This Is Your Brain on Music: The Science of a Human Obsession

Book Description

A fascinating exploration of the relationship between music and the mind—and the role of melodies in shaping our lives

Whether you load your iPod with Bach or Bono, music has a significant role in your life—even if you never realized it. Why does music evoke such powerful moods? The answers are at last be- coming clear, thanks to revolutionary neuroscience and the emerging field of evolutionary psychology. Both a cutting-edge study and a tribute to the beauty of music itself, This Is Your Brain on Music unravels a host of mysteries that affect everything from pop culture to our understanding of human nature, including:
• Are our musical preferences shaped in utero?
• Is there a cutoff point for acquiring new tastes in music?
• What do PET scans and MRIs reveal about the brain's response to music?
• Is musical pleasure different from other kinds of pleasure?

This Is Your Brain on Music explores cultures in which singing is considered an essential human function, patients who have a rare disorder that prevents them from making sense of music, and scientists studying why two people may not have the same definition of pitch. At every turn, this provocative work unlocks deep secrets about how nature and nurture forge a uniquely human obsession. BACKCOVER: “I know Dan to have a deep musical knowledge and strong intellect combined with a warm spirit and a big heart. He has an encyclopedic knowledge of popular music . . . He is a fine writer and has the ability to make difficult concepts very clear.”
—STEVIE WONDER

Customer Reviews:

any impressario, non-performer, non-musician, lacks credibility.......2007-10-03

For a musicican, for one trained as a musician, this is a heady intellectual book. However, it often misses the point - entirely, aesthetically, and in practical terms. For instance, a piece practiced a 1000 times, according to the author, should be peerless. Obviously, this is not true. The native talent of the performer is paramount, and, most of all, the piece may be practiced WRONGLY 1000 times, of which, as a non-performer, the author is clearly unaware. The author also almost completely ignores the influence and insight of professional classical performers. The author is an administrator and impressario of rock and probably rap bands. The author has no training in musicology, and probably never talked to a musicologist. I admire the intent, but there are no breakthroughs here in understanding, or enjoying music, and no great insights into music's magic.

Music For The Brain?.......2007-10-01

Certainly well documented and written for those in the know. It tends to be somewhat boring on some occations but you have to continue on the read to hear the music!

Very interesting.......2007-09-30

Being a musician, I was suprised at how little I actually knew about sound. The book was very interesting and well written. If you're at all curious about the phycology of sound, check out this book.

Absolutely perfect marriage of music, psychology, and neurology.......2007-09-13

This was an amazing read that I absolutely could not put down. This is exactly the book I have been waiting years for. It is written for people with a deep interest in both science and music; I believe that many "engineer/scientist by day and musician by night" types will love this book. Best of all, it does not require a deep understanding of music, psychology, or neurology (although one of Levitin's premises seems to be that we ALL have a deep understanding of music, whether we know it or not!)

Levitin starts out with a chapter or so on his background and music theory. As many reviewers have mentioned, the music theory presented here (and throughout the book) may not be new material for practicing musicians, but it does lay a good groundwork for many of the definitions and ideas that Levitin uses throughout the text.

Moving on to the rest of the book, Levitin has an interesting style that I found riveting. The book is not highly dense with ideas - it is not a textbook. It often takes several pages to come to a point. However, in these pages, Levitin is either giving historical information about how the current theories have come about, telling anecdotes related to the topic, or explaining laboratory results that have shed light on the topic.

Please do not misunderstand the intent of this book . . . it is not a thesis, a textbook, a journal article, etc. It should not be used as a primary source for information on any of the topics presented. And Levitin lays this out in the forward. This book is geared toward a much broader audience.

not written for a musician.......2007-09-07

Although i was personally quite disappointed with the book, I have given it a rating of 3 stars because it perhaps serves a role educating younger readers looking for a few interesting ideas or a general overview of music psychology.

As for me, I found myself skimming the pages as rapidly as possible, occasionally saying out loud in frustration, "Get to the point!" The few interesting ideas (such as that professional musicians tend to transfer activities from the right brain to the left) I had already picked up elsewhere.

I have nothing against the author. He seems friendly and nice enough, and has obviously spent a lot of time and effort researching the subject, coming to reasonable and well-supported positions. However, I do think a lot more (or better?) editing was called for, so that ideas were presented in a more organized way, and a lot of fluff and unnecessary repetition removed.

In summary, this could be an introduction to the subject if you have never thought about it before, but if you are a musician, and have thought at all about the psychology and evolution of music, even casually, and especially if you have kept up with the general media's coverage of new scientific research, this will not have anything to offer you. In addition, if you like writing to be dense with ideas and information (Oliver Sacks is a good example), this will be particularly frustrating.

Apple Pro Training Series: Advanced Logic Pro 7 (Apple Pro Training)

Average customer rating:

So Far, So Good
Agree with everyone else - it's great
Covers everthing
Recommended
Apple Logic Pro 7 Training Level 1 is Essential knowledge

Apple Pro Training Series: Advanced Logic Pro 7 (Apple Pro Training)
David Dvorin
Manufacturer: Peachpit Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0321256077

Book Description

If you want to do more than simply use Logic to improve the audio in your video projects-if you want to start actually creating and producing music with it-this Apple-certified guide provides the key. Whether you're a composer, producer, songwriter, engineer, studio programmer or simply want to create and produce pro-quality music in your Logic-based home studio, you'll find all the self-paced, step-by-step instruction you need here to begin creating your audio master works immediately. As both a professional musician and a former employee of eMagic and Apple (the former and current makers of the software), author David Dvorin knows Logic like no one else. Here, he uses project-based tutorials to reveal all of its secrets, including its newest: advanced DSP techniques and the ability to layer MIDI instruments and split channels. In short order you'll be scoring and composing; jamming with Logic's software instruments; employing advanced mixing, editing, and production techniques; and more. A companion CD includes trial Logic plug-in software and the lesson files needed to complete the book's exercises.

Customer Reviews:

So Far, So Good.......2006-11-14

I bought this book primarily to print out charts. The book is very clear on the "how-to-do-it" businesss. As my use of/experience with Logic increases, so does my use of this book. IMHO it's a good investment!

