Book Description
Featuring chapters by the world's foremost scholars in music education and cognition, this handbook is a convenient collection of current research on music teaching and learning. This comprehensive work includes sections on arts advocacy, music and medicine, teacher education, and studio instruction, among other subjects, making it an essential reference for music education programs. The original Handbook of Research on Music Teaching and Learning, published in 1992 with the sponsorship of the Music Educators National Conference (MENC), was hailed as "a welcome addition to the literature on music education because it serves to provide definition and unity to a broad and complex field" (Choice). This new companion volume, again with the sponsorship of MENC, explores the significant changes in music and arts education that have taken place in the last decade. Notably, several chapters now incorporate insights from other fields to shed light on multi-cultural music education, gender issues in music education, and non-musical outcomes of music education. Other chapters offer practical information on maintaining musicians' health, training music teachers, and evaluating music education programs. Philosophical issues, such as musical cognition, the philosophy of research theory, curriculum, and educating musically, are also explored in relationship to policy issues. In addition to surveying the literature, each chapter considers the significance of the research and provides suggestions for future study. Covering a broad range of topics and addressing the issues of music education at all age levels, from early childhood to motivation and self-regulation, this handbook is an invaluable resource for music teachers, researchers, and scholars.
Book Description
Understanding Audio explores the fundamentals of audio and acoustics that impact every stage of the music recording process. Whether you are a musician setting up your first Pro Tools project studio, or you are a seasoned recording engineer or producer eager to find a reference that fills in the gaps in your understanding of audio, this book is for you.
Understanding Audio will enable you to develop a thorough understanding of the underlying principles of sound, and take some of the mystery and guesswork out of how equipment setup affects the quality of your recordings. Projects at the end of each chapter will assist you in applying these principles to your own recording environment.
Customer Reviews:
Great book for techie but new to audio........2007-06-27
I just started to work with the technical group at Church and needed to come up to speed on audio systems. I'm an amateur radio operator (ham) so technical things didn't scare me but I just didn't know about the equipment or concepts.
This was a great book to show me what's out there, how it's controlled and what to look for.
I've realized the world is ratio's and this book did a great job showing how things are processed and reasons why they are that way. Great book to learn from and a fantastic book to double check others thoughts. (Yea, politics)
Best book I've seen so far on audio systems to date.
You will understand audio after reading this book........2005-06-27
Begin (and end) your quest for audio knowledge as it relates to a studio and modern recording with one book. It delivers what the title promises, an understanding of audio (even if you're not building a studio). I found UNDERSTANDING AUDIO an immensly practical and comprehensive volume explaining "everything you needed to know about audio", whether you're a layman, student or professional. From start to finish, the explanations of concepts, processes, and technical definitions were abundantly clear and free of unnecessary techno-babble. This is used as a text at Boston's Berklee College of Music, but don't let that scare you, rather embrace it. (especially since you won't have to pay the tuition fee) The writing is concise with well chosen words and the information is top notch stuff. Designed to give you a complete overview of the various and interactive components of "audio", it more than does so and in my opinion, better than any other comparable book on the market today at any price.
Awesome Guide!.......2005-04-05
Through friends I heard about Berklee Press' books and decided to check out a few titles at the local bookstore. I was very impressed and requested a catalog, and in the catalog I found Understanding Audio: Getting the Most Out of Your Project or Professional Recording Studio. Being a novice in the sound recording world, I decided to risk the $25 and buy the book. Let me tell you it was $25 well spent. This book explains, in a very understandable way, basic and advanced audio techniques. One thing I found most useful was it explained how putting a microphone at different angles produces a different type of sound. It also goes as far as showing the history of recording studios and their technology. This was a perfect book for me because it is not only a handbook for intermediate to advanced level sound engineers, but it also serves as a beginners guide to sound as well. The graphic examples are extremely accurate and helpful, and the in depth detail of every topic is excellent. This is a great book for anyone currently working or planning on working in the recording field.
