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Books on the topic 'Recording'

To see the other types of publications on this topic, follow the link: Recording.

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

1967-, Norris Ann, and Norris Scott, eds. Recording. Saint Paul, Minn: Rada Press, 2005.

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2

Runstein, Robert E. Modern recording techniques. 2nd ed. Indianapolis, Ind., U.S.A: H.W. Sams, 1986.

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3

Alkin, E. G. M. Sound recording and reproduction. 2nd ed. Oxford: Focal Press, 1991.

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4

Alkin, E. G. M. Sound recording and reproduction. London: Focal Press, 1987.

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5

Miles, Liz. Making a recording. Chicago, Ill: Raintree, 2009.

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6

Haigh, Caroline, John Dunkerley, and Mark Rogers. Classical Recording. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Audio Engineering Society presents...: Focal Press, 2020. http://dx.doi.org/10.4324/9780429316852.

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7

Moylan, William. Recording Analysis. New York: Routledge, 2020.: Focal Press, 2020. http://dx.doi.org/10.4324/9781315617176.

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8

White, Paul. Creative recording. Ely: Music Maker Books, 1991.

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9

White, Paul. Creative recording. Ely: Music Maker Books, 1989.

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10

Gracie, James. Recording history. [S.l.]: [s.n.], 2001.

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11

Stern, Robert Morris. Psychophysiological recording. 2nd ed. Oxford [England]: Oxford University Press, 2001.

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12

Newell, Philip Richard. Recording spaces. Oxford, Eng: Focal Press, 1998.

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13

Rauf, Don. Recording Industry. New York: Infobase Pub., 2010.

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14

Canada. Industry, Science and Technology Canada. Sound recording. Ottawa: Industry, Science and Technology Canada, 1988.

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15

Corporation, Hal Leonard Publishing, and Yamaha Music Foundation, eds. Personal recording. Winona, MN: Hal Leonard Pub. Corp., 1987.

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16

White, Paul. Creative recording. Ely: Music Maker Books, 1990.

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17

Rauf, Don. Recording industry. New York: Ferguson, 2010.

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18

Rauf, Don. Recording industry. New York: Ferguson, 2010.

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19

Debbie, Poyser, and Gilby Ian, eds. Recording & production techniques: For the recording musician. St.Ives: SOS Publications, 1993.

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20

Puffert, Douglas J. Audio and video recording and reproducing equipment. Washington, DC: Office of Industries, U.S. International Trade Commission, 1994.

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21

Ingram, Adrian. Creative Recording Two: Microphones and Recordig Techniques. Music Maker Books, 1990.

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22

Witmer, Scott. Recording. ABDO Publishing Company, 2009.

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23

Recording. Edina, Minn: ABDO, 2009.

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24

Recording. Lulu Press, Inc., 2012.

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25

Recording. ABDO Publishing Company, 2009.

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26

mari, joshua eubanks. Recording. Blurb, 2017.

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27

Practical Recording 4: Rhythm Programming (Practical Recording) (Practical Recording). 2nd ed. Sanctuary Press, 2004.

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28

Practical Recording 6: Music Mac Osx (Practical Recording) (Practical Recording). Sanctuary, 2004.

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29

Stimeling, Travis D. Recording Practice in Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.5.

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This chapter explores the influence of recording technologies on the creation and reception of country music from the first hillbilly recordings to the twenty-first century. Following a survey of recent literature from the musicology of recording and sound studies, country music’s voice-centered recording strategies are explored through case studies drawn from early hillbilly, honky tonk, and “hot country” recordings. Country music’s history as a recorded musical practice is shaped by technological and aesthetic developments that can be heard in a wide range of recorded popular musics. Furthermore, this chapter examines the ways that bluegrass musicians, engineers, and producers deploy specific technologies, including the single-microphone technique, to articulate their musical and cultural authenticity. These ways can help us gain a better understanding of the expressive power of recorded country music by placing these “records in dialogue” with other recordings in country music and from other music styles.

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30

Creative Recording, Part Two (Creative Recording). Sanctuary Publishing, 1999.

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31

Pawera, Norbert. Practical Recording 1: Microphones (Practical Recording). Sanctuary, 2004.