Agree with everyone else - it's great.......2006-10-22

What I particularly like about this book is it's 'real world' feel - Logic Pro has vast functionality, but the author hones in on a few fairly simple ways of doing things, as opposed to going through every feature. I would like to have seen more emphasis on mixing/production, but that's minor - this book can't be everything.

My only beef with with the book is the banal tracks you use with the tutorial. If you are into that kind of go-nowhere take-yourself-too-seriously rockpop that hasn't changed in three decades, fine - but this sort of music doesn't show off Logic's major differentiator - it's synths and the newer styles of music that use them.

Covers everthing.......2006-07-05

This is a goodf book. But the lessions were not as fun as they could have been. But if you want content and relative ease of understanding, it here.

I've read better learning books, though.

Recommended.......2006-07-03

Being a long time Logic user, i still happen to not utilize the App to it's fullest. What I like about this book, is the Structure, with the chapters and the Tasks to fulfill. So it get's me closer to a streamlined workflow.

Apple Logic Pro 7 Training Level 1 is Essential knowledge.......2006-03-15

Very good for beginners, or more experienced users who are switching to Logic from another platform. The lessons are very basic, but they provide the backbone of how Logic works, and help speed up the workflow quickly. Recommended.

Searching for the Sound: My Life with the Grateful Dead

Average customer rating:

Moonlight Rain
Bass-ically where its at!
Interesting and Illuminating
Good 'Ol G.D.
Searching for a Ghost Writer

Searching for the Sound: My Life with the Grateful Dead
Phil Lesh
Manufacturer: Little, Brown and Company
ProductGroup: Book
Binding: Hardcover

General | Biographies & Memoirs | Subjects | Books

ASIN: 0316009989

Amazon.com

Phil Lesh, considered the most academic of the group due to his avant-garde classical composition training, literate mind, and passion for the arts, decided to write his story himself. Written without the crutch of a ghostwriter, Searching for the Sound might be considered disjointed in places, but overall it comes across as conversational, intimate, informative, and candid (particularly regarding topics of drug use and death). If you are familiar with the band and their extended family, their history, the sixties' musical milestones and influences and all the band's famous tales (the Garcia/ Lesh "silent" confrontation, being busted on Bourbon Street, the Wall of Sound), you may be a little disgruntled there is not much new here in the way of content. However, what is "new" and totally satisfying is Phil's warm, optimistic perspective on the many events that helped shape his life. As described by Lesh, his life's journey, much like the Dead's music, is "a [series] of recurring themes, transpositions, repetitions, unexpected developments, all converging to define form that is not necessarily apparent until it's ending has come and gone." For the many fans who enjoyed the fruits of his life pursuit of sonic explorations, Searching for the Sound is a welcome addition to their Dead library. --Rob Bracco

Book Description

Right in time for the Grateful Dead's 40th anniversary, eccentric bass player extraordinaire Phil Lesh has delivered fans a most welcome gift: his autobiography. There are many books out there about the Dead told from the perspective of roadies, journalists, third party observers, and fans.However, with the exceptions of Jerry Garcia's ramblings in Garcia: A Signpost to New Space and Conversations With the Dead, Lesh's Searching for the Sound is the first time a founding member of America's favorite band tells their own story of what it was like inside the Grateful Dead. And what a wonderful, strange tale it is. Phil Lesh, considered the most academic of the group due to his avant-garde classical composition training, literate mind, and passion for the arts, decided to write his story himself. Written without the crutch of a ghostwriter, Searching for the Sound might be considered disjointed in places, but overall it comes across as conversational, intimate, informative, and candid (particularly regarding topics of drug use and death). If you are familiar with the band and their extended family, their history, the sixties' musical milestones and influences and all the band's famous tales (the Garcia/ Lesh "silent" confrontation, being busted on Bourbon Street, the Wall of Sound), you may be a little disgruntled there is not much new here in the way of content. However, what is "new" and totally satisfying is Phil's warm, optimistic perspective on the many events that helped shape his life. As described by Lesh, his life's journey, much like the Dead's music, is "a [series] of recurring themes, transpositions, repetitions, unexpected developments, all converging to define form that is not necessarily apparent until it's ending has come and gone." For the many fans who enjoyed the fruits of his life pursuit of sonic explorations,Searching for the Sound isa welcome addition to their Dead library. --Rob Bracco

Customer Reviews:

Moonlight Rain.......2007-05-31

I FINALLY finished this book. It took two or three false starts (i.e., read up to page fifty and stop; wait a month or two, read up to page 50 and stop) but 6 days in the hospital (nothing life threatening) gave me ample time to finish the book. Fascinating- yes. Filled with interesting facts- yes. Reads more a history text book than the autobiography of a rock star- yes. I kept referring to a dictionary ever time (frequently) Phil used a word that I had never heard before. One cool thing is Phil refers to composers (Stockhausen, Berio, etc.) that most Deadheads would enjoy. (BTW, I've been hip to Stockhausen for several years. If you think the Grateful Dead invented "Space", you are wrong.) The same goes for references to books he has read. Basically, it's a slow read but very interesting. What I want to know is with all of the LSD he took, how he was able to remember tiny details from 1966?

Bass-ically where its at!.......2007-05-14

As a bassist myself, I relate to Lesh's writing and train of thought. He documents being a part of Grateful Dead as more of an ironic string of occurances than a drugged out trip. His book is incredibly personal while he discusses such moments as learning an instrument overnight, attending classical concerts while on tour, loosing friends, and finding the inner peace in chaos. He is funny, sad, and everything in between. Although some of the technical parts get a bit too detailed for those unfamiliar with sound technology, one can understand how dedicated he was to his craft aside from the music and lyrics. I liked how Lesh pointed no fingers, rather pushed towards the positives in everyone. I would recommend reading this book with Rock Scully's Living With the Dead because they follow the same format and share similar situations. Lesh's however comes across more intimately humorous. I strong urge readers to dig into this book!