Build a Better Sound.......2005-02-02
I recently embarked on the adventure of transforming my basement into a functioning recording studio. Shortly after beginning the process I realized I was way in over my head. However, after reading "Understanding Audio", all of my questions have been answered. After providing you with a basis for understanding how sound works, Thompson gives several suggestions and techniques for setting up your equipment for optimal sound quality. Project guidelines are given at the end of each chapter which help you apply the techniques discussed. I'm happy to say that my studio is nearly finished and I am thoroughly pleased with the sound quality it is producing. I definitely recommend this book to anyone thinking about building their own studio, or for anyone who is interested in learning more about the way sound works.
Average customer rating:
- Meh-
- Tubes rule. Slone drools.
- Twaddle, stuff, and nonsense
- Amplifiers and More
- Mid-fi with little explanation
|
The Audiophile's Project Sourcebook: 80 High-Performance Audio Electronics Projects
G. Randy Slone
Manufacturer: McGraw-Hill/TAB Electronics
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High-Power Audio Amplifier Construction Manual
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ASIN: 0071379290 |
Book Description
THE AUDIOPHILE'S PROJECT SOURCEBOOK
Build audio projects that produce great sound for far less than they cost in the store, with audio hobbyists' favorite writer Randy Slone. In The Audiophile's Project Sourcebook, Slone gives you--
* Clear, illustrated schematics and instructions for high-quality, high-power electronic audio components that you can build at home
* Carefully constructed designs for virtually all standard high-end audio projects, backed by an author who answers his email
* 8 power-amp designs that suit virtually any need
* Instructions for making your own inexpensive testing equipment
* Comprehensible explanations of the electronics at work in the projects you want to construct, spiced with humor and insight into the electronics hobbyist's process
* Complete parts lists
"The Audiophile's Project Sourcebook" is devoid of the hype, superstition, myths, and expensive fanaticism often associated with 'high-end' audio systems. It provides straightforward help in building and understanding top quality audio electronic projects that are based on solid science and produce fantastic sound!
THE PROJECTS YOU WANT, FOR LESS
Balanced input driver/receiver circuits
Signal conditioning techniques
Voltage amplifiers
Preamps for home and stage
Tone controls
Passive and active filters
Parametric filters
Graphic equalizers
Bi-amping and tri-amping filters
Headphone amplifiers
Power amplifiers
Speaker protection systems
Clip detection circuits
Power supplies
Delay circuits
Level indicators
Homemade test equipment
Customer Reviews:
Meh-.......2006-06-15
I've seen better high end audio books. I'm certainly not a member of the aforementioned "Scientific School of Audio System Performance Analysis", the only instruments that can accurately measure sound quality are the ones on either side of your head. I listen to what my ears tell me sounds good, and generally, tubes sound good. Which is why this book is sort of a disappointment, you'd think that out of 80 projects there'd be at least one tube phono preamp, but unfortunately there are no tube amps, just a few rants about how tubes don't produce enough power. Who uses more than a watt anyway? Even the transistor amps presented aren't much better than what you could get from Rex or Circuit City, similar schematics could probably be found on the internet for free. Go ahead and buy it if that's the sort of thing you're into, but if its tubes you want, try Morgan Jones' "Building Valve Amplifiers", it doesn't have many schematics but it covers in great detail the layout and contruction of tube amps. Good schematics can be found on the intarnub.
Tubes rule. Slone drools........2004-12-20
A good deal of this book is an attack on esoteric audio in general and vacuum tube equipment in particular. But just because Mr. Slone hates tubes (and he does, although he can't be honest with himself, like most fundies, and so has to attempt to disguise his real motives) doesn't change reality. Measurements aside, all other things being equal, tube equipment generally sounds better.
If you listen to good music at normal volume, in a normal house, the average power output of your amplifier is almost always between 10 and 500 milliwatts. You can prove this with a DMM that has at least a 20 kHz AC bandwidth and peak and averaging functions hooked across your speaker. The Class B Lin topology solid state amplifier with large amounts of global NFB, which Slone describes and advocates to the exclusion of all others, does very well at between 5 and 100 percent of its rated power, but is terrible at between .01 and 1 to 2 percent of rated power.
There are various circuits to work around the problem, but Slone ignores them. When you refuse to accept the problem, you can't be part of the solution.
