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Inspired by experience in the music industry and origins as an aspiring pop star, British artist Michael Gillette delivers his greatest hits, demos, and rare cuts of the past three decades in DRAWN IN STEREO. Showcasing pieces produced for Beastie Boys, Paul McCartney, MGMT, and Beck--among many others--DRAWN IN STEREO focuses on Gillette's ability to channel music into compelling visual art. Gillette shares a curated collection of artistic approaches, including installations, fashion sketches, music video animation stills, and magazine contributions for SpinandThe New Yorker. Filled with selections from more than 20 years of work created in Britain and America, DRAWN IN STEREO encompasses a wide spectrum of visual directions and celebrates many key projects. Featuring a foreword by Fred Deakin and interview by Elastica's Justine Frischmann, DRAWN IN STEREO reveals an inspired life, ranging from Britpop London and rooming with the Aphex Twin to a decade of creativity in San Francisco. "Life needs a backbeat, and that rhythm needs some visuals. So, I'll keep sharpening the pencils, listening for the muse to sing me a new song." --Michael Gillette
This book presents an extensive and timely survey of more than 30 surround and 20 stereo-microphone techniques. Further, it offers, for the first time, an explanation of why the RCA "Living Stereo" series of legacy recordings from the 1950s and 60s is still appreciated by music lovers worldwide, despite their use of an apparently incorrect recording technique from the perspective of psychoacoustics. Discussing this aspect in detail, the book draws on the author’s study of concert hall acoustics and psychoacoustics. The book also analyzes the "fingerprint" features of a selected number of surround and – more importantly – stereo microphone techniques in depth by measuring their signal cross-correlation over frequency and also using an artificial human head. In addition, the book presents a rating of microphone techniques based on the assessment of various acoustic attributes, and merges the results of several subjective listening tests, including those conducted by other researchers. Building on this knowledge, it provides fresh insights into important microphone system features, from stereo to 3D audio. Moreover, it describes new microphone techniques, such as AB-PC, ORTF-T and BPT, and the recently defined BQIrep (Binaural Quality Index of reproduced music). Lastly, the book concludes with a short history of microphone techniques and case studies of live and studio recordings.
Stereo view collectors will be delighted to see this book on the shelves! &break;&break;The second edition of the most authoritative book on Stereo Views - the only one to offer a detailed price guide - features nearly all new photographs, updated and expanded price listings, as well as new sections on foreign views, Internet dealings, and more! &break;&break;This book includes an expanded, detailed history of stereo views, photographers and publishers as well as information on collecting, evaluating, and organizing a collection. Also features a special chapter on Tru-Vues, View-Masters, Novelviews, and other modern 3-D visual collectibles, including the newly discovered True-Views of England - not mentioned in any other book. &break;&break;Features more than 500 photographs for easy identification &break;&break;Includes a detailed history of this fascinating collecting genre &break;&break;More than 3,000 listings of classic stereo views with updated prices and detailed descriptions
Since digital surround sound technology first appeared in cinemas 20 years ago, it has spread from theaters to homes and from movies to television, music, and video games. Yet even as 5.1 has become the standard for audiovisual media, its impact has gone unexamined. Drawing on works from the past two decades, as well as dozens of interviews with sound designers, mixers, and editors, Mark Kerins uncovers how 5.1 surround has affected not just sound design, but cinematography and editing as well. Beyond Dolby (Stereo) includes detailed analyses of Fight Club, The Matrix, Hairspray, Disturbia, The Rock, Saving Private Ryan, and Joy Ride, among other films, to illustrate the value of a truly audiovisual approach to cinema studies.
Stereomodernism and amplifying the Black Atlantic -- Sight reading: early Black South African transcriptions of freedom -- Négritude musicology: poetry, performance and statecraft in Senegal -- What women want: selling hi-fi in consumer magazines and film -- 'Soul to soul': echo-locating histories of slavery and freedom from Ghana -- Pirate's choice: hacking into (post- )pan-African futures -- Epilogue: Singing songs.
Episodes in the transformation of our understanding of sound and space, from binaural listening in the nineteenth century to contemporary sound art. The relationship between sound and space has become central to both creative practices in music and sound art and contemporary scholarship on sound. Entire subfields have emerged in connection to the spatial aspects of sound, from spatial audio and sound installation to acoustic ecology and soundscape studies. But how did our understanding of sound become spatial? In Stereophonica, Gascia Ouzounian examines a series of historical episodes that transformed ideas of sound and space, from the advent of stereo technologies in the nineteenth century to visual representations of sonic environments today. Developing a uniquely interdisciplinary perspective, Ouzounian draws on both the history of science and technology and the history of music and sound art. She investigates the binaural apparatus that allowed nineteenth-century listeners to observe sound in three dimensions; examines the development of military technologies for sound location during World War I; revisits experiments in stereo sound at Bell Telephone Laboratories in the 1930s; and considers the creation of "optimized acoustical environments" for theaters and factories. She explores the development of multichannel "spatial music" in the 1950s and sound installation art in the 1960s; analyzes the mapping of soundscapes; and investigates contemporary approaches to sonic urbanism, sonic practices that reimagine urban environments through sound. Rich in detail but accessible and engaging, and generously illustrated with photographs, drawings, maps, and diagrams of devices and artworks, Stereophonica brings an acute, imaginative, and much-needed historical sensibility to the growing literature around sound and space.
David Gibson uses 3D visual representations of sounds in a mix as a tool to explain the dynamics that can be created in a mix. This book provides an in-depth exploration into the aesthetics of what makes a great mix. Gibson’s unique approach explains how to map sounds to visuals in order to create a visual framework that can be used to analyze what is going on in any mix. Once you have the framework down, Gibson then uses it to explain the traditions that have be developed over time by great recording engineers for different styles of music and songs. You will come to understand everything that can be done in a mix to create dynamics that affect people in really deep ways. Once you understand what engineers are doing to create the great mixes they do, you can then use this framework to develop your own values as to what you feel is a good mix. Once you have a perspective on what all can be done, you have the power to be truly creative on your own – to create whole new mixing possibilities. It is all about creating art out of technology. This book goes beyond explaining what the equipment does – it explains what to do with the equipment to make the best possible mixes.
"The ultimate guide to high-tech mobile entertainment systems"--Cover.