Interesting and Illuminating.......2007-03-26

I've never been to a Dead concert, but once had a roommate in college who'd recorded about 100 of them, which he constantly played, so I've certainly heard my share of Live Dead. Everyone w/ a passing knowledge of the Dead knows that their best stuff was live, not studio. Just an observation that has nothing to do with the Lesh book. It's an interesting read and Lesh is an interesting character. Especially funny was how he got out of the army:
Army Doctor: "read the bottom line on the eye chart" Lesh: "I can't see anything" Army Doctor: "You can't see the bottom line of the chart?" Lesh: "What chart?" Army Doctor: "The chart on the wall" Lesh: "What wall?" Lesh certainly is thoughtful and observant. A good journey through the history of the Dead and sometimes quite moving.

Good 'Ol G.D........2007-01-21

My brother got this book signed by Phil himself. Another biography of the Grateful Dead. Written by One of the band members. It's good. Phils good. Check it out.

Searching for a Ghost Writer.......2006-11-23

I was pleasantly surprised by this book. Not by the writing. In fact, some of the prose is quite unnerving, such as "if Mickey had been born Native American, his name would have been `Pushing the Envelope.'" Although he did remember the concept of foreshadowing from High School English, and he makes of point of highlighting all of the ominous signs of the chaos to come. But overall I was surprised, because, unlike many musicians' autobiographies I've read (for example, Miles Davis), Phil Lesh does not come off as a brittle narcissist. He does not use this opportunity as a format for squabbling, for giving his side of the story. He actually comes off as a thoughtful, sincere guy, and someone willing to take the time to reflect on the past.

I was interested to hear his take on the disintegration of the Grateful Dead in the eighties and nineties. His take on it was not unlike my own. He takes some ownership for his role, admitting that the Grateful Dead had become too large of an organization, too much of a money-maker with too many dependents. The band had to keep up an outrageous tour schedule, despite the obvious decline in the quality of the music and the painfully obvious deterioration of Jerry Garcia.

He makes a note-worthy observation about the parallel process between the band and the audience. At first, it was a bunch of guys with different musical backgrounds, but all with open minds, all in the right place at the right time, who used drugs to expand the individual consciousness of each member as well as the group consciousness in step with the counter-cultural revolution happening around them. They pushed boundaries but they also communicated with each other through the music, with novel sounds erupting organically from their collective experiments. But the drugs that fueled their creativity would also eventually isolate each of them from each other and from themselves. As alcoholism and heroin addiction destroyed the sense of community within the band, the dead head scene would suffer as well. By the end, prior to Jerry's death, you had a band on stage pretending they were playing together, pretending to play with even a fraction of their potential. And as an audience, we pretended too. Or at least those of us who still believed we were there for the music pretended, and the frat boys just came for the party. And they continued to sell out stadiums, while shows were marred by police stings, gate crashers, riots, tear gas, and death threats.

When I was catching shows, late eighties early nineties, you would hear two different kinds of fans as you filed out of one of their 2 in 3 mediocre shows. The Pollyanna-heads would be glowing, talking about how Jerry lifted his arm at one point, or almost rocked his shoulders with the beat, "Yeah, he was really into it tonight." The more jaded heads would just be complaining, complaining about the lackluster set-list, complaining the Jerry continued to tune himself down in the mix, that he was quitting on solos, that Bobby was trying to steal the show again. Both types annoyed me. I like to tell people that I quit going to shows because I realized that the fans who supported the Dead were enablers, burying our heads in the sand. But in reality, that's a post-hoc, grandiose explanation. I quit going because I was paying $35 for tickets a mile away from the stage, to see dishearteningly bad performances, while the drunken frat boys all around me didn't even know enough to get quiet during those increasingly rare moments of musical transcendence. The breakdown was complete, and for both band and audience, going to show meant little more than participating in a ritual.

Phil spends the most time on the early years. That's a good thing. That's the most interesting part. When they were actually hippies, living like hippies, and things were just starting to happen. Woodstock and Altamont are recounted not just as events but as contrasting symbols of everything that was good about the hippie scene and everything that was wrong about it. Ultimately it is a commentary on human nature, the capacity to love and experience ecstasy versus the tendency to retreat into hostility and hatred.

Like I said, Phil owns his role in it all, admits to mistakes, and doesn't spend a lot of time defending himself or trying to bolster his reputation. The only part where it felt like he had a little bit of a self-serving agenda was when he talked about the different directions he wanted to push the band, more experimentation with exotic time signatures for example. But even then, he talks about it in terms of lessons learned. He realizes he misread the mood of the band, they were content to play their songs and didn't want Phil as martinet. I think Phil is giving an honest account here. If you listen to the post-Dead music coming from all the living members of the Dead, it is Phil and Friends who continue to be the most exploratory. Though not the most charismatic of a stage presence, he may have been the biggest "believer" of the bunch, the most devout in his quest for the divine through the psychedelic. Along those lines, it's also interesting hearing Phil weave in and out of magical thinking. He's often grounded and very down-to-Earth, but moments later can go off on a tangent about any kind of mystical spirituality that he can tie in to the moment.

It's worth a read. Not great writing but good enough, readable, and will certainly be of interest to any fan of the band. The book ends with the recent history, the fall-out from Jerry's death, some of the ugly fighting over who owns the rights to what, and ultimately Phil's hepatitis and liver transplant. He really does end up sounding like a likeable guy, the grinning musical little brother of Jerry, the classically-trained marching band nerd, and the survivor who gets a second chance at the gift of being a father.

iPod & iTunes For Dummies (For Dummies (Computer/Tech))

Average customer rating:

iPod & iTunes For Dummies (For Dummies (Computer/Tech))
iPod for Dummies
i pod & i Tunes for Dummies
iPod &iTunes For Dummies
iPod and iTunes for Dummies

iPod & iTunes For Dummies (For Dummies (Computer/Tech))
Tony Bove , and Cheryl Rhodes
Manufacturer: For Dummies
ProductGroup: Book
Binding: Paperback

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ASIN: 0470048948

Book Description

Make the most of iPods and iTunes with this updated guide to the latest models and enhancements. You'll learn about everything from buying music and videos, importing music, and burning CDs to setting up play lists, transferring and viewing photos, adding podcasts, maintaining battery life, and synchronizing information. Order your copy today!

