything in popular music that intersected, however obliquely, with Dylan or his work Gray has his own opinions, often expressed strongly, but this is a fascinating tome to peruse and a splendid source for Bob Dylan arcane. The diverse selections of topics covered ranges from frying an egg on stage to Baudelaire, and includes esoterica such as Dylan's relationship to the blues, as well as musical insight and scathing criticism- mostly of musicians other than Bob.
The book thrives on unexpected connections and little-known facts Gray's passionate subjectivity mirrors his subject's wholly idiosyncratic journey through life, as well as the complexities and contradictions that make Dylan who he is Gray's approach is characterized by a mixture of undiluted opinion and genuine fairness There is an endearingly spontaneous feel about the book, unusual for something so rich and weighty.
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And this freewheeling quality is in tune with the essence of one-tale-and-no-overdubs Dylan, an artist too spontaneous to be cramped by perfectionism. Critic Michael Gray has written about Dylan before, but this is his most definitive work and represents the culminating achievement of a world authority on the topic: if there's only one Dylan reference your public library holding can afford, it should be this definitive guide.
The book offers some of the keenest, most carefully researched information and commentary on each person, place or thing as is likely to be found in succinct form Plus there's a ton of information on forgotten influences, 's string bands and such. So, if there's room on your shelf for one more This makes for unique entries, such as " Interviews and the myth of " their rarity in which he claims Dylan actually averaged one interview per month over 40 years and " Dylan being "bored" by his acoustic material , the myth of". In fact, the entire book is written in a refreshingly relaxed manner, as befits a music critic and fan.
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The Bob Dylan Encyclopedia Gray's range of subjects, from "Dylan interpreters" to "Blow, Kurtis" a rapper to "co-option of real music by advertising, the" makes The Bob Dylan Encyclopedia far more provocative than the title would suggest. And above all, it takes you back to the music that still says so much. Fun, I imagine. Michael Gray eschews the dispassionate voice typical of reference books for a highly opinionated take on his muse's work.
The entry for the album Infidels offers, 'Another ragbag collection of insipid material'; the 'Victoria's Secret' item merely reads, 'See co-option of real music by advertising, the. Dylan's lightning in a bottle, has produced Bob Dylan Encyclopedia, a heavy, utterly idiosyncratic compendium.
It's even up-to-date enough to make reference to The Essential Interviews and include a snarky reference to Mr. Among its many other categories: 'book endorsements, unfortunate,' 'blues, inequality of reward in,' ' co-option of real music by advertising, the,' ' radical political activity in ss US, the strange disappearance of' and 'repertoire, Dylan's early, unsuited to commercial radio. Gray's knowledge of his subject is seemingly boundless, yet he manages to maintain a critical eye and keep Dylan's work in perspective.
While Gray is certainly a fan, it's this impartiality that fuels the book and gives it weight.
https://europeschool.com.ua/profiles/fodocuwut/casa-a-la-malicia.php Insightful and entertaining, Gray's tome will broaden appreciation of the artist, his influenced and his legacy. For the consumer, the impact of these new technologies was the achievement of greater sound fidelity and the removal of the limitation on playing time which had been fixed at about three to four minutes per side with the older discs, thus allowing a variety of musical repertoires to be experienced without interruption.
For producers, the impact of magnetic recording techniques was more profound: for the first time musical recordings could be edited and assembled, much like a film, from a series of short 'takes'; the result was a new kind of perfection in both musical performance and the art of recording. The Canadian pianist Glenn Gould was one of the first musicians in the world to fully realize the implications of these technical developments.
In he abandoned his career as a concert artist in favour of the possibilities offered by the recording studio and, in , published an article entitled 'The prospects of recording' which summarized his attitudes toward the recording medium. Gould's philosophy and practice combined the talents of musician and engineer, using microphone placement to reveal the details of musical texture and tape editing as a means of arriving at new interpretive insights into musical stucture.
While few classical artists dared to follow his lead, Gould's actions were symptomatic of a much larger phenomenon: the challenge that sound recordings had posed to the concert hall as the central medium of musical experience and the emergence of a new creative potential in sound technology. In popular music production the possibilities of magnetic tape were taken even further with the development of 'simul-sync' - a modification in tape recorder design that allowed for the recording and synchronization of performances by individual musicians onto separate 'tracks' of a magnetic tape; later, the tracks could be sonically enhanced and mixed into a single, integrated ensemble 'performance'.
