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1

Jenny, Bartlett, ed. Recording music on location: Capturing the live performance. Amsterdam: Elsevier Focal Press, 2007.

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2

The location sound bible: How to record professional dialogue for film and TV. Studio City, CA: Michael Wiese Productions, 2012.

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3

Council, Puget Sound Regional, and University of Washington. Center for Community Development and Real Estate., eds. Industrial land supply and demand in the central Puget Sound Region. Seattle, Wash: Puget Sound Regional Council, 1998.

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4

Council, Puget Sound Regional, and University of Washington. Center for Community Development and Real Estate., eds. Industrial land supply and demand in the central Puget Sound Region. Seattle, Wash: The Council, 1998.

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5

Barrelhouse blues: Location recording and the early traditions of the blues. New York: Basic Books, 2009.

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6

Butterfield, Earl. Potential of automatic vehicle identification in the Puget Sound area. [Olympia, Wash.]: Washington State Dept. of Transportation, Washington State Transportation Commission, Planning and Programming Service Center, 1994.

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7

Connecticut. Long Island Sound LNG Task Force. Interim report of the Long Island Sound LNG Task Force. [Hartford, Conn: Long Island Sound LNG Task Force, 2006.

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8

Connecticut. Long Island Sound LNG Task Force. Interim report of the Long Island Sound LNG Task Force. [Hartford, Conn: Long Island Sound LNG Task Force, 2006.

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9

Associates, Dick Conway &. Puget Sound subarea forecasts: Model calibration and forecasts. [Seattle?: Puget Sound Regional Council?, 1992.

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10

Ricker, Karl E. Biophysical suitability of the Sunshine Coast and Johnstone Strait/Desolation Sound areas for salmonid farming in net cages: Main report. [Victoria]: Province of British Columbia, Aquaculture and Commercial Fisheries Branch, 1989.

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11

Diserens, Dominique. La location de vidéogrammes et de phonogrammes en droit d'auteur: Étude de droit comparé et de droit suisse. Genève: Droz, 1986.

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12

United States. National Aeronautics and Space Administration., ed. Location of sources of radiation using a weighted hyperbolic technique: NASA new technology report. [Washington, DC: National Aeronautics and Space Administration, 1995.

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13

Pichon, Alexis Le, Blanc Elisabeth, and Alain Hauchecorne. Infrasound monitoring for atmospheric studies. Dordrecht: Springer, 2010.

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14

Robinson, Nancy K. Danger on the sound track. New York: Scholastic, 1986.

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15

Pyrch, Edmund A. Numerical simulation of ground-water flow paths and discharge locations at Puget Sound Naval Shipyard, Bremerton, Washington. Tacoma, Wash: U.S. Dept. of the Interior, U.S. Geological Survey, 1997.

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16

Pyrch, Edmund A. Numerical simulation of ground-water flow paths and discharge locations at Puget Sound Naval Shipyard, Bremerton, Washington. Tacoma, Wash: U.S. Dept. of the Interior, U.S. Geological Survey, 1997.

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17

Strasser, Christian. The sound of Klein-Hollywood: Filmproduktion in Salzburg, Salzburg im Film : mit einem Filmlexikon. Wien: Österreichischer Kunst- und Kulturverlag, 1993.

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18

Pyrch, Edmund A. Numerical simulation of ground-water flow paths and discharge locations at Puget Sound Naval Shipyard, Bremerton, Washington. Tacoma, Wash: U.S. Geological Survey, 1997.

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19

Gulcher, Robin. Tail Slates: A Location Sound Guide. Createspace Independent Publishing Platform, 2018.

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20

Kevin Kearney: Audio Artist, Sound Designer, Analogue Location Sound Recordist. iUniverse, Inc., 2007.

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21

Bartlett, Jenny, and Bruce Bartlett. Recording Music on Location. Focal Press, 2006.

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22

Location Audio Simplified: Capturing Your Audio... and Your Audience. Taylor & Francis Group, 2014.