Download Description

UL>

iPod is Apple's breakthrough MP3 music player that weighs less than two CDs, holds 7,500 songs, and has generated tremendous excitement

Since hitting the market in November 2001, the iPod has sold more than one million units, which equates to more than one iPod sold every minute of every day since its introduction

The iTunes music service sold more than five million tracks at ninety-nine cents apiece in its first eight weeks of service

Covers key features of iPod, iTunes, and the iTunes music store, which provides a legal way for consumers to secure downloadable music at an affordable price

Explains how to name your iPod and set preferences, connect and share your iPod, organize your digital jukebox, play music, synchronize your iPod, copy files, burn audio CDs, preview music tracks, search for and download songs from the music store, and more

Appeals to Mac veterans who are seeking more information about downloadable music, as well as to the growing population of new Macintosh and iPod users

Customer Reviews:

iPod & iTunes For Dummies (For Dummies (Computer/Tech)).......2007-05-27

received product in record time. Product was received as described

iPod for Dummies.......2007-05-14

As usual, this addition to the "Dummies" series is fantastic. I can make my iPod do things that I never knew were possible. The trouble shooting is a life saver!

i pod & i Tunes for Dummies.......2007-04-11

I am a first time I pod owner. My children had to teach me a lot of things to get started, but even they haven't been able to tell me all I want to know. This book has been a big help.

iPod &iTunes For Dummies.......2007-04-05

After receiving an iPod as a gift and being electronically challenged, I borrowed several books from the library on iPods. This was by far the most informative, up to date and easy to use. It's a great "go to" book .

iPod and iTunes for Dummies.......2007-04-03

The problem I was looking for wasn't answered in the book or on the Apple or Microsoft web sites. It isn't a direct instructional book. I had to fumble my way through it and trail and error was the only way I got the answers.

Average customer rating:

Class didnt reflect his own textbook.
not helpful
Considerably out of date in some places
counterbalance to the "bites my..." review
This is the Book if You want to Know the"Whats" of Sound!

Physics of Sound, The (3rd Edition)
Richard E Berg , and David G Stork
Manufacturer: Benjamin Cummings
ProductGroup: Book
Binding: Hardcover

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ASIN: 0131457896

Book Description

This book incorporates the developments in digital audio technology, including consumer products, into a firm foundation of the physics of sound. No knowledge of physics, mathematics, or music is required. Includes updated information on musical synthesizers. Provides recent information on the ear, including new advances in cochlear implant technology. Updates material for modern technology, particularly MP3. Features abundant examples, including discussion of demonstration experiments. Includes historical discussion of musical temperaments and instruments. Offers videotapes of musical demonstrations on topics discussed in the book, available from author. A useful reference for musicians or anyone interested in learning more about the physics of music.

Customer Reviews:

Class didnt reflect his own textbook........2007-03-29

Whats better than taking a course where the professor actually wrote the book. Well I did just that and was disappointed. The class had many visual demonstrations but the book had very few pictures which made me wonder why his teaching style did not reflect the textbook.

not helpful.......2006-05-17

Did they even have an editor for this book? I took a class with Dr.Berg and his class was interesting but the book was not helpful nor was it well organized.

Considerably out of date in some places.......2003-12-21

Acoustics is an interesting subject, at all levels, and very important of course due to the human love for music and the need for high fidelity sound reproduction. This book is written for a readership that does not have expertise in physics or mathematics beyond the high school level. The authors do an excellent job, and the book could be used in classes on music theory or a class in physics for the humanities. The audiophile reader will gain a greater appreciation of the physics behind quality sound reproduction. Heavy use is made of demonstrations to illustrate the properties of sound, and most of these are easily set up in the classroom. I have used most of these demonstrations in the classroom, and can highly recommend their use to reinforce the understanding of the physics of sound.

The book opens, appropriately, with a discussion of simple harmonic motion, with the properties of this type of motion related to sound waves. The nature of simple harmonic motion as periodic, in contrast with noise, which is nonperiodic, is pointed out very early on. To introduce the concept of resonance, in particular the concept of coupling resonance, the author use the coupled pendulum system. This demonstration is easily constructed for classroom use and very effective in illustrating coupled resonance. Lissajous figures, which arise in the study of the relationship between two waves, is discussed in some detail.

The difference between longitudinal waves, which sound waves are, and transverse waves (such as light), is illustrated in chapter 2. To reinforce the difference between sound and light, the authors use the "bell in vacuum" demonstration. A demonstration for measuring the speed of sound is also described. Ripple tanks are used to demonstrate Huygen's principle, interference, and parabolic reflectors. The origin of beats, so important in music theory, is discussed, along with a very detailed overview of the Doppler effect. Ultrasound, very important medically, is treated also. A very brief discussion of infrasonic waves is given. Infrasonic waves, which are outside the range of hearing since they are below 20 Hz, are only experienced as vibrations. They have recently been discussed in the popular press as being explanations behind "haunted" houses. The anxiety felt in some old houses is thought of as being due to infrasonic waves.

The origin of the overtone series, so very important in music theory, is discussed in chapter 3. The three laws of Mersenne, which govern the fundamental frequency of stretched wires, are also treated. The Kundt's tube demonstration is used to describe the properties of longitudinal standing waves, and the famous Chladni plates are used to demonstrate standing waves in two dimensions. All throughout the chapter the properties of standing waves are related to music and musical instruments.

Fourier analysis and synthesis, which is typically very formidable mathematically, is presented in chapter 4 in a manner that is very understandable to the targeted readership. The Fourier synthesis of triangular, square, and sawtooth waves, along with a pulse train, is discussed. After a treatment of Fourier spectrum of these waves, the authors discuss the factors contributing to tone quality.

In chapter 5, the authors turn to more practical considerations, wherein they discuss how to create electronic music. Analog synthesizers, although very antiquated by modern standards, are used to illustrate how to combine waves to obtain special sounds or effects. The authors then immediately turn to digital synthesizers and keyboards. They discuss the Musical Instrument Digital Interface (MIDI), but the equipment they illustrate in the chapter is considerably out of date.

