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In 1915, Thomas Edison proclaimed that he could record a live performance and reproduce it perfectly, shocking audiences who found themselves unable to tell whether what they were hearing was an Edison Diamond Disc or a flesh-and-blood musician. Today, the equation is reversed. Whereas Edison proposed that a real performance could be rebuilt with absolute perfection, Pro Tools and digital samplers now allow musicians and engineers to create the illusion of performances that never were. In between lies a century of sonic exploration into the balance between the real and the represented. Tracing the contours of this history, Greg Milner takes us through the major breakthroughs and glorious failures in the art and science of recording. An American soldier monitoring Nazi radio transmissions stumbles onto the open yet revolutionary secret of magnetic tape. Japanese and Dutch researchers build a first-generation digital audio format and watch as their "compact disc" is marketed by the music industry as the second coming of Edison yet derided as heretical by analog loyalists. The music world becomes addicted to volume in the nineties and fights a self-defeating "loudness war" to get its fix. From Les Paul to Phil Spector to King Tubby, from vinyl to pirated CDs to iPods, Milner's Perfecting Sound Forever pulls apart musical history to answer a crucial question: Should a recording document reality as faithfully as possible, or should it improve upon or somehow transcend the music it records? The answers he uncovers will change the very way we think about music.
Video has commanded a place within the domain of the visual arts since 1965 and has now grown into one of the most widely used forms of art. After the successful introduction of the medium in the United States, Europe followed suit with the Netherlands playing a pioneering role. The video-art circuit in the Netherlands evolved thanks to a unique cross-fertilization of local and international tendencies, and to the provision of workshop facilities by institutions like Het Lijnbaanscentrum, Jan van Eijck Akademie, Monte Video and De Appel. From the early 1970s to the mid-80s, the new medium rapidly achieved maturity, with artists discovering its creative possibilities and documentary expressiveness--but continuously needing to defend its validity. The gradual integration of simpler and cheaper montage techniques in the production process marked a turning point for video art, clearing the way for its assimilation into the art world in the 90s. Recognizing that there are multiple ways to explain and record the development of video art, The Magnetic Era offers a variety of perspectives and themes, as communicated via a range of writers, rather than a strict chronology.
Rerun Era is a captivating, propulsive memoir about growing up in the environmentally and economically devastated rural flatlands of Oklahoma, the entwinement of personal memory and the memory of popular culture, and a family thrown into trial by lost love and illness that found common ground in the television. Told from the magnetic perspective of Joanna Howard's past selves from the late '70s and early '80s, Rerun Era circles the fascinating psyches of her part-Cherokee teamster truck-driving father, her women's libber mother, and her skateboarder, rodeo bull-riding teenage brother. Illuminating to our rural American present, and the way popular culture portrays the rural American past, Rerun Era perfectly captures the irony of growing up in rural America in the midst of nationalistic fantasies of small town local sheriffs and saloon girls, which manifested the urban cowboy, wild west theme-parks, and The Beverly Hillbillies. Written in stunning, lyric prose, Rerun Era gives humanity, perspective, humor, and depth to an often invisible part of this country, and firmly establishes Howard as an urgent and necessary voice in American letters.
Idiot's Guides: Mixing Music breaks down all the complex jargon for beginners and discussing a blend of skillful principles and techniques that anyone can utilize when mixing. It covers all the fundamentals from the various mixing styles, the element of a mix and how to build one, the rules of arrangement, the secrets of equalization and frequencies. This guide is packed full of expert advice and be platform neutral for any home mixer. Also includes: • In-depth review of budget-friendly music equipment and purchasing. • Chock full of tips, tricks, and techniques on perfecting mixes. • Easy-to-comprehend breakdown of terms and techniques that any mixer can master. • The fundamentals of music mixing, breaking the process down so readers understand the basics. • The building blocks of mixing: reverb, blend, size, tone, sustaining sound, delay types and how to calculate them, balancing, and sonic layering. • Reviews of the various mixing styles, rules for arrangement, and all the tips and tricks for adding effects and creating that perfect sound. • An exploration of the current mixing techniques and principles. • In-depth discussion on the essential home recording budget-conscious mixer needs, what equipment to purchase and what to avoid, and whether or not to use freeware.