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32

Catalogue of the Stebbing Recording Studio: 78rpm recordings. 3rd ed. Auckland, N.Z: D.O. Huggard, 1999.

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33

Alker, Thomas. Practical Recording 7: Reason (Book & CD ROM) (Practical Recording) (Practical Recording). Sanctuary Press, 2004.

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34

Mee, C. Denis. Magnetic Recording: Video Audio and Instrumentation Recording (Magnetic Recording Vol. III). McGraw-Hill Companies, 1988.

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35

Schwarcz, Vera. Recording Angel. Yale University Press, 2005.

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36

Brayley, Ben. Recording Technique. Xlibris Corporation LLC, 2019.

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37

Fontichiaro, Kristin, and Rachael McLean. Recording Podcasts. Cherry Lake Publishing, 2020.

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38

Daniel, Eric D., C. Denis Mee, and Mark H. Clark. Magnetic Recording. IEEE, 1998. http://dx.doi.org/10.1109/9780470545201.

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39

Scales, Christopher A., and Christopher A. Scales. Recording Culture. Duke University Press, 2012. http://dx.doi.org/10.1215/9780822395720.

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40

Blakemore, Tom. Recording Voiceover. Routledge, 2015. http://dx.doi.org/10.4324/9781315880174.

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41

Herle, Anita, and Jude Philp, eds. Recording Kastom. Sydney University Press, 2020. http://dx.doi.org/10.30722/sup.9781743326480.

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Recording Kastom brings readers into the heart of colonial Torres Strait and New Guinea through the personal journals of Cambridge zoologist and anthropologist Alfred Haddon, who visited the region in 1888 and 1898. Haddon's published reports of these trips were hugely influential on the nascent discipline of anthropology, but his private journals and sketches have never been published in full. The journals record in vivid detail Haddon's observations and relationships. They highlight his preoccupation with documentation, and the central role played by the Islanders who worked with him to record kastom. This collaboration resulted in an enormous body of materials that remain of vital interest to Torres Strait Islanders and the communities where he worked. Haddon's Journals provide unique and intimate insights into the colonial history of the region will be an important resource for scholars in history, anthropology, linguistics and musicology. This comprehensively annotated edition assembles a rich array of photographs, drawings, artefacts, film and sound recordings. An introductory essay provides historical and cultural context. The preface and epilogue provide Islander perspectives on the historical context of Haddon’s work and its significance for the future.

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42

Schomer, Donald L., Charles M. Epstein, Susan T. Herman, Douglas Maus, and Bruce J. Fisch. Recording Principles. Edited by Donald L. Schomer and Fernando H. Lopes da Silva. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780190228484.003.0005.

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This chapter reviews the technical aspects of recording and reviewing clinical electroencephalograms (EEGs) and related biopotentials. While advances in engineering technology have revolutionized EEG machines, the basic principles underlying accurate representation of brain activity are largely unchanged. The first section reviews the analog EEG components, and the second section discusses analog-to-digital conversion, digital filters, and display and storage parameters. Digital EEG machines are now less expensive and their capabilities far surpass those of analog machines. The third section reviews how electrode positions and systems of signal display (montages) can be used to determine the polarity and field of EEG signals. The final section describes how other biopotentials are acquired and displayed. Polygraphy can provide crucial information on other physiological processes that can impact EEG activity and can help identify potential artifactual signals. We highlight recent advances that allow the recording of a broader range of EEG frequencies and spatial distribution.

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43

Lowe, Adam. Tomb Recording. Edited by Richard H. Wilkinson and Kent R. Weeks. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199931637.013.035.

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44

Scales, Christopher A., and Christopher A. Scales. Recording Culture. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822395720.

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45

Newell, Philip. Recording Spaces. Routledge, 1998. http://dx.doi.org/10.4324/9780080546223.

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46

Magnetic recording. New York: McGraw-Hill, 1987.

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47

Bliss, E. V. Recording Behaviour. The National Autistic Society, 1999.

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48

Stern, Robert M., Karen S. Quigley, and William J. Ray. Psychophysiological Recording. 2nd ed. Oxford University Press, USA, 2000.

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49

Creative recording. Ely: Music Maker, 1990.

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50

Recording Progress. CILT Publications, 1990.

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