There are several possible solutions. One is the venerable transformer coupled vacuum tube amplifier, which for all its technical flaws, does reproduce music beautifully. There are modern tube amps that are universally acknowledged to sound great, have long tube life (in the tens of thousands of hours) and have distortion measurements in the same class as most solid state amplifiers. There are also solid state amplifiers that use innovative circuits and careful device matching-semiconductors are inherently much more variable in device parameters than tubes, which Slone conveniently forgets to tell you-to "give good first watt" while still providing peak power reserves traditionally associated with solid state designs.
I have heard an amplifier built to Slone's schematic on Slone's PCBs-in fact I set it up on my company's distortion analyzer after hours-and it meets his published specs fully. Hooked to my Klipsch LaScalas it has all the sonic elegance of a Peavey CS-400 I happened to have on hand-it makes Blossom Dearie sound suspiciously like Louis Armstrong on her quietest passages, and Angel Romero sounds like Dick Dale is doubling up on his thumb lines in the distance.
Twaddle, stuff, and nonsense.......2004-11-30
Basically this whole book is the effort of a hayseed electronics vendor to peddle his own kits of plain vanilla grade stereo equipment. With skilled electronic assemblers in America getting $8.30/hr (and equally skilled Asians getting that per day!) and components in hobby quantities bringing a 50 to 500 percent premium over what commercial buyers pay even in 100 piece quantities, he claims a hobbyist can better commercial grade designs in his hobby workshop cheaper.
This reminds me of Fred Willard's character in the excellent film, "A Mighty Wind". One of his catchphrases-"I Don't Think So!"-applies here.
These amp designs, apparently mostly from Douglas Self's books, are nothing special or unique: as someone else pointed out, if they were, there would be dozens of amplifiers of "Slone type" sold ,just as many companies made "Williamson style" amplifiers, without compensating DTN Williamson, during the early postwar hi-fi era.
About the only justification for homebrewing audio amps is to get a design offered commercially only as a "high end" piece at huge expense (and gross margin) or not at all. You can get an education, perhaps, but a breadboard project of a couple watts can give you that, and besides, audio amp design isn't exactly in big demand: the websites of High End, pro, and mainstream audio equipment manufacturers list continuing job vacancies for DSP software engineers but never analog designers.
Amplifiers and More.......2004-11-18
I bought this book after my great experience with Slone's High Power Audio Amplifier Construction Manual. This is a fantastic book if you want to build your own amplifier "accessories", such as headphone amps, preamps, equalizers, and other types of signal processing devices. There is an interesting circuit for a phase-linear filter, which I built and works beautifully. It splits the audio signal up between the pre-amp and power amp into low, midrange, and high frequency spectrums. This avoids the phase shifts associated with conventional speaker crossover networks.
You'll need a power amp for each frequency spectrum, but that's no problem. You'll have so much fun building your own amps that you'll have plenty of them laying around. The resulting sound is absolutely fantastic.
Mid-fi with little explanation.......2004-11-17
This is an extension of Slone's earlier book and it is a little better, but not a lot. He reiterates everything he said earlier-ranging from opinion to nonsense-and then as before launches into his pet designs with little good explanation.
If you want to build a Class B semi-serious amplifier for instrument or PA or non-serious-listening use this will probably work, although there are a lot of old 70s and 80s designs readily available at your local library in old electronics and audio magazines.
If understanding the trends in serious audio work today is your goal, start with the "horses mouth" JAES paper "Tubes vs. Transistors: Is There A Difference?". This was hugely important because it was the first published paper in professional reviewed circles that addressed the possibility that traditional metrics such as THD,frequency range, and S/N might not fully address problems in professional audio.
Product Description
* Complete illustrated guide to the MIDI spec and explanation of the implementation chart * Practical advice on sampling and sequencing, covering all the major DAWs * Includes all the latest developments in hardware and software The MIDI Manual is a complete reference on MIDI, written by a well-respected sound engineer and author. This best-selling guide provides a clear explanation of what MIDI is, how to use electronic instruments and an explanation of sequencers and how to use them. You will learn how to set up an efficient MIDI system and how to get the best out of your music. The MIDI Manual is packed full of useful tips and practical examples on sequencing and mixing techniques. It also covers editors/librarians, working with a score, MIDI in mass media and multimedia and synchronisation. The MIDI spec is set out in detail along with the helpful guidelines on using the implementation chart. Illustrated throughout with helpful photos and screengrabs, this is the most readable and clear book on MIDI available.
