How did one of the great inventions of the nineteenth century—Thomas Edison's phonograph—eventually lead to one of the most culturally and economically significant technologies of the twentieth and twenty-first centuries? Sound Recording traces the history of the business boom and the cultural revolution that Edison's invention made possible. Recorded sound has pervaded nearly every facet of modern life—not just popular music, but also mundane office dictation machines, radio and television programs, and even telephone answering machines. Just as styles of music have evolved, so too have the formats through which sound has been captured—from 78s to LPs, LPs to cassette tapes, tapes to CDs, and on to electronic formats. The quest for better sound has certainly driven technological change, but according to David L. Morton, so have business strategies, patent battles, and a host of other factors.

Hands-on practical guide covering all aspects of recording, ideal for beginning and intermediate recording engineers, producers, musicians and audio enthusiasts. Filled with tips and shortcuts, this book offers advice on equipping a home studio (both low-budget and advanced), suggestions for set-up, acoustics, choosing monitor speakers, and preventing hum. This best-selling guide also tells how to judge recordings and improve them to produce maximum results. New material covered in the 5th edition to include: * complete revision and update of digital media sections * new section on mixing tips * new section on podcasts and file sharing * new section equipment and connector levels * new section function and connector types * new section on digital metering * new section exporting projects from other studios * new photos

Recording Music on Location provides an exceptional collection of information regarding all aspects of recording outside of the studio. Featuring clear explanations on how to achieve professional results, this book is divided into two distinct sections: popular music and classical music. Whether you record in the local rock club, jazz café, or in an orchestra hall, Bartlett offers sage advice on each stage of the process of location recording. Packed with hints and tips, this book is a great reference for anyone planning to venture outside of the studio. Audio examples, tracking sheets, weblinks, and downloadable checklists are available on the companion website at www.focalpress.com/cw/bartlett. This edition has been thoroughly updated and includes new sections on iOS devices, USB thumb-drive recorders, and digital consoles with built-in recorders, along with updated specs on recording equipment, software, and hardware. This edition will also show you how to prepare recordings for the web and live audio streaming, and covers spectral analysis, noise reduction, and parallel compression. A new case study will go in depth on classical-music recording.

Recording Spaces deals with the acoustics of rooms intended for musical performance of many styles. It discusses these spaces in terms of isolation, internal acoustics, possible techniques of use, and the way that these spaces will interact with the musicians, their instruments, and the microphones. It deals with the concepts of sound isolation, examines some of the principal processes at work, and provides drawings and descriptions of actual rooms and techniques. The book describes how the isolation requirements have their effect on the internal acoustics of the rooms, and how the room treatments must be conceived with such interactions taken into consideration. Starting from the initial concepts, to the measurements of the finished items, Recording Spaces discusses many different types of room, from vocal `booths' to orchestral rooms. There are many stories of how actual `classical' musical performances, from rock to orchestral, have been inspired, or strongly influenced, by the acoustics of their recording spaces. Philip Newell lives in Spain and travels extensively - he is currently designing a concert hall in the Ukraine. Philip began his career working with classic groups such as The Who, whilst at the same time recording brass bands, Welsh male voice choirs, Scottish pipes, church and fairground organs, musicals, and classical recitals. After setting up Virgin Records' first studio he designed their Manor Mobile studio, produced the first recording with a 24-track mobile vehicle, and went on to design their Townhouse Studios in London. Philip has close links with the Institute of Sound and Vibration Research at Southampton University and has written articles for the major audio magazines. He is the author of Studio Monitoring Design, also published by Focal Press.

The Handbook of Recording Engineering is a logical outgrowth of the first two editions of Sound Recording. The ten years since the first edition have seen no slackening in the development of recording technology, and they have wit nessed an almost phenomenal growth in the teaching of recording and audio engineering at all academic levels. The earlier editions of Sound Recording have been widely used as texts at all educational levels, and it is the author's intent in the Handbook of Recording Engineering to produce a book which is even more suited to these purposes. At the same time, the book has been organized as a true handbook, which presents of reference material in easily accessible form. a broad array The organization of the book is unique in that it progresses as the signal transmission chain itself does-from the recording venue on through the micro phone, transmission channel, and finally to the listening environment. The first six chapters thus form a logical sequence, and the author recommends that in structors using the Handbook follow them accordingly. Chapter One presents a discussion of acoustical fundamentals, including an introduction to some basic psychoacoustical considerations having to do with performance spaces. Chapter Two covers the basic operating principles of mi crophones, while Chapter Three extends the discussion of microphones to cover the entire range of stereophonic imaging phenomena.

