"I found the journal at work. Well, I don't know if you'd call it work, but that's where I found it. It's the lost journal of Nikola Tesla, one of the greatest inventors and visionaries ever. Before he died in 1943, he kept a notebook filled with spectacular claims and outrageous plans. One of these plans was for an "Interdimensional Transfer Apparatus"--That allowed someone (in this case me and my friend Pete) to travel to other versions of the infinite dimensions that make up the multiverse. Crazy, right? But that's just where the crazy starts." [back cover].
Finalist for the 2019 Whistler Independent Book Awards, Semi-finalist for 2019 Kindle Book Awards, Literary Fiction, and Honorable Mention 2020 Writers' Digest Self-Published Book Awards. In this family saga, love and loss are bound together by a country always at war During WWI, Lukia Mazurets, a Ukrainian farmwife, delivers her eighth child while her husband is serving in the Tsar’s army. Soon after, she and her children are forced to flee the invading Germans. Over the next fourteen years, Lukia must rely on her wits and faith to survive life in a refugee camp, the ravages of a typhus epidemic, the Bolshevik revolution, unimaginable losses, and one daughter’s forbidden love. Sunflowers Under Fire is a heartbreakingly intimate novel that illuminates the strength of the human spirit. Based on the true stories of her grandmother’s ordeals, author Diana Stevan captures the voices of those who had little say in a country that is still being fought over.
A groundbreaking history of African Americans in the early recording industry, Lost Sounds examines the first three decades of sound recording in the United States, charting the surprising roles black artists played in the period leading up to the Jazz Age and the remarkably wide range of black music and culture they preserved. Drawing on more than thirty years of scholarship, Tim Brooks identifies key black recording artists and profiles forty audio pioneers. Brooks assesses the careers and recordings of George W. Johnson, Bert Williams, George Walker, Noble Sissle, Eubie Blake, the Fisk Jubilee Singers, W. C. Handy, James Reese Europe, Wilbur Sweatman, Harry T. Burleigh, Roland Hayes, Booker T. Washington, and boxing champion Jack Johnson, plus a host of lesser-known voices. Many of these pioneers struggled to be heard in an era of rampant discrimination. Their stories detail the forces––black and white––that gradually allowed African Americans to enter the mainstream entertainment industry. Lost Sounds includes Brooks's selected discography of CD reissues and an appendix by Dick Spottswood describing early recordings by black artists in the Caribbean and South America.
Working as a recording engineer presents challenges from every direction of your project. From using microphones to deciding on EQ settings, choosing outboard gear to understanding how, when and why to process your signal, the seemingly never-ending choices can be very confusing. Professional Audio's bestselling author Bobby Owsinski (The Mixing Engineer's Handbook, The Mastering Engineer's Handbook) takes you into the tracking process for all manner of instruments and vocals-- providing you with the knowledge and skill to make sense of the many choices you have in any given project. From acoustic to electronic instruments, mic placement to EQ settings, everything you need to know to capture professionally recorded audio tracks is in this guide.
(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.
This is a collection of interviews with contemporary sound artists who use field recording in their work. These conversations explore the fundamental issues that underlie the development of field recording as the core of their practice. Recurring themes include early motivations, aesthetic preferences, the audible presence of the recordist and the nature of the field. Conversations with Manuela Barile, Angus Carlyle, Budhaditya Chattopadhyay, Viv Corringham, Peter Cusack, Steven Feld, Felicity Ford, Jez Riley French, Antye Greie, Christina Kubisch, Cathy Lane, Francisco López, Annea Lockwood, Andrea Polli, Ian Rawes, Lasse-Marc Riek, Hiroki Sasajima, Davide Tidoni, Hildegard Westerkamp and Jana Winderen.
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.
The Science of Sound Recording will provide you with more than just an introduction to sound and recording, it will allow you to dive right into some of the technical areas that often appear overwhelming to anyone without an electrical engineering or physics background. The Science of Sound Recording helps you build a basic foundation of scientific principles, explaining how recording really works. Packed with valuable must know information, illustrations and examples of 'worked through' equations this book introduces the theory behind sound recording practices in a logical and practical way while placing an emphasis on the concepts of measurement as they relate to sound recording, physical principles of mechanics and acoustics, biophysics of hearing, introduction to electronics, analog and digital recording theory and how science determines mixing techniques.
Mixing is an Attitude When I think back to my best mixes—regardless of their commercial success—in each and every case, I can only describe the experience as one in which I was working from deep within, outside of any external forces. I wasn't thinking; I was doing. I wasn't scared of what anyone would think. I wasn't scared of failure. All my decisions were made with confidence, and once a judgment was made, I didn't second-guess myself. I allowed the music to guide me, and I based all of my mix decisions on nothing more than one simple criterion: Are the song and production doing what they're supposed to be doing? That sounds nice, huh? I mean, that's the headspace you want to be in when you're mixing! The problem is, you can't get there if you're focused on all the wrong things, and we're all susceptible to distraction and self-doubt. Great mixing involves trusting yourself, first and foremost. And I can promise you, that trust is downright infectious to everyone on your project. Who Am I? I'm Mixerman, a gold and multi-platinum mixer, producer, and recordist. I've been mixing professionally and at a high level for over three decades now., and I can assure you, great mixing isn't about manipulating sound. It's about the decisions you make in regards to the music, the balances, and how you use the arrangement to push the listener forward through the song. This is accomplished thought concrete strategies and techniques, that I'm uniquely qualified to offer you. Boost Your Confidence Now You can spend the next decade mixing two songs a day to get there. Or you can get Zen & the Art of MIXING 2021, and I'll explain the thinking behind great mixing. And then watch your confidence soar. There's a reason why this is my most popular work, to date. Enjoy, Mixerman
"A lucid and passionate case for a more mindful way of listening to and engaging with musical, natural, and manmade sounds." —New York Times In this tour of the world’s most unexpected sounds, Trevor Cox—the “David Attenborough of the acoustic realm” (Observer)—discovers the world’s longest echo in a hidden oil cavern in Scotland, unlocks the secret of singing sand dunes in California, and alerts us to the aural gems that exist everywhere in between. Using the world’s most amazing acoustic phenomena to reveal how sound works in everyday life, The Sound Book inspires us to become better listeners in a world dominated by the visual and to open our ears to the glorious cacophony all around us.