Customer Reviews:
Worth the Read.......2007-09-24
I bought the book to be used as the text for a college class. Many good MIDI books are out there, but this one is the best from what I've seen. MIDI has not changed much over the last decade however computers have. It is therefore very important to use the newest text on the subject. Written in a straight forward manner, good aspects to MIDI are conveyed. Latest equipment is mentioned, good resource.
the midi manual, third edition.......2007-09-02
this book is a required text for my son's course, and he has found it easy to follow.
Customer Reviews:
Boring and Disappointing.......2003-08-25
I found that the hoopla for this book was overrated. Groves' book was not at all what I expected. I was expecting to read about the personal and daily battles of the scientists (Teller, Oppenheimer and others) at Los Alamos and how they discovered, designed and built the bombs. This was not the case at all.
Groves describes in great detail, in Part I, how the government created the labs at Hanford, Oak Ridge, and Los Alamos. He discusses, at length, the political, social and economic ramifications of the project. He pontificates about the search for uranium in India and Belgian Congo and how he had to deal with the political forces (Britain and Belgium) when searching for the uranium. He describes the political issues of the labor unions and how the government avoided any labor issues at the three lab facilities. Groves does not go into great detail about the daily lives of the scientists at Los Alamos.
With Part II, I expected to read and learn more about inside details regarding the dropping of the bomb on Hiroshima and Nagasaki. Again, I was disappointed. Very little was actually mentioned about Col. Paul Tibbets and the others who made up the air crews for these two raids. Mostly, Groves describes the detail around crafting responses to these raids for the rest of the world and how to word their news releases.
Part III dealt with the creation of the Atomic Energy Commission in post WWII.
I found the book to be boring. The book, Day of Trinity, was much better. Groves' book is more suited for manager-type people of large corportions who might enjoy the behind-the-scenes look at management.
How to pay attention to detail.......2003-03-08
After reading the Making of the Atomic Bomb, I thought I would get a view point from on of the actual participants. General Groves had an eclectic story keeping all his crazy scientists in line to meet an objective. Then handing the construction of the facilities and checking on the progress of the Germans.
It was interesting to see how he handeled the new recruites as well as the intelectuals. I enjoyed learning about how Handford was set up to be all automated, most books you only hear about Oak Ridge. I thought their willingness to try every avenue to get to the enrichment process seemed desprate. They were afraid that Germany was so far ahead. They took what they knew and were constantly trying to improve on it.
I like learning about the spys that he had under his command to see where Germany was and not to give up and complete his task when he found out there was not any progress in Germany.
He was an interesting character who got the job done.
The head of the project tells his story.......1999-05-05
Gen. Groves deputy on the Manhatten Project, Gen. Keith Nichols, was once asked what he thought of he thought of Groves. He began by saying "Leslie Groves is the biggest son-of-a $%&%* I ever met in my life" and ended by saying that of all the people he'd met in his life, he didn't think any of them could have done as well as Groves in running the Manhatten Project. I think that if he'd been put in charge in Jan. of '43, instead of Sept., the war probably would have ended earlier, saving hundreds of thousands of lives. This book shows him at his egotistical best and worst, and is essential for understanding how and why the U.S. got the bomb before Japan was invaded. Just don't expect any modesty at all.
One of the best Project Management books I have ever read.......1999-01-31
I read this book in the early 1960's when it was first published. I was in engineering school then, in India, and my interest in reading the book was to learn the story of the greatest scientific achievement of the 20th century. The book is so fascinating and so readable that I read it in four hours without interruption and then went back to the first page and read it again in the next four hours. I wanted to memorize every event in the book, word for word. What fascinated me about the book was not only the scientific aspects of atomic energy and the development of the atom bomb, which are described in layman's terms, but the extraordinary skills and drive of General Leslie Groves in taking the project from concept to fruition, notwithstanding the sinister goal of the project. It is one of the best project management books I have ever read. It built in me a tremendous respect for the ability of Americans to carry out such a complex project in a time critical situation. Oppenheimer got all the glory of being the father of the atom bomb, but it was General Leslie Groves who was the driving force behind it. Without him the project would not have succeeded in such difficult times. I think the book should be a required reading in all business management schools.