How sonically distinctive digital “signatures”—including reverb, glitches, and autotuning—affect the aesthetics of popular music, analyzed in works by Prince, Lady Gaga, and others. Is digital production killing the soul of music? Is Auto-Tune the nadir of creative expression? Digital technology has changed not only how music is produced, distributed, and consumed but also—equally important but not often considered—how music sounds. In this book, Ragnhild Brøvig and Anne Danielsen examine the impact of digitization on the aesthetics of popular music. They investigate sonically distinctive “digital signatures”—musical moments when the use of digital technology is revealed to the listener. The particular signatures of digital mediation they examine include digital reverb and delay, MIDI and sampling, digital silence, the virtual cut-and-paste tool, digital glitches, microrhythmic manipulation, and autotuning—all of which they analyze in specific works by popular artists. Combining technical and historical knowledge of music production with musical analyses, aesthetic interpretations, and theoretical discussions, Brøvig and Danielsen offer unique insights into how digitization has changed the sound of popular music and the listener's experience of it. For example, they show how digital reverb and delay have allowed experimentation with spatiality by analyzing Kate Bush's “Get Out of My House”; they examine the contrast between digital silence and the low-tech noises of tape hiss or vinyl crackle in Portishead's “Stranger”; and they describe the development of Auto-Tune—at first a tool for pitch correction—into an artistic effect, citing work by various hip-hop artists, Bon Iver, and Lady Gaga.
Kathremes are galactic beings who are above us in their ships, and they are the ones I have had telepathic contact with for 4.5 years. They convey that it is now time for them to take the next step, which is why they will emerge on a larger scale and increasingly show themselves on Earth. The book covers concepts such as magnetism, levitation, and the power of the universe, where both angels and Kathremes explain how, by better understanding the universe, we can develop the magnetism of the future so that our cars can begin to hover (a concept that has been hidden from us for many years). This is precisely the specialty of the Kathremes, it's also what they are here to help us with, so that we can develop a new car industry. During the same period, I have also been in contact with Stephen Hawking, who is one of my teachers in the spirit world. He briefly talks about black holes, but more importantly, about the quasar technology that we will develop in the future. This book is an introduction to the fantastic collaboration we will have with the Kathremes in the future. It is together with our galactic friends that we will build a new and more beautiful world. We are the universe - and so are you. We are all one!
“Big Dreams and the Detroit Record Business” by Gary A. Rubin is a captivating exploration of the music industry’s history in Detroit. This coffee-table style tome, weighing in at over 600 pages, combines commentary, stream-of-consciousness narration, and diary-like entries1. Rubin’s storytelling takes readers on a journey through time, from his own birth in 1946 to his experiences in the vibrant Detroit music scene. Here are some highlights: Early Adventures: Rubin shares his transition from a safe, dark place to the real world, where he discovered family, friendship, and adventure. His recording studio, established during his school years, became a hub for young bands, singers, and musicians. Famous Connections: While attending Mumford High School, Rubin crossed paths with future stars. One of the artists he recorded went on to become the lead singer and guitarist for a famous group that set a record for album sales, surpassing Michael Jackson and the Jackson Five. Summer Stock Theater: Rubin’s journey extended beyond music. He worked as an assistant publicity director for “Northland Playhouse,” a summer stock theater featuring stars like Zsa Zsa Gabor, Joel Grey, and Merv Griffin. He even went on a double date with Marv! World Premieres: Rubin’s involvement in the entertainment world continued. He worked with John Essex, the Publicity Director at the Fisher Theater, during non-summer months. Notably, he contributed to the World Premiere of “Fiddler on the Roof” with Zero Mostel and “Golden Boy” with Sammy Davis Jr. Detroit’s Influence: By 1967, Detroit had become the record capital of the world, thanks to Motown and other record companies. Despite challenges like corruption and racial tension, the city’s music scene thrived. “Big Dreams and the Detroit Record Business” offers a rich tapestry of memories, anecdotes, and behind-the-scenes glimpses into the music industry. Whether you’re a music enthusiast or simply curious about Detroit’s cultural legacy, this book promises an immersive experience.