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Ranging from the wicked noir Shanghai of 1946, to the echo chambers of Hollywood, to remote, snow-covered mountains, Stuart Archer Cohen's This Is How it Really Sounds follows three men, each in search of a different life. Small-town Alaskan "Harry" Harrington is a legend in a small circle, once the world's greatest extreme skier, racing avalanches and knocking back flips off of cliffs. Peter Harrington is a world-famous financier, hated across the globe for making hundreds of millions of dollars on his hedge fund, and fleeing New York to begin a new venture in Shanghai. Finally, there is Pete Harrington, a middle-aged rock star, now touring third-tier venues and fleeing bankruptcy, but hoping that one great new song can rescue him. All are seeking something that has slipped away--youth, power, purpose, magic; all are wonderful creations, whose strangely familiar lives and dreams become unforgettable. Mingling wickedly-funny satire with heart-stopping adventure, This is How it Really Sounds explores the seductive power of the unlived life, and what happens when you finally grasp it.
Language and the way that people communicate has evolved over time, now you can learn how to effectively use your voice in the most effective way possible in order to get your message across. Every time we open our mouths, we have an effect on ourselves and the way others perceive us. The ability to speak clearly and confidently can make or break a presentation, an important meeting, or even a first date. Now, with the advent of Skype, YouTube, podcasting, Vine, and any number of reality talent competitions, your vocal presence has never been more necessary for success or more central to achieving your dreams. Roger Love has over 30 years of experience as one of the world's leading authorities on voice. Making use of the innovative techniques that have worked wonders with his professional clients, Love distills the best of his teaching in Set Your Voice Free, and shares exercises that will help readers bring emotion, range, and power to the way they speak. This updated edition incorporates what he's learned in the last 15 years as the Internet and talent competitions have completely changed the role your voice plays in your life. These are the new essentials for sounding authentic, persuasive, distinctive, and real in a world that demands nothing less.
Addicted to Noise collects the best interviews, profiles, and essays Michael Goldberg has written during his forty-plus years as a journalist. From combative interviews with Frank Zappa and Tom Waits to essays on how Jack Kerouac influenced Bob Dylan and the lasting importance of San Francisco’s first punk rock club, Goldberg, as novelist Dana Spiotta wrote, “shows us how consequential music can be.” Contained within these pages: interviews with Sleater-Kinney, Sonic Youth, Patti Smith, Lou Reed, Flipper, John Fogerty, Neil Young, and Rick James, along with profiles of Robbie Robertson, John Lee Hooker, James Brown, the Clash, Prince, Michael Jackson, the Flamin’ Groovies, Ramblin’ Jack Elliott, X, Laurie Anderson, Stevie Wonder, George Clinton, Devo, San Francisco punks Crime, and more. Plus short takes on Muddy Waters, Townes Van Zandt, Captain Beefheart, Professor Longhair, and others. As Greil Marcus writes in the Foreword, “You can feel the atmosphere: someone has walked into a room with a pencil in his hand—as the words go in perhaps the first song about a music critic, not counting Chuck Berry’s aside about the writers at the rhythm reviews—and suddenly people are relaxed . . . He isn’t after your secrets. He doesn’t want to ruin your career to make his. He doesn’t care what you think you need to hide. He actually is interested in why and how you make your music and what you think of it. So people open up, very quickly, and, very quickly, as a reader, you’re not reading something you’ve read before.”
In Mavericks of Sound: Conversations with the Artists Who Shaped Indie and Roots Music, music scholar David Ensminger offers a collection of vivid and compelling interviews with legendary roots rock and indie artists who bucked mainstream trends and have remained resilient in the face of enormous shifts in the music world. As the success of the concerts at Austin City Limits have revealed, the fan bases and crowds for indie and roots music often blur and overlap. In Mavericks of Sound, Ensminger brings to light the highways and byways trod by these music icons over the course of their careers and the ways in which their music-making has been affected by, and influenced, the burgeoning indie and roots music movements. Ranging from seminal modern singer-songwriters to rockabilly renegades and indie rockers, Mavericks of Sound features a set of broad, penetrating, and insightful conversations imbued with a sense of musical history and heritage. Ensminger captures firsthand accounts from singer songwriters like Texas Country musician Tom Russell and first wave indie artist and folk rocker Peter Case; rockabilly artists Junior Brown and the Reverend Horton Heat; American indie rock icons such as 11th Dream Day’s Janet Bean, Pere Ubu’s Dave Thomas, Apples in Stereo’s Robert Schneider, and Swans members Michael Gira and Jarboe; English and New Zealand figures such as folk legend Richard Thompson, The Clean’s David Kilgour and The Waterboys’ Mike Scott; and folk, country and rock legends such as Merle Haggard, Ramblin’ Jack Elliott, Ralph Stanley, Neko Case, and Yo La Tengo. Mavericks of Sound is the perfect work for contemporary indie, roots, Americana, country, and folk music fans who want to understand the unique artistry and unbound passion behind America’s musical innovators that readily broke and remolded rules.