One of the best Project Management books I have ever read.......1999-01-31
I read this book in the early 1960's when it was first published. I was in engineering school then, in India, and my interest in reading the book was to learn the story of the greatest scientific achievement of the 20th century. The book is so fascinating and so readable that I read it in four hours without interruption and then went back to the first page and read it again in the next four hours. I wanted to memorize every event in the book, word for word. What fascinated me about the book was not only the scientific aspects of atomic energy and the development of the atom bomb, which are described in layman's terms, but the extraordinary skills and drive of General Leslie Groves in taking the project from concept to fruition, notwithstanding the sinister goal of the project. It is one of the best project management books I have ever read. It built in me a tremendous respect for the ability of Americans to carry out such a complex project in a time critical situation. Oppenheimer got all the glory of being the father of the atom bomb, but it was General Leslie Groves who was the driving force behind it. Without him the project would not have succeeded in such difficult times. I think the book should be a required reading in all business management schools.
Book Description
The first and only account of hip-hop's birth, told in the never-before-published words of its founders and stars, and highlighted by almost 200 photos and flyers.
"I always knew that, for those that never heard this music, that if they had a chance to hear it, they would have no choice but to love it." --Grandmaster Flash
Hip-hop today is ubiquitous, dominating not only the music industry but also popular culture around the world. Like rock and roll before it, it has permanently transformed music, art, dance, and fashion while capturing millions of listeners-and this vast cultural revolution was all started by a bunch of street kids in the ravaged Bronx of the 1970s. Documenting hip-hop's remarkable genesis for the very first time, this book tells its stories in voices that bristle with vitality, character, humor, and menace, tracing the music from DJ Kool Herc's first parties in 1973 through the release of "Rapper's Delight" in 1979 and the rise of the new school in the mid-'80s. Fricke and Ahearn weave an electric narrative from the never-before-heard accounts of over fifty of hip-hop's founders and stars, old school and new, including Afrika Bambaataa, Grandmaster Flash, DJ Kool Herc, Melle Mel, Grand Wizard Theodore, Grandmaster Caz, Rahiem, Fab 5 Freddy, Tony Tone, and DMC. A wealth of previously unseen photographs, flyers, and posters illustrate the text; noted critic Nelson George introduces it all.
Yes Yes Y'All is a chorus of voices, a tale of artistry in the face of extraordinary adversity, and the definitive history of a revolution created with nothing more than a microphone, a turntable, and a dance floor.
Customer Reviews:
The Truth That's Never Been Told.......2006-05-05
I am the original King LaBrue out of the camp of Kool Herc and the Herculoids. Before there was Sugar Hill and 50 Cent, there was King LaBrue--to this day still represents true hip-hop. I plan to write my own account of the true pioneers that should be respected for dedication and commitment for all these years.
Essential.......2003-11-30
Anyone into Hip Hop must own this book. It's a seminal work. Like Toop's The Rap Attack or Nelson George's Hip Hop America...it must be owned. The most detailed Old School study ever and great visuals.
the coolest book.......2003-08-13
I got the coolest book this passed Christmas, entitled ýYes! Yes! Yall! The Experience Music Project Oral History of Hip-Hopýs First Decade ý by Jim Fricke. This book focuses on Hip-Hop, and Black culture in America through oral history. Black urban culture gave birth to hip-hop and is the source of influence for todayýs American culture. ýYes! Yes! Yall!ý is a true period piece focusing on the growth of a new artistic movement. The book is very clear and is written as if youýre really listening to someone talk about Hip-Hopýs old school beginnings. This was a relaxing book to read, and very simplistic in form. As I was reading I felt as if I was sitting in a recreation center or classroom listening to the forefathers, and mothers of this great Black music culture.
The book starts by panting a picture of New Yorkýs inner city in the early 1970ýs to the mid 80ýs. Each chapter focuses on all four elements of Hip-Hop, such as: d.j-ing, brake dancing, emceeing/rhyming or raping, and graffiti art. Looking at some of the old photos of B-boys and girls break dancing, the airbrushed clothing, party flyers, and old record jackets was very nostalgic.
The book highlights the fact that the whole subculture came out of unequal systematic conditions in the late 1970ýs into the 80ýs. This is a real honest approach to the history of the newest, and highly co-modified cultures. Itýs filled with first hand accounts, stories of back stage antics, tours, emcee battles, dance battles, club fights, and groupies.