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23

Miles, Dean. Location Audio Simplified: Capturing Your Audio... and Your Audience. Taylor & Francis Group, 2015.

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24

Tierno, Michael. Location and Postproduction Sound for Low-Budget Filmmakers. Routledge, 2020. http://dx.doi.org/10.4324/9780429331305.

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25

Tierno, Michael. Location and Postproduction Sound for Low-Budget Filmmakers. Taylor & Francis Group, 2020.

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26

Tierno, Michael. Location and Postproduction Sound for Low-Budget Filmmakers. Taylor & Francis Group, 2020.

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27

Tierno, Michael. Location and Postproduction Sound for Low Budget Filmmakers. Taylor & Francis Group, 2020.

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28

Location and Postproduction Sound for Low Budget Filmmakers. Taylor & Francis Group, 2020.

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29

Tierno, Michael. Location and Postproduction Sound for Low-Budget Filmmakers. Taylor & Francis Group, 2020.

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30

Tierno, Michael. Location and Postproduction Sound for Low-Budget Filmmakers. Taylor & Francis Group, 2020.

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31

Bartlett, Jenny, and Bruce Bartlett. On Location Recording Techniques. Taylor & Francis Group, 2013.

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32

On Location Recording Techniques. Focal Press, 1999.

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33

Bartlett, Jenny, and Bruce Bartlett. On-location Recording Techniques. Taylor & Francis Group, 2013.

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34

Recording Music on Location. Routledge, 2014.

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35

May, Bradford J. Sound location: monaural cues and spectral cues for elevation. Oxford University Press, 2010. http://dx.doi.org/10.1093/oxfordhb/9780199233281.013.0013.

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36

Bartlett, Bruce. Recording Music on Location: Capturing the Live Performance. Taylor & Francis Group, 2014.

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37

Bartlett, Bruce. Recording Music on Location: Capturing the Live Performance. Taylor & Francis Group, 2014.

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38

Recording Music on Location: Capturing the Live Performance. Taylor & Francis Group, 2014.

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39

Bartlett, Bruce. Recording Music on Location: Capturing the Live Performance. Taylor & Francis Group, 2014.

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40

Bartlett, Bruce. Recording Music on Location: Capturing the Live Performance. Taylor & Francis Group, 2014.

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41

Sioli, Angeliki, and Elisavet Kiourtsoglou, eds. The Sound of Architecture. Leuven University Press, 2022. http://dx.doi.org/10.11116/9789461664563.

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Acoustic atmospheres can be fleeting, elusive, or short-lived. Sometimes they are constant, but more often they change from one moment to the next, forming distinct impressions each time we visit certain places. Stable or dynamic, acoustic atmospheres have a powerful effect on our spatial experience, sometimes even more so than architecture itself. This book explores the acoustic atmospheres of diverse architectural environments, in terms of scale, function, location, or historic period—providing an overview of how acoustic atmospheres are created, perceived, experienced, and visualized. Contributors explore how sound and its atmospheres transform architecture and space. Their essays demonstrate that sound is a tangible element in the design and staging of atmospheres and that it should become a central part of the spatial explorations of architects, designers, and urban planners. The Sound of Architecture will be of interest to architectural historians, theorists, students, and practicing architects, who will discover how acoustic atmospheres can be created without complex and specialized engineering. It will also be of value to scholars working in the field of history of emotions, as it offers evocative descriptions of acoustic atmospheres from diverse cultures and time periods.
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42

Suárez, Juan A. The Sound of Queer Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0013.

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This chapter characterises the music and sound of queer experimental film. It starts out with a historical revision of some social, cinematographic and musical developments that impinged on the evolution of queer experimental film. It then theorises about the possibility of a queer sound and music. And it subsequently characterises three modalities of aural queerness: camp, noisiness and dissonance. These modes share an epistemic uncertainty about the location and the very matter of what counts as queer, so that queerness has to be explored as an open question or a potential frame of reference; as a possibility that is communicated by sound just as much as by the image. The chapter takes as examples of these modes both historical filmmakers, such as Jack Smith, Kenneth Anger, Andy Warhol and Barbara Hammer, and more recent ones, such as Hans Scheirl, David Domingo, Jennifer Reeves, Luther Price and William E. Jones.
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43

The Location, identification, and evaluation of potential submerged cultural resources in three Puget Sound dredged material disposal sites. [Seattle: U.S. Army Corps of Engineers, 1988.