This text focuses on the principles and methods of using growth layers formed in teeth and bones of mammals to make a judgement on essential traits of the animal's life history. In nearly all mammalian species, including man, the age of individuals can be determined from the number of growth layers and, at least in some of them, it is possible to estimate the season of an animal's birth and death, age of sexual maturation, periodicity of reproduction, certain feeding habits and other aspects of the individual's biology. It is also possible, from tooth-enamel analysis, to assess doses of radiation accumulated by animals and human beings during their lifetime.;This book is intended for zoologists, wild-game biologists and zoo archaeologists, but some of the sections could also be of interest for anthropologists, radioecologists and conservation biologists.

Optical disc industry is one of the successful businesses in the world, and huge amounts of discs and drives have been spread all over the world. More than a billion discs are produced and distributed every year. Since the ?rst optical discs – Laser Discs and Compact Discs (CD) – were shipped in the early 1980s, they have rapidly dominated the world music market, and DVDs will replace the video-tape market in the near future. The optical disc and drive technologies consist of the most advanced and integrated systems with regard to optics, physics, chemistry, mathematics, electronics, mechanics and related subjects; a huge number of scientists and engineers have engaged in the research and development of the systems. One of the key factors of the development of the optical disc systems, of course, results in the availability of cheap, stable, and reliable semiconductor laser units. Now, you can store data up to 4. 7GB on a single side of the 12-cm DVD, and in the near future, blue laser technology will allow storage of more than 20GB on the same size disc. We should not however forget the other core technologies such as focusing the beam on the surface of a spinning disc precisely, and encoding and decoding digital data. The data capacity of optical discs has increased from 0. 65GB to 25GB by the year 2003, and we certainly believe it will continue to increase with new technologies.

Recording Tips for Music Educators: A Practical Guide for Recording School Groups provides a go-to guide for music educators to plan and execute a successful recording project for school groups. For those teachers who are not comfortable with the recording process, this book functions as a catalyst to becoming comfortable with the planning, execution, and use of a school recording project. One of the most valuable tools for teaching is for students to be able to evaluate themselves. A good recording of the group helps students listen critically and make accurate evaluations of how well they have performed literature they have been taught over time. Covering planning, equipment needs, and equipment use, Recording Tips for Music Educators ensures that educators not trained in music production will be able to create praise-worthy recordings.

Audio recordings are the calling card with which musicians share and promote their work so a knowledge of recording techniques and technologies is essential to the 21st century musician. Recording On a Budget provides a comprehensive introduction to the recording arts from a budget-conscious perspective. Written by a professional musician and educator, this book is ideal for musicians, educators, music students, songwriters and hobbyists. A central theme of the book is that it is possible to make quality recordings with a modest selection of recording tools. Chapters cover the selection and use of all of the components of a project studio including microphones, mixer, computer, digital audio workstation software, and signal processors. Additional chapters provide a solid foundation in acoustics, audio recording, podcasting, mixing and mastering. The final chapter of the book features do-it-yourself projects that can be completed with a modest selection of tools. Most musicians have developed their ears to a high level so a special focus is placed on the development of recording technique through experimentation and the application of critical listening skills. The book is supported by an online resource of nearly 250 audio excerpts detailing all of the primary topics of the book. Recording on a Budget is ideal for: · Musicians who are interested in recording a quality CD or demo · Choir, orchestra, and band directors who want to record vocal or instrumental ensemble · Student performers and composers who wish to record a performance or produce their own music · Bands interested in recording live concerts or recording an album in a home studio · Videographers interested in recording location sound, voice-overs or music · Songwriters who wish to produce a quality demo · Podcasters and ALL who want to make quality recordings without spending fortunes on equipment. Readers will learn · to cut budget corners without sacrificing audio quality · to choose the right microphone for the job (and where to place it) · to assemble an equipment rack, mixing desk, and speakers stand · to avoid common mistakes · And to be creative and have fun with recording technology Visit the companion website at www.oup.com/us/recordingonabudget for free selection of sample recordings!

A comprehensive and up-to-date reference on holographic recording Photorefractive Materials for Dynamic Optical Recording offers a comprehensive overview of the physics, technology, and characterization of photorefractive materials that are used for optical recording. The author, a noted expert on the topic, offers an exploration of both transient and permanent holographic information storage methods. The text is written in clear terms with coherent explanations of the different methods that allows for easy access to the most appropriate method for a specific need. The book provides an analysis of the fundamental properties of the materials and explores the dynamic recording of a spatial electric charge distribution and the associated spatial electric field distribution. The text also includes information on the characterization of photorefractive materials using holographic and nonholographic optical methods and electrical techniques, reporting a large number of actual experimental results on a variety of materials. This important resource: Offers an in-depth source of information on the physics and technology of all relevant holographic recording methods Contains text written by a pioneer in the field—Jaime Frejlich's research defined the field of dynamic holographic recording Presents a one-stop resource that covers all phenomena and methods Includes a review of the practical applications of the technology Written for materials scientists, solid state physicists, optical physicists, physicists in industry, and engineering scientists, Photorefractive Materials for Dynamic Optical Recording offers a comprehensive resource on the topic from the groundbreaking expert in the field.