In chapter two titled, ýThe Forefathersý, many people interviewed gave his or her respects to the godfather of Hip-Hop (d.j Kool Herc). They would talk about how d.j Kool Herc would play all the best brake beats at that time. D.j Kool Herc was Jamaica borne and his homeland would be the source that inspired his d.jing style.
Kool Herc was the one who coined the term B-boy/B-girl, because boys and girls that would dance to brakes of different songs. The brake was the favorite part of the song, it was known as the get down part of the record. The other reason for calling the party people B-boys and girls was because they were all from Brooklyn also known as the ýBoogie Down Bronxý.
Kool Hrec changed and revolutionized the whole music form, once he started toasting, what we call rapping or rhyming today. Toasting started in the Jamaican dance halls, or yard parties. The Selecta or D.j would chant out two or three bare rhymes to get the crowd hyped. Herc added the style toasting from his homeland, and the New York street style of d.jing, to cerate his own style. Thus giving birth to a new sound and genre of music.
ýYes! Yes! Yall!ý lastly focuses on the gangs, graffiti, emceeing, and brake dancing and how they intertwine within hip-hop and black culture. I highly recommend this book to anyone interested in finding more information on the history of Hip-Hop and how it stems from Black culture.
Real Nice.......2003-05-17
This beautiful book attempts to trace the formation of hip-hop culture through interviews with those who were around for the first ten years. Fricke (a curator at the Experience Music Project museum) and Ahearn (photographer and director of the seminal hop-hop film Wild Style), attempt to document the New York City scene from about 1974-84 (right up to the formation of DefJam and Run-DMC) through photos, original party flyers, and the words of the DJs, MCs, b-boys (breakdancers), graffiti artists, and promoters who were there.
The early portion shows how DJ sound-system battles emerged in the early to mid '70s against the backdrop of a decaying Bronx, attracting youths to more or less impromptu parties in parks, streets, and playgrounds. Competition was fierce as to who had the loudest sound system and the best records, and tough security (gang members) was a necessity. One thing that gets disappointingly glossed over is how this copied what happened in Kingston, Jamaica ten years earlier. It was exactly the same: competing street sound systems, with competing DJs who would take the labels off records so spies couldn't find out what they were playing, gangs, violence-all the same. DJ Kool Herc, who lived in Jamaica until 1967, makes a fleeting reference to it, but that's all.
For the first few years, the DJs were the "stars" of the scene, offering an alternative to disco music. But as DJs started to learn how to manipulate their turntables to extend the "beats" from a song, eventually MCing started to become more vibrant. What had initially only been calls to the crowd to keep the party's energy up evolved into more and more sophisticated catchphrases, freestyle rhymes, and soon MCs were writing and memorizing lines. Again, it's a bit puzzling that no mention is made of Jamaican"toasting" which emerged in the mid to late '60s. This was the practice of DJs who would talk and rhyme over the records they played, and soon progressed to a point where they would have instrumental versions of popular songs laid down for them to rhyme over-often in a boasting style, talking about how they were the "#1", "champion", and so on. Sounds familiar, doesn't it?
The other two legs of hip-hop culture are given somewhat less space. The material on breakdancing (aka "b-boying" to the true old-schoolers) seems to indicate that the "b-boy " crews filled a kind of competitive void left by the waning of street gang culture. And while there was some of this dancing at the parties, music was the focus, rather than the dancing-which didn't get big until the early '80s. Graffiti, on the other hand, was clearly a prominent feature of the NYC landscape from the early '70s on. But, what's most interesting here is that while the graffiti artists often went to parties and knew some of the music people, the idea that graffiti was part of a larger hip-cop culture didn't emerge until late in the game. It wasn't until the downtown Manhattan art scene started getting interested that the music, breakin', and graffiti were packaged-by the white art scene-a unified "street" culture.