The anatomy and physics of the human ear and voice tract are discussed in chapter 6. The diagrams they include are useful, and they discuss the "place theory of hearing" , which is based on the correlation of sound frequency with position of response along the basilar membrane. The critical band, just noticeable difference, and the limit of frequency discrimination are all discussed in the context of this theory, with several different experiments proposed to illustrate these concepts. Most interesting is the discussion on periodicity pitch, which musicians seem to have a knack for. Also interesting is the treatment of vocal formants, which are frequency regions in which harmonics have large amplitudes. Due to the element of subjectivity in hearing and listening, the connection of the material in this chapter to "psychophysics" and "psychoacoustics" is readily apparent.

Most of the next chapter is out-dated since the authors discuss sound reproduction using LPs and tape recorders. However, the authors do discuss how this is done using compact disks, which though are themselves on their way out, due to the rise of the Internet, MP3 formats, and digital music files. Chapter 8 is timeless though, as the authors discuss the acoustics of auditoriums and rooms, detailing the most important acoustical characteristics that contribute to a pleasant musical experience, and some of the problems that arise in acoustical design. The last section of the chapter gives a fairly good overview of what is involved in setting up a home listening room.

In chapter 9, the authors take the plunge into music theory, discussing temperament and musical pitch. The history behind these concepts is detailed, emphasizing in particular that an ideal temperament is not available, its choice being dictated by the musical requirements at hand. Arithmetic descriptions of the Pythagorean, just, mean-tone, Werckmeister, and equal temperaments are given.

The last five chapters are specialized to the principles behind woodwind, brass, string, and percussion instruments, and the piano. The discussion is purely descriptive, but some of the physical principles studied in the first chapters of the book are applied here to give an understanding of the acoustical and musical properties of these instruments.

counterbalance to the "bites my..." review.......2002-02-02

Haven't read the book, but Mr. "bites my wacker" shouldn't be allowed to lower the average score.

This is the Book if You want to Know the"Whats" of Sound!.......1999-04-09

The Physics of Sound is a great book for both musicians and nonmuscians alike. Its not a book for anyone who is afraid of a little mind work. I recommend Physics of Sound because immediately upon after reading it I gained a whole new perspective and deep appreciation for the fundamental elements,and principles that govern this wonderful phenomena we call "SOUND".

Ever wondered how fast sound travel? What about how various sound frequencies react to each other,and in rooms? What exactly is sound? All these questions and more,are answered here. Physics of sound even gives you basic formulas that allow you to manipulate sound in the real world.

Book Description

In this compulsively readable, fascinating, and provocative guide to classical music, Norman Lebrecht, one of the world’s most widely read cultural commentators tells the story of the rise of the classical recording industry from Caruso’s first notes to the heyday of Bernstein, Glenn Gould, Callas, and von Karajan.

Lebrecht compellingly demonstrates that classical recording has reached its end point–but this is not simply an expos? of decline and fall. It is, for the first time, the full story of a minor art form, analyzing the cultural revolution wrought by Schnabel, Toscanini, Callas, Rattle, the Three Tenors, and Charlotte Church . It is the story of how stars were made and broken by the record business; how a war criminal conspired with a concentration-camp victim to create a record empire; and how advancing technology, boardroom wars, public credulity and unscrupulous exploitation shaped the musical backdrop to our modern lives. The book ends with a suitable shrine to classical recording: the author’s critical selection of the 100 most important recordings–and the 20 most appalling.

Filled with memorable incidents and unforgettable personalities–from Goddard Lieberson, legendary head of CBS Masterworks who signed his letters as God; to Georg Solti, who turned the Chicago Symphony into “ the loudest symphony on earth”–this is at once the captivating story of the life and death of classical recording and an opinioned, insider’s guide to appreciating the genre, now and for years to come.

Customer Reviews:

The crisis of classical music?.......2007-08-17

In the last times several books and articles have cast doubts about the future of classical music. Evidences like the ageing of audiences attending concerts or the lack of renewal of repertoires support that thesis. In this context, the writer and critic Norman Lebrecht has published a new book on the subject. To support his thesis, the first part of the book is devoted to the history of the record industry, its rise and its fall, how were founded the companies that lead the sector for half a century; the impact of new technologies (stereophonic sound, digital recording) and formats (LP, CD) in its evolution; and, finally, the present situation where big companies face a shrinking production and a fierce competition from small independent publishers besides the internet and downloads.
Any selection is obviously subjective and the criteria applied can be questioned. Nevertheless it is worth to know the circumstances and fact that were around the making of these records, some of them unanimously considered as absolute references.
What is left after reading the book is a certain air of pessimism. However its reading is worthwhile as it offers a vivid description of the recording industry, well documented with bibliographic references, and what is more important, with the author's personal experiences.

Always entertaining and informative.......2007-07-04

Lebrecht has been placing lilies on the grave of classical music for some time now. A more accurate title would be "The Life and Death of Classical Recording," as classical music itself is alive and well. It is an observable fact that the traditional CD is probably on its way out as a "pop" music vehicle; it would be unrealistic to expect classical recording to be unaffected by the ongoing shift to MP3 and other computer formats. Like the "Death" card of the Tarot deck, signifying not death so much as change, the industry is not dying but evolving in unexpected directions. What must be upsetting for those involved is the unpredictability of change - who, in 1975, would have predicted the prevalence of hip-hop today? The same forces are reflected in classical music, on a smaller scale.

The relative popularity of classical music in the 20th century's midpoint was an anomaly. Through the Baroque, Classical, and Romantic eras, composers were dependent on patronage (Schubert may have been the first serious composer to support himself, primarily through the popularity of his songs for the Biedermeier set, rather than his "serious" music). The typical 19th century European peasant, like his modern American counterpart, may have gone his entire life without hearing a Beethoven piano sonata. The majority, then as now, had their "popular" music.