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The multitrack studio of the s and early s grew quickly from 4-track capability to 8-, and tracks. By the early s, when Le Studio in Morin Heights, Que, acquired track capability, the task of mixing had already become so complex as to require the aid of an automated mixing console, one of the first of its kind in the world. In multi-track recording, the record producer and sound engineer contribute so much to the final recorded product that in many respects it is they, and not the musicians, who must be regarded as the true 'virtuosi' of this medium.
During the s a number of Canadians developed international reputations for their studio work: among them, Bruce Fairbairn, David Foster , Daniel Lanois , and Dave Tyson. In consumer technology, the tape medium slowly began to achieve popularity after the introduction of the portable audio cassette recorder by the Dutch company Philips in ; its rate of acceptance accelerated after the development of Dolby noise reduction in Cassette players soon became commonplace in automobiles and, with the arrival of the Sony 'Walkman' a small cassette machine coupled with light-weight headphones that offered high fidelity sound reproduction in a portable unit during the early s, cassettes began outselling vinyl records cassettes surpassed vinyl in both unit and dollar sales in Canada in ; Statistics Canada.
Not only was the cassette portable; for the first time since the Edison talking machine, it also permitted consumers to create their own sound recordings easily and inexpensively. Seeing the cassette as a threat to its profitability, the recording industry mounted a campaign against 'home taping' - the taping of copyright material - a practice which many consumers argued was their right.
The debate raged on throughout the s and, by , the Canadian government had still failed to introduce legislation that responded to industry demands for a cassette levy or tax to compensate copyright owners. The digital era in sound recording began in when the Nippon Columbia Co of Japan introduced the first professional digital audio converter - a technology using a process called pulse code modulation PCM and a standard video recorder. PCM translates audio signals into binary information which can be stored and manipulated in a variety of ways; furthermore, digital editing can be performed with an unprecedented degree of precision.
By the late s, digital recording had made a significant impact on professional recording practices and many LPs were being mastered digitally. During the s several of Canada's largest studios began to specialize in digital audio production. Another digital innovation, MIDI Musical Instrument Digital Interface , introduced in , allowed electronic musical instruments to become integrated with sound recording in a new way resulting in a further blurring of the distinction between musician and technician.
Taken together, these developments have increased the technical and artistic demands made on sound engineers and, as a result, the apprenticeship mode of training that was once typical of the trade has become inadequate. It was followed in the s by similar programs primarily geared to the needs of the popular music industry and located at technical schools, such as the Trebas Institute of Recording Arts with campuses in Montreal, Toronto, and Vancouver , the Ontario Institute of Audio Recording Technology and the Harris Institute for the Arts both located in Toronto , and at many community colleges across the country.
McGill University's Faculty of Music established the first Master's degree program in sound recording in Canada; based on the European 'tonmeister' model, it stressed both conventional musical training and the acquisition of a high level of technical, practical, and theoretical knowledge. During the latter part of the s, the Banff CA also built a sophisticated recording studio and created its own internship program. For the consumer, digital technology took the form of the compact disc CD which was introduced through a joint venture by Philips in Holland and Sony in Japan.
Based on a small-format video disc technology originally developed during the s , the medium offered music listeners an increased dynamic range and freedom from the annoying surface noise of older recording formats. At first CDs were in short supply - in there were only 7 CD manufacturing plants 5 of them in Japan in operation worldwide. But by , a total of 35 plants had been built, 3 of them in Canada.
That same year CDs surpassed LPs in dollar sales in Canada and in unit sales the following year Statistics Canada ; by , many new releases were being made available only in cassette and CD formats and some retailers had ceased carrying LPs entirely. It is impossible to predict the future direction of sound recording but it is clear that some form of digital technology will continue to be the preferred medium as musical culture enters the 21st century. In production, there is a move towards a more flexible, computer-based digital recording apparatus - one that does not rely on any analog components between the points where the sound enters and exits the recording chain.
In consumer technology, the recording industry has for several years stalled the introduction of Digital Audio Tape DAT , citing copyright concerns similar to those involved in the cassette home taping debate. The most recent strategies of the electronics industry seem to be oriented towards developing a more integrated home entertainment concept around video disc technology - a technology that is suitable for video, music, or computer information storage but does not, at present, allow users to make their own recordings.
By , the largest Canadian record store chains, had already added video tape and video discs to their retail operations. Until about sophisticated studio facilities were few in Canada and most recording stars had to travel to New York or to European centres.
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For a number of reasons, among them the CRTC's broadcast quotas for Canadian music content established in , the situation then changed.
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