The book is lavishly put together, with tons to look at-however, the oral history structure isn't the greatest. From a historical perspective, it's great to hear all these unknown voices from the past telling about their roles, but at times it does get tedious. Especially when it comes to details on how so and so met so and so and that led the the formation of this or that. Even more so late in the book, when record companies get in the mix, and then all kinds of resentments come pouring out. There could have been a little more editing, as well as a little more context to fill in some of the gaps. For example, there are a lot of references to gangs being involved in the early scene, and shootings, and violence, but there's never any unified discussion of it. The same for the role of drugs in the scene, at one point someone (I think Spoonie Gee) talks about how everyone was totally coked up all the time, and that's something that could have been explored a little more. In any event, it's still a great book for anyone with an interest in the days of hip-hop, giving proper space and voice to all the unknowns who deserve to be known.
PRE-RUNDMC.......2003-04-29
eye opener for all those who think oldskool hiphop only stops at Run-dmc, or the Furious 5, recognize the forefathers who layed down the foundation of the Hip-Hop culture and what they were facing at that time.
Book has pretty good historical context and the stories flow together. Much props to mr.Ahearn and mr. Fricke. Only giving it 4stars because I'm still halfway in the book. YES YES Y'ALL.
Average customer rating:
- Perfect For What I Need
- A 'must' for all aspiring musicians
- review
|
The Art of Producing: How to Produce an Audio Project
David Gibson , and
Maestro Curtis
Manufacturer: ProAudio Press
ProductGroup: Book
Binding: Paperback
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Similar Items:
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The Art of Mixing
-
The Art Of Music Production 3rd Edition
-
Producing Hit Records: Secrets from the Studio
-
Mixing, Recording and Producing Techniques of the Pros
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Critical Listening Skills for Audio Professionals
ASIN: 1931140448 |
Book Description
Bestselling MixBooks author David Gibson (The Art of Mixing) and co-author Maestro Curtis bring you an in-depth look at the work done by music producers and show you how to succeed at producing hit-quality recordings with your music and the artists you produce. From expert advice in the studio to understanding the business side of music production, The Art of Producing delivers a lifetime of experience to new producers. Whether you are working in your own studio producing your own music, or working with other songwriters and artists, you get better results when you understand the art of the production process!
Customer Reviews:
Perfect For What I Need.......2006-03-17
I teach a class at San Francisco State University entitled, "The Role of The Record Producer" and this book is the perfect text. I want to commend the authors for this easy to follow, straightforward guide.
A 'must' for all aspiring musicians.......2005-10-07
David Gibson and Maestro Curtis' The Art Of Producing: How To Produce An Audio Project is the first book to standardize a specific production process for a music project from beginning to end, using step-by-step procedures for production, whether it be for a band, group or record company project. Author David Gibson has been producing groups in major 24-track studios since 1982, while Maestero Curtis has worked with numerous artists and produced projects with his own band. Their combined backgrounds provide the most detailed production techniques and latest technology discussions in print, making The Art Of Producing is clearly to be considered as a 'must' for all aspiring musicians.
review.......2005-07-22
I didn't read it all yet, but still there are interesting aproches to audio prodution, that sometimes we use it without thinking, and with this book, help us understand it.
Book Description
For Mac OSX and Windows
Set up and optimize your Reason system
Get creative with beats, rhythms and percussion
Compose and create music in your favourite style
Master Reason's synths and effects
Download song files and sound samples
Mix and publish your tracks
Have you ever wanted to make music like your favourite artists and bands? Have you ever wondered how certain styles of music are composed and created? With this book and your copy of Reason, you can discover how it all works, and learn how to make great tracks in the musical style of your choice.
Reason is perfectly suited to making electronic music, but it's capable of much more than that. This book shows you how different styles of music are put together and how you can make them for yourself in Reason.
Ideal for everyone from beginners to experienced users, the book covers essentials like choosing a computer, setting it up for audio work and optimizing Reason for maximum performance. It contains detailed workshops on eight major musical genres - Hip Hop, Drum & Bass, Dub, House, Techno, Trip Hop, Trance and Club.
As well as learning about the history and the leading artists in these genres, you will master the ins and outs of using Reason to compose in any of these styles. The book also shows you how to mix, export and publish your finished tracks.
Backed up by an online resource of song files, sounds, links and information, Music Projects with Propellerhead Reason will help you get the most out of Reason and take your music-making to the next level and beyond.