Lebrecht manages to unearth endless troves of fascinating minutiae. For instance, he relates how Phillips, the inventors of the cassette, partnered with Sony to develop the compact disc. The Dutch wanted the new format to be the same size as the cassette, however, the favorite piece of the Sony chairman's wife was Beethoven's 9th Symphony, too long to fit onto a disk of that size. To accommodate it, the disk's diameter was increased to allow 80 minutes of music, with the center hole corresponding to the size of the smallest Dutch coin.

The list of the "100 best" and "20 worst" recordings don't exactly complement each other. The "100" are sometimes, but not always, the "best;" Lebrecht chose many recordings primarily for their significance, be it artistic, historical, or political. The "20" were not chosen for their lack of significance; in most cases, they represent bad ideas or poor execution by people who should have known better.

Deserves to be placed aside next to the Penguin Guide...........2007-06-21

A fascinating and absorbing read, Lebrecht's expose into the demise of classical music is as revealing as it is heartbreaking. Ten years ago, I was fortunate enough to work at one of the top classical radio stations in the US--(KDFC Classical 102.1 FM in San Francisco)there, I acquired a passion for classical music, reading Grammaphone and the Penguin Guide to Classial Compact Disc's with a fervor as children do with comic books. In short, it was an education in many ways--music as an art form, the aquisition of a refined taste, and a practical education into a highly unpredicatable business.

Lebrecht's book sheds light on all the vanities, egos, and personalities in the industry--past and present. Here is Karajan--masestro grandioso--feared but respected, whose net worth at his death was estimated at over $500 million with most of it derived from reissues of his earlier and better performances. Here is Bernstein, who, considered a somewhat of a second-tier conductor, plagued with insecurities and pretentious self-doubt, would often exasperate orchestras without punctuality or form (often forcing entire orchestras to wait an hour or more before he took to the podium) with his disdain for the inviolate nature of some works that are an inherent part of a country's national identity. Although venerated as a national treasure, Lebrecht paints another dimension to Bernstein; he recalls how the conductor completely botched a recording session with BBC Orchestra to produce one of the "worst classical recordings of all time"--Elgar's Enigma Variations in 1982. A very sloppy and unprofessional approach to a job overall and a personal insult to the dead composer's memory and the English.

What is interesting about this book is how Lebrecht puts it all together; the rivalries between the major labels: Decca, DG, Phillips, EMI and their producers scrambling to be the first to sign an exclusive contract with the industry's power players--Bernstein, Solti, Rattle, among others; how "crossover" discs and performances(a Bono and Pavarotti duo easily comes to mind)ultimately spelled doom for serious classical music fan; how the major labels used sexy CD cover art of young and talented artists like Vanessa Mae, Anne Sophie Mutter and Charlotte Church to increase sales of an already declining market, and the unexpected rise of Klaus Heymann and NAXOS. Here is the budget CD tycoon who taught all the "majors" a valuable lesson by hiring lesser known and Eastern European orchestras looking for work and produced several Grammaphone award-winning discs with Vivaldi's Four Seasons taking away honors as one of the best-selling classical recordings ever produced topping sales of 1.16 million besting even the venerated Arthur Fiedler of the Boston Pops!

If you ever wanted to know the in and outs of a business as fascinating as the classical music industry, this is a must read.

Glad to finally meet Chopin.......2007-06-16

This book is an informative and enjoyable read but I'm most grateful for the Masterpieces List. I bought #15- Chopin Waltzes played by Dinu Lipatti and discovered the Chopin who all the shouting was about. Lipatti's Chopin is sparkling, witty and entirely lacks the dirge-like sound that the other artists in my small collection have. Wow! I can hardly wait to sample others from Lebrecht's list.

A most interesting, if rather depressing, book.......2007-06-15

Norman Lebrecht can always be counted on to stir things up, and this book is no exception. The first half is a brief history of the classical recording industry, which Lebrecht believes to be dead. The second half is an annotated list of recordings, 100 of the most significant of the century, and 20 that should never have been made. The tone is breezy, gossipy, and opinionated; the anecdotes are fascinating, and Lebrecht pulls no punches. One wishes he had checked facts a bit closer, however. For example: Gould's "first on a major label" Goldbergs were preceded by Landowska's on RCA; Rautavaara is by no means a minimalist composer; the Beaux Arts Trio recorded Beethoven's Triple Concerto with Haitink and the LPO, not Masur and the Leipzig Gewandhaus. But these are minor quibbles in what is a very recommendable read.

Live Sound Reinforcement (Mix Pro Audio Series)

Average customer rating:

A great book
Technical or NOT technical tips on good sound!
Definitive Handbook on Learning to do Sound
Plenty of easily accesible information
big n, thick

Live Sound Reinforcement (Mix Pro Audio Series)
Scott Stark
Manufacturer: ArtistPro
ProductGroup: Book
Binding: Paperback

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PA Systems | Monitors, Speakers & Subwoofers | Sound & Recording Equipment | Products | Musical Instruments
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ASIN: 0918371074

Product Description

This reprint of this classic textbook is from MixBooks. Its simple language, detailed illustrations and concrete examples convey the fundamentals of sound reinforcement theory in an intelligent and intelligible manner, making it an invaluable resource for aspiring live sound technicians and musicians alike. Written for novice to intermediate-level users, it outlines all aspects of P.A. system operation and commonly encountered sound system design concerns, with in-depth discussions of microphones, speaker systems, equalizers, mixers, signal processors, crossovers, amplifiers, system wiring and interfaces, indoor and outdoor

Customer Reviews:

A great book.......2007-05-09

This book is fantastic! The author has an incredible ability to explain complex phenomenon in a concise manner that is easy to understand. I learned a great deal from this book.

Technical or NOT technical tips on good sound!.......2007-05-05

I received a copy of this book when I was preparing the curriculum for a college course I taught as an adjunct professor for two years. I believe it gave my students not only a good classroom study book, but also a useful reference book for the "real-world" after graduation! Scott Stark gives great rule-of-thumb knowledge, as well as deeper technical fundamentals behind the knob turning and fader moving decisions that every sound engineer will face at the helm of a live sound reinforcement system, no matter whether for 100 or 100,000 listeners!