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44

Smith, Leslie S. Audition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199674923.003.0015.

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Audition is the ability to sense and interpret pressure waves within a range of frequencies. The system tries to solve the what and where tasks: what is the sound source (interpretation), and where is it (location)? Auditory environments vary in the number and location of sound sources, their level and in the degree of reverberation, yet biological systems have robust techniques that work over a large range of conditions. We briefly review the auditory system, including the auditory brainstem and mid-brain major components, attempting to connect its structure with the problems to be solved: locating some sounds, and interpreting important ones. Systems using knowledge of animal auditory processing are discussed, including both CPU-based and Neuromorphic approaches, starting from the auditory filterbank, and including silicon cochleae: feature (auditory landmark) based systems are considered. The level of performance associated with animal auditory systems has not been achieved, and we discuss ways forward.
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45

Martin, Graham R. Hearing and Olfaction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199694532.003.0003.

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Hearing and the sense of smell (olfaction) complement vision in gaining information about objects remote from the body. Hearing sensitivity in birds shows relatively little variation between species and sits well within the hearing capacities of young humans. Most birds have relatively poor ability to locate sounds in direction and distance. Only in owls does the accuracy of sound location match that of humans. A few highly specialized birds employ echolocation to orient themselves in the total darkness of caves. There is increasing evidence that olfaction is a key sense in birds guiding diverse behaviours across many species. Olfaction plays a key role in the location of profitable foraging locations at sea and on land, and in some species smell may be used to locate individual food items and nests. Olfaction may also play a role through semiochemicals in the recognition of species and individuals, and in mate choice.
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46

Publication, Birdwatching. Bird Watching Log Book: Amazing Bird Watching Logbook. Keep Record Bird Sound, Photo or Sketch, Weather and Location. Wild about Birds. Independently Published, 2021.

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47

Encyclopedia of Electronic Components Volume 3: Sensors for Location, Presence, Proximity, Orientation, Oscillation, Force, Load, Human Input, Liquid ... Light, Heat, Sound, and Electricity. Maker Media, Inc, 2016.

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48

Publication, Birdwatching. Bird Watching Log Book: Present for Birders. Keep Record Bird Sound, Photo or Sketch, Weather and Location. Bird Sightings List Species Gift. Bird Watching Book for Beginners. Independently Published, 2021.

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49

Toop, David. Sinister Resonance. The Continuum International Publishing Group, 2010. http://dx.doi.org/10.5040/9781501382864.

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Sinister Resonance begins with the premise that sound is a haunting, a ghost, a presence whose location is ambiguous and whose existence is transitory. The intangibility of sound is uncanny – a phenomenal presence in the head, at its point of source and all around. The close listener is like a medium who draws out substance from that which is not entirely there. The history of listening must be constructed from the narratives of myth and fiction, ‘silent’ arts such as painting, the resonance of architecture, auditory artefacts and nature. In such contexts, sound often functions as a metaphor for mystical revelation, forbidden desires, formlessness, the unknown, and the unconscious. As if reading a map of hitherto unexplored territory, Sinister Resonance deciphers sounds and silences buried within the ghostly horrors of Arthur Machen, Shirley Jackson, Charles Dickens, M.R. James and Edgar Allen Poe, Dutch genre painting from Rembrandt to Vermeer, artists as diverse as Francis Bacon and Juan Munoz, and the writing of many modernist authors including Virginia Woolf, Samuel Beckett, and James Joyce.
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50

Validation of aircraft noise models at lower levels of exposure. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1996.

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