"Who's making noises on the farm? Push the buttons to hear real animal sounds! Lift the flaps to see them in the barn! Learn fun facts about farm animals."--Page 4 of cover.
Written to specifically address the concerns and needs of the sound person who serves ministries and churches, this comprehensive handbook blends the relational and technical aspects of church sound in a straightforward and easy-to-understand manner.
Print – and by extension, visuality – has historically dominated the literary, artistic, and academic spheres in Canada; however, scholars and artists have become increasingly attuned to the creative and scholarly opportunities offered by paying attention to sound. Resistant Practices in Communities of Sound turns to a particular opportunity, interrogating the ways that sonic practices act as forms of aesthetic and political dissent. Chapters explore, on the one hand, critical methods of engaging with sound – particularly bodies of literary and artistic work in their specific materiality as read, recited, performed, mediated, archived, and remixed objects; on the other hand, they also engage with creative practices that mobilize sound as a political aesthetic, taking on questions of identity, racialization, ability, mobility, and surveillance. Divided into nine pairings that bring together works originating in oral/aural forms with works originating in writing, the book explores the creative and critical output of leading sonic practitioners. It showcases diverse approaches to the equally complex formations of sound, resistance, and community, bridging the too-often separate worlds of the practical and the academic in generative, resonant dialogue. Combining the oral and the written, the creative and the critical, and the mediated and the live, Resistant Practices in Communities of Sound asks us to attune ourselves as listeners as well as readers.
(Book). This book features interviews and articles from issues 11 to 20 of Tape Op , an independently published magazine founded in 1996. With a fiercely loyal readership, Tape Op covers creative and practical music recording topics from the famous studios to musicians creating masterpieces in their bedrooms. Creativity, technique, equipment, passion and learning collide in this entertaining, value-rich publication. Interviews and articles in this volume include Abbey Road Studio, Butch Vig, Jim Dickinson, Joe Chiccarelli, Ani DiFranco, Fugazi, The Flaming Lips, and Ween.
Kids love bugs, and this book takes readers outside both day and night to see and hear all the sights and sounds. The illustrations are fun and use the sounds of the insects to direct the readers eye to all the cool sounds bugs make. Accurate scientific information accompanies all of the fun of heading out to the backyard on a summer night to experience the bugs! In this colorful picture book, Himmelman introduces the sounds of "noisy bugs" and invites children to sing along with them. Each double-page spread focuses on one insect, with a line of text, such as "A Dog-Day Cicada buzzes LOUDLY high in a tree. / ZZZZZZZZ," and a meticulously drawn, large-scale image of the animal, with color, texture, and shading apparently added digitally. The big, bold images make the illustrations inviting to children, while the accurate depictions of individual insects reward closer study. Among those featured are the tiger moth (SQUEAKA-SQUEAKA-SQUEAK), the mosquito (mmmmmm), and the bush katydid (tick-tick-tick zeezeezeezee). In contrast, the butterfly flies by in silence. An appended section provides the sound waves (on paper and, through a link, in audio files) recorded for each example; a paragraph of information about each bug and its sound; and good children's activities for related of insect sounds. A perfect book for: parents and teachers needing homeschool materials for kindergarten (or any grade!) anyone looking for singalong books for kids and toddlers! anyone looking for children's books to help instill an appreciation of our planet!
I've written this book to give you a sound engineer's perspective on your career as a voiceover talent. In this book I've tried to provide you with basic information about audio and equipment that is taught in recording schools. Hopefully, this information will provide a foundation for you to get to know your equipment better and understand how it works. Understanding your audio equipment is critical to helping you sound your best as well as helping you effectively communicate with those trying to help you when problems occur. I've also tried to address proper studio etiquette and many of the bad practices I've seen, heard and experienced from voiceover talents over the years. My intention is not to scold or criticize, but simply to provide those of you who are new to the business with information you may not know, and also to shed light on some mistakes that many of you, who have been in the business for awhile, may not know you are making. This book is not about how to read scripts or how to be a successful voiceover artist. This book complements the many books that have been written about those topics. You may find it helpful to sit in front of your equipment as you read through some of the sections. Follow the procedures I describe and learn what the microphone, knobs, faders and other various elements in your studio can do. Most importantly, open your ears and really listen. Listen to how you sound and learn what you can do to bring out the best in your voice. I am passionate about what I do and I know most of you are too. This is a great business. Thank you for reading my book, I hope you find it helpful and enjoyable.