Definitive Handbook on Learning to do Sound.......2007-03-15

I've used this book myself and have been referred to it by the best sound guys around. Great for beginners wanting to get a handle on how a sound system works from power amps, pre-amps, microphone differences to why feedback happens and how to stop it, and lots of other practical advice on how to mix live sound. Good for more advanced sound people who want to advance their skills.

Plenty of easily accesible information.......2007-02-03

I am a classically trained musician working as a secondary school teacher, and I bought this book to help me understand how to use amplifiers, PA's, mixing desks etc as I am teaching a 'Live Music' subject. It has plenty of information without getting too technical and is written in an accessible and interesting way. I would highly recommend this book to anyone with a basic mathematical and musical understanding of sound.

big n, thick.......2007-01-16

there is alot in here. a lot to read that is... if you are looking for a lengthy breakdown on
what sound waves are made of and how they react... if you want a deep understanding
of what happens in a subwoofer... this could be for you. It has the look and feel of a
course manual... there is a lot to take in.

No quick fix. Very involved. But if that is what you want... its all in here.

Here, There and Everywhere: My Life Recording the Music of the Beatles

Average customer rating:

He should know; he was there
Class Act
Here, There and Everywhere
Interesting book
I'll read this one again, soon!

Here, There and Everywhere: My Life Recording the Music of the Beatles
Geoff Emerick , and Howard Massey
Manufacturer: Gotham
ProductGroup: Book
Binding: Hardcover

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ASIN: B000NA1XSA

Book Description

A fascinating memoir featuring never-before-told stories from Beatles recording engineer Geoff Emerick—the industry legend who made music history by crafting the groundbreaking sound of the group's most famous records, including Revolver, Sgt. Pepper, and Abbey Road

Geoff Emerick was only fifteen years old when he began working with the Beatles as assistant engineer for their early classics “I Want to Hold Your Hand” and “She Loves You.” Incredibly, at the age of nineteen, he was promoted to full engineer, taking the helm for the group's groundbreaking album Revolver. Ten months later, he joined forces with the Beatles for the recording of Sgt. Pepper's Lonely Hearts Club Band, hailed by Rolling Stone as the greatest album ever made. In their constant quest for experimentation and new sounds—and despite the technical limitations of the pre-digital age—Emerick developed a slew of innovative recording techniques, many of which are still in use today.

In Here, There and Everywhere, Emerick tells his story for the first time, taking the reader through the hallowed (though somewhat dingy) corridors of Abbey Road Studios to give rare insights into the Beatles' unique creative processes and personalities and provide a behind-the- scenes look at how the greatest band of all time made their greatest records. As Emerick describes the Beatles' transformation from wide-eyed Liverpool teenagers into tour-savvy professionals, he provides a startling picture of the Fab Four. Fascinating and moving, Here, There and Everywhere illuminates the creative tensions within the band that fueled their early success, but would ultimately lead them to record in separate studios while the partnership was disintegrating.

“We all owe some debt to Geoff Emerick's self-effacing work as an engineer and producer . . . there is very little that any group of scruffy musicians can throw at him that he cannot put into some kind of good sonic order. I feel fortunate to have worked with him.”
—Elvis Costello

Customer Reviews:

He should know; he was there.......2007-09-28

Few accounts of history are more accurate than the first-hand kind, and that is what we have with Mr. Emerick's outstanding book. To his credit, this thoroughly British gentleman focuses on what he actually saw versus what is commonly known about the Beatles. His tone is respectful, but he does not shy away from saying what he thinks based on what he saw and how he was treated. Mr. Emerick went on to engineer and produce some great acts, which I hope are the subjects of a future book. And consider this: When I was 19, I was just learning to tie my shoes. He was engineering the "Revolver" album!

Class Act.......2007-09-17

I couldn't put this book down....what a fascinating first hand account of one of the most infuential musical experiences in modern history. I think you will find it particularly interesting if you write and record music, as Geoff's recollections are incredibly detailed and specific. It's truly unbelievable that he could remember so much of what happened in such picture perfect detail, and it is a lasting testament to critical and often unsung heroics of the worlds best audio engineers. Howard Massey did an excellent job helping Geoff make this material completely accessible to the lay person and fan as well. When I proposed to my wife in 2002 I wrote a symphonic piece and surprised her at Capitol Records in Studio A, where we recorded it live (I proposed afterwards). While they were mixing the music we took a tour of Capitol Records, and when we returned there was a gentleman in the studio playing the most beautiful music on the grand piano. We listened for awhile, then entered to studio and spoke with him for almost half an hour. What a lovely man, and what great music. That was Geoff Emerick. Perhaps someday we will hear you on the other side of the glass young man:)
Thanks so much for sharing your amazing life with us Geoff. As I sit at my grand piano in Maui I can't thank you enough for the inspiration. Warmest aloha from Maui, Tim & Michele Heile

Here, There and Everywhere.......2007-09-03

Geoff Emerick was there for the creation of the Beatle sound. It is well written with enjoyable person information.

Interesting book.......2007-09-01

I picked up this book to find out why the Beatles are so good, and I found all the answers I was looking for. This book gave terrific insight to all four beatles and the camp that surrounded them, though my patience did wear thin towards the end- Emerick favors Paul, tends to repeat himself a little bit, and shows a little disdain towards Lennon and George Martin. That being said, I really thoroughly loved the book as a music student and an audio engineering student, but any fan of music should read this to get a glimpse of the thrilling world that creates the music we all love. I love understanding the context to the music I listen to, and if you do too you'll really enjoy this book.

I'll read this one again, soon!.......2007-08-29

My favorite Beatles related book to date. Geoff Emerick and Howard Massey captured a straight forward account of The Beatles in the studio from beginning to end. Added bonus includes Paul's sojourn in Lagos recording Band on the Run. The interesting happenings their, were not in the studio.

Average customer rating:

Sonar 6 Producer Editions` New Testament
Not Bad
garrigus-sonar 6
Two Thumbs Up for Sonar 6 Power
easy read

Sonar 6 Power!: The Comprehensive Guide
Scott R. Garrigus
Manufacturer: Thomson Course Technology
ProductGroup: Book
Binding: Paperback

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ASIN: 1598633074

Book Description

Get the most out of Sonar 6 with this definitive guidebook! This volume picks up where the manual leaves off, teaching you how to dig deep into the program with step-by-step examples and exercises. From initially customizing Sonar 6 to creating and producing a surround sound mix, you'll learn everything you need to know to make your composing and recording sessions run more smoothly. Learn about MIDI and audio effects and how to use them in offline and real-time situations. Explore mixing music via software and discover how much control you can have when you're using an on-screen software mixer. Take a look at the advanced features of SONAR 6, including AudioSnap, Active Controller Technology, and Session Drummer 2. You'll learn how to prepare your completed Sonar project and burn it to a CD.

Customer Reviews:

Sonar 6 Producer Editions` New Testament.......2007-09-01

Definitive technical cross reference for musicians using Sonar6 . Cakewalk should just sign a contract with Garrigus to include his book with the purchase and stick to designing the software.

Not Bad.......2007-08-29

I would have liked to see Midi and Audio editing in separate sections making it easier to follow on or the other.

garrigus-sonar 6.......2007-07-12

This is the book that CAKEWALK TECH reccomends as the most comphrehensive view of thier SONAR 6 system. I'd read this first, it makes the user manual simple afterwords. The THOMSON COURSE TECH books on AUDIO systems are arguably the best all around collection and , again, arguably, the Garrigus is the best of the THOMSON library. Garrigus's book also is linked to his own large web page with forums, access to Garrigus, downloadable tutorials and demos applied to the book. Know that the book has been updated and you'll have to download the next 4 chapters from THOMSON, but it's a free d.l. and keeps the book current. If you couplke this book with PAUL GILREATHS "THE ART OF MIDI ORCHESTRATION 3rd edition, you'll be pretty well set-up. Avery good ,mostly easy to read manual

Two Thumbs Up for Sonar 6 Power.......2007-06-27

I have read Scott's Sonar 3 and Sonar 6 books multiple times and have found them to both be very informative and helpful.

Scott's writing style is easy to follow and very applicable in the studio setting. He brings out the "hidden" benefits without bogging you down with tech-ease. "Just give me the facts." And that's what he does in a logical order.

If you use Sonar and you want to be more efficient and proficient, take a look at Scott's resources. It's well worth the $$.

easy read.......2007-05-18

A great source of information for sonar 6, I am not that savvy with computers and software, but this book is an easy read and explains things so I can understand.

Modern Recording Techniques, Sixth Edition

Average customer rating:

Good, thorough, and useful
Another good one from Huber
Excellent
For those who don't understand including other reviewers
Good but strange

Modern Recording Techniques, Sixth Edition
David Miles Huber , and Robert E. Runstein
Manufacturer: Focal Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0240806255

Book Description

As the most popular and authoritative guide to recording available, Modern Recording Techniques provides everything you need to master the tools and day-to-day practice of music recording and production. The sixth edition has been expanded to cover the latest digital audio technology and features a new section on surround sound. For those who are just starting out or are looking for their next job in the industry, this edition also provides essential advice on career options and networking.

David Miles Hubers approachable writing style, coupled with over 500 technical diagrams, screen shots and product illustrations, makes this an essential resource which you will want to refer to again and again.

* Learn from the resource that is used by more students, musicians and audio engineers than any other in the industry.
*International bestseller providing tips and techniques for getting the best results from both project and professional recording studios.
* The biggest edition yet - it is packed with new material, including surround sound and digital technology, as well as the latest career advice
* The companion website, www.modrec.com, provides even more resources and information.

Download Description

The most popular and authoritative guide to recording available. Modern Recording Techniques provides everything an enthusiast needs to master the tools and day-to-day practice of music recording and production. The sixth edition has been expanded to cover the latest digital audio technology and features a new section on surround sound. For those who are just starting out or are looking for their next job in the industry, this edition also provides essential advice on career options and networking. The approachable writing style, coupled with over 500 technical diagrams, screen shots and product illustrations, makes this an industry praised, essential resource which users will want to refer to again and again.

Customer Reviews:

Good, thorough, and useful.......2007-10-01

Modern Recording Techniques was the required textbook for a class on live sound reinforcement that I am taking. I was pleasantly surprised to find out how readable and user friendly it is. The author does a good job in breaking subjects up into bite size (understandable) pieces that fit into the bigger scheme of things. For a textbook this is actually pretty straightforward and useful. If you are looking for a single source of information this is a good book, and the campanion website has added features so that you can hear examples and find out more. I definitely recommend it.

Another good one from Huber.......2007-09-24

I bought Huber's book on MIDI to be used as the text for a college class. When coupled with Modern Recording Techniques, the MIDI book made much more sense. Takes you from where MIDI left off and puts that knowledge to work. Again, written in a clear and concise manner, no frills, just good working and practical knowledge Buy both both his books.

Excellent.......2007-09-16

Product shipped very quickly and arrived in near perfect condition. Couldn't ask for more.

For those who don't understand including other reviewers.......2007-07-09

after reading a few reviews, i was pretty disturbed. although proof reading is very important to writing a book, i would hardly use it to build a strong argument why this book is not any good. I have a copy that is ten years old and is still extremely useful today. That's the beauty of this book. It's a reference book that holds it relevancy to an industry that is so ever changing. i guarantee you that books that try to show you the latest gadgets and opinions will be outdated if not obsolete within 5 years. I think think this book will give you an awesome foundation in sound recording no matter where technology goes. As a producer it's kinda like a switch blade and you never know how far down the road you will use this little "insignificant" tool. It might not answer in detail what you are looking for, but it will surely direct you on the path you need to go. what other sound recording book do you know of will stand the test of time like this one?

gotta respect the wisdom of the old engineers and producers. they ARE the reason why you have the plug-ins that you do for your DAWs.

Good but strange.......2007-01-19

This is good for beginners, but I must say the choices made in certain areas are quite strange. For example the coice of microphones. It includes some typical, but just as many very strange choices. And some sections that must be characterized as not essential gets more attetion than basics like eq, dynamics and microphone construction. Otherwise a good book.

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