Customer Reviews:
Personal Review For Music Projects With Propellerhead Reason.......2007-07-07
I found this book very interesting as it shows the basic setup stages of "Propellerhead Reason 3" As I am a professional in music production, I found some of the infomation a bit to basic and not really what I was looking for. On the other hand it helped me with a few confusions but other than that, I more or less already know what to do within "Propellerhead Reason 3!" I think this book is very good and therefore is a good start for beginners in the electronic music scene, however it can also help out the odd pro with one or two things that you might have not known!
beats a sharp stick in the eye :).......2007-04-21
all kidding aside, its a great book. I was a little put off by what seemed to be a lack of actual song structure. The book is designed to walk you through exercizes to get you used to using the software in this manner. The author encourages that you follow along b ut to create on your own. The book is like having an experienced friend lookin over your shoulder and offering advice. Its definitly worth the price of admission.
Average customer rating:
- Good for hands on experience, but offers few explanations
- Almost complete
- A good start, but not great
- Good Information but I expected more.
- A useful one
|
Guitar Player Presents Do-It-Yourself Projects for Guitarists
Craig Anderton
Manufacturer: Miller Freeman Books
ProductGroup: Book
Binding: Paperback
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Similar Items:
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Electronic Projects for Musicians
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The Guitar F/X Cookbook
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The Guitar Amp Handbook: Understanding Tube Amplifiers and Getting Great Sounds
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Guitar Electronics For Musicians (Guitar Reference)
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Guitar Effects Pedals - The Practical Handbook
ASIN: 087930359X |
Product Description
This book is a collection of 35 useful, inexpensive, educational projects designed by Guitar Player magazine's consulting editor. Whether you're looking for a great sounding tube preamp, a de-hisser for vintage effects, guitar rewirings, a fatter sound, or several other sound improving devices, this book has the answers. Written by Craig Anderton. 80 pages. Copyright: 1995. Net weight: 1 lb. Price WAS $19.95!
Customer Reviews:
Good for hands on experience, but offers few explanations .......2004-08-24
You're not going to read this book and go off and start designing your own effects. In fact, it doesn't really help you understand how the circuits many of the standard effects work. So, if you'd like to tweak the performance of a circuit by changing components, this is not so helpful.
Almost complete.......2003-09-03
The book is very usefull and it makes easy understand its contents. Easy for beginners, great for initiateds , good graphics.
Laks on exemples of circuit boars (even if it was only a picture), and in the guitar eletrics charpter itself. There are few examples for the inumerous possibilities at this field. Varitone idea does not have a citation for instance.
A good start, but not great.......2002-01-09
If you know nothing about electronics, it will help as an introduction.
The projects vary from dumb-easy to newbie threatening (rocktave divider)....and only few were *really* useful.
Each project has a 'how it works' section, wich helps understanding the electronics behind the projects. This is basic, but VERY GOOD.
With such a basic aproach in the introduction, the book lacks PCB design, or breadboarding techniques
Overall, it's ok...
Good Information but I expected more........2001-07-24
This fellow does a good job for what the book is, but I was hoping for more. Many of the items presented here are a little too simple and needless, and many are duplicated in other items bearing his name. I was hoping for more sophisticated items, and the sophisticated items here are available elsewhere. If you have never heard of Craig, then this is an excellent place to start, but if you know PAIA, or have Craigs other book on stomp boxes, you will feel as I do.
A useful one.......2000-04-04
Craig Anderton's circuits work. They're easy to build, sound really good and are even useful in HiFi applications. If you like to acquire a firm basic knowledge about music electronics, this is the right book for you.
Books:
- The Penland Book of Handmade Books: Master Classes in Bookmaking Techniques
- The Perfect Fit: What Your Shoes Say About You
- The Tempest (Arden Shakespeare)
- The Trouble With Physics: The Rise of String Theory, the Fall of a Science, and What Comes Next
- The Ultimate Christmas Fake Book: for Piano, Vocal, Guitar, Electronic Keyboard and All "C" Instruments (Fake Books)
- To Live's to Fly: The Ballad of the Late, Great Townes Van Zandt
- Unto the Breach (Paladin of Shadows, Book 4)
- WICKED: THE GRIMMERIE, A BEHIND-THE-SCENES LOOK AT THE HIT BROADWAY MUSICAL
- Writing About Music: An Introductory Guide (3rd Edition)
- 100 Solos: Flute
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Transforming Music Education:
