001432950 000__ 04975cam\a2200529\i\4500
001432950 001__ 1432950
001432950 003__ OCoLC
001432950 005__ 20230309003541.0
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001432950 007__ cr\un\nnnunnun
001432950 008__ 201216s2021\\\\sz\a\\\\o\\\\\001\0\eng\d
001432950 019__ $$a1227390933$$a1228649682$$a1229932412$$a1231610602$$a1237457945$$a1240168528$$a1244632980
001432950 020__ $$a9783030624293$$q(electronic bk.)
001432950 020__ $$a3030624293$$q(electronic bk.)
001432950 020__ $$z3030624285
001432950 020__ $$z9783030624286
001432950 0247_ $$a10.1007/978-3-030-62429-3$$2doi
001432950 035__ $$aSP(OCoLC)1227064268
001432950 040__ $$aYDX$$beng$$erda$$epn$$cYDX$$dGW5XE$$dOCLCO$$dN$T$$dSFB$$dEBLCP$$dYDXIT$$dOCLCF$$dAJB$$dMUU$$dOCLCO$$dOCLCA$$dOCL$$dOCLCO$$dOCLCQ
001432950 049__ $$aISEA
001432950 050_4 $$aTK7881.4
001432950 08204 $$a621.389/3$$223
001432950 1001_ $$aAshbourn, Julian,$$d1952-$$eauthor.
001432950 24510 $$aAudio technology, music, and media :$$bfrom sound wave to reproduction /$$cJulian Ashbourn.
001432950 264_1 $$aCham, Switzerland :$$bSpringer,$$c[2021]
001432950 300__ $$a1 online resource (xii, 142 pages) :$$billustrations
001432950 336__ $$atext$$btxt$$2rdacontent
001432950 337__ $$acomputer$$bc$$2rdamedia
001432950 338__ $$aonline resource$$bcr$$2rdacarrier
001432950 500__ $$aIncludes index.
001432950 5050_ $$aIntroduction -- How the war changed audio -- The V record label for US troops -- Stereo sound, multi-channel sound, film sound and more -- The physics of sound -- The advent of tape and moving coil microphones -- The development of microphone techniques -- Multi-channel Tape recorders -- The advent of the Big Studios -- The record business -- The Maverick producers and freelance engineers -- The big time with 24 track everywhere and heaps of signal processing -- How the technology changed the music -- Classical music recording is effectively broken by the technology -- Digital arrives, but something is not right -- A to D and D to A convertors and compressors in the digital domain -- High resolution Digital recording and re-sampling -- Lossless compression -- The revolution in playback technology -- The social revolution in consumed music -- The change in musicians -- How to do things properly -- The use of Digital Audio Workstations and the impact on music -- Why recordings sound worse now than they did in the 50s and 60s -- Music and Civilisation and why it is important -- Where is the future archive for serious music being produced now -- Are advances in technology always good -- Teaching Audio Engineers -- The future -- Conclusion.
001432950 506__ $$aAccess limited to authorized users.
001432950 520__ $$aThis book provides a true A to Z of recorded sound, from its inception to the present day, outlining how technologies, techniques, and social attitudes have changed things, noting what is good and what is less good. The author starts by discussing the physics of sound generation and propagation. He then moves on to outline the history of recorded sound and early techniques and technologies, such as the rise of multi-channel tape recorders and their impact on recorded sound. He goes on to debate live sound versus recorded sound and why there is a difference, particularly with classical music. Other topics covered are the sound of real instruments and how that sound is produced and how to record it; microphone techniques and true stereo sound; digital workstations, sampling, and digital media; and music reproduction in the home and how it has changed. The author wraps up the book by discussing where we should be headed for both popular and classical music recording and reproduction, the role of the Audio Engineer in the 21st century, and a brief look at technology today and where it is headed. This book is ideal for anyone interested in recorded sound. "[Julian Ashbourn] strives for perfection and reaches it through his recordings... His deep knowledge of both technology and music is extensive and it is with great pleasure that I see he is passing this on for the benefit of others. I have no doubt that this book will be highly valued by many in the music industry, as it will be by me." -- Claudio Di Meo, Composer, Pianist and Principal Conductor of The Kensington Philharmonic Orchestra, The Hemel Symphony Orchestra and The Lumina Choir--$$cProQuest Ebook Central resource page, viewed March 8, 2021.
001432950 588__ $$aOnline resource; title from PDF title page (ProQuest Ebook Central, viewed March 8, 2021).
001432950 650_0 $$aSound$$xRecording and reproducing.
001432950 650_0 $$aSound$$xRecording and reproducing$$xDigital techniques.
001432950 650_0 $$aAcoustical engineering.
001432950 650_6 $$aSon$$xEnregistrement et reproduction.
001432950 650_6 $$aAcoustique appliquée.
001432950 655_0 $$aElectronic books.
001432950 77608 $$iPrint version:$$z3030624285$$z9783030624286$$w(OCoLC)1197846679
001432950 852__ $$bebk
001432950 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-030-62429-3$$zOnline Access$$91397441.1
001432950 909CO $$ooai:library.usi.edu:1432950$$pGLOBAL_SET
001432950 980__ $$aBIB
001432950 980__ $$aEBOOK
001432950 982__ $$aEbook
001432950 983__ $$aOnline
001432950 994__ $$a92$$bISE