PreSonus® StudioLive™ Mixer Handbook is divided into three sections: Part 1 is a general overview that breaks down each challenging feature. Part 2 covers live sound, explaining feedback-free stage monitoring, tuning your sound system to any venue, and StudioLive's remote mixing capabilities. Part 3 focuses on studio recording, detailing the mixing techniques used by the pros, and includes a bonus chapter on mic placement that covers nearly every instrument.
After finishing this guide, you'll find recording and mixing so much easier with your StudioLive mixer that you’ll think you just bought a new console! Bobby consulted directly with PreSonus to write the PreSonus® StudioLive™ Mixer Handbook, so you're getting expert info directly from the source!
In this eBook you'll discover:
* How to configure your computer to unlock StudioLive's most powerful features
* The way to control your monitor or headphone mixes from your iPhone
* Secrets to great-sounding, feedback-free stage monitors
* How to remotely control your StudioLive Mixer from an iPad
* Ways to easily record your shows without any additional hardware or software
* Miking tips for nearly every instrument
* Studio mixing tips to take your recordings to the next level
Named One of the Best Books of 2011 by NPR – Spin - USA Today – CNBC - Pitchfork - The Onion - The Atlantic - The Huffington Post – VEVO - The Boston Globe - The San Francisco Chronicle
Remember the first time you saw Michael Jackson dance with zombies in "Thriller"? Diamond Dave karate kick with Van Halen in "Jump"? Tawny Kitaen turning cartwheels on a Jaguar to Whitesnake's "Here I Go Again"? The Beastie Boys spray beer in "(You Gotta) Fight for Your Right (To Party)"? Axl Rose step off the bus in "Welcome to the Jungle"?
It was a pretty radical idea-a channel for teenagers, showing nothing but music videos. It was such a radical idea that almost no one thought it would actually succeed, much less become a force in the worlds of music, television, film, fashion, sports, and even politics. But it did work. MTV became more than anyone had ever imagined.
I Want My MTV tells the story of the first decade of MTV, the golden era when MTV's programming was all videos, all the time, and kids watched religiously to see their favorite bands, learn about new music, and have something to talk about at parties. From its start in 1981 with a small cache of videos by mostly unknown British new wave acts to the launch of the reality-television craze with The Real World in 1992, MTV grew into a tastemaker, a career maker, and a mammoth business.
Featuring interviews with nearly four hundred artists, directors, VJs, and television and music executives, I Want My MTV is a testament to the channel that changed popular culture forever.
“Playing changes,” in jazz parlance, has long referred to an improviser’s resourceful path through a chord progression. Playing Changes boldly expands on the idea, highlighting a host of significant changes—ideological, technological, theoretical, and practical—that jazz musicians have learned to navigate since the turn of the century. Nate Chinen, who has chronicled this evolution firsthand throughout his journalistic career, vividly sets the backdrop, charting the origins of jazz historicism and the rise of an institutional framework for the music. He traces the influence of commercialized jazz education and reflects on the implications of a globalized jazz ecology. He unpacks the synergies between jazz and postmillennial hip-hop and R&B, illuminating an emergent rhythm signature for the music. And he shows how a new generation of shape-shifting elders, including Wayne Shorter and Henry Threadgill, have moved the aesthetic center of the music.
Woven throughout the book is a vibrant cast of characters—from the saxophonists Steve Coleman and Kamasi Washington to the pianists Jason Moran and Vijay Iyer to the bassist and singer Esperanza Spalding—who have exerted an important influence on the scene. This is an adaptive new music for a complex new reality, and Playing Changes is the definitive guide.
A step-by-step guide to writing music, this book shows musicians how to compose simple chord progressions and melodies, and leads them through more advanced compositional techniques and musical forms. Designed for composers of all types of music, it includes instruction on composing stand-alone melodies, using different scales and modes, themes and variations, orchestration, and composing for film, theater, and videogames.
-Perfect complement to The Complete Idiot's Guide to Music Theory and The Complete Idiot's Guide to Songwriting
-Includes a comprehensive glossary of musical terms, as well as an appendix of various computer-based composition tools
-Easy-to-use oversize trim
Alfred's Mini Music Guides provide essential information in a convenient size. Take these books anywhere you want to go. Packed with clear, step-by-step instructions and close-up photographs, Guitar Care and Gear Essentials is the best compact guide for guitar maintenance and gear available.
* For guitarists of all levels and styles
* How to set action and intonation, adjust the truss rod, and maintain frets
* Step-by-step instruction for proper string removal and installation on various types of guitars
* Shows how to solder and maintain electronics
* Detailed guide to setting up, maintaining, and troubleshooting Floyd Rose systems
* Comprehensive sections on amps, cabinets, ohmage and impedance, signal flow and level, noise, cabling, and more!
Dave Holmes has spent his life on the periphery, nose pressed hopefully against the glass, wanting just one thing: to get inside. Growing up, he was the artsy son in the sporty family. At his all-boys high school and Catholic college, he was the closeted gay kid surrounded by crush-worthy straight guys. And in his twenties, in the middle of a disastrous career in advertising, he accidentally became an MTV VJ overnight when he finished second, naturally, in the Wanna Be a VJ contest, opening the door to fame, fortune, and celebrity—you know, almost.
In Party of One, Holmes tells the hilariously painful and painfully hilarious tales—in the vein of Rob Sheffield, Andy Cohen, and Paul Feig—of an outsider desperate to get in, of a misfit constantly changing shape, of a music geek who finally learns to accept himself. Structured around a mix of hits and deep cuts from the last four decades—from Bruce Springsteen's "Hungry Heart" and En Vogue's "Free Your Mind" to LCD Soundsystem’s “Losing My Edge” and Bleachers’ “I Wanna Get Better”—and punctuated with interludes like "So You've Had Your Heart Broken in the 1990s: A Playlist" and “Notes on (Jesse) Camp,” this book is for anyone who's ever felt like a square peg, especially those who have found their place in the world around a band, an album, or a song. It's a laugh-out-loud funny, deeply nostalgic story about never fitting in, never giving up, and letting good music guide the way.
– NPR “Best Books of 2016”: Staff Picks, Biography & Memoir, For Music Lovers, Funny Stuff, Non-fiction Categories
Girls to the Front is the epic, definitive history of the Riot Grrrl movement—the radical feminist punk uprising that exploded into the public eye in the 1990s, altering America’s gender landscape forever. Author Sara Marcus, a music and politics writer for Time Out New York, Slate.com, Pos, and Heeb magazine, interweaves research, interviews, and her own memories as a Riot Grrrl front-liner. Her passionate, sophisticated narrative brilliantly conveys the story of punk bands like Bikini Kill, Bratmobile, Heavens to Betsy—as well as successors like Sleater-Kinney, Partyline, and Kathleen Hanna’s Le Tigre—and their effect on today’s culture.
A guide for music: compositions, events, forms, genres, groups, history,
industry, instruments, language, live music, musicians, songs, musicology,
techniques, terminology , theory, music video.
Music is a human activity which involves
structured and audible sounds, which is used for artistic or aesthetic,
entertainment, or ceremonial purposes.
The traditional or classical European aspects
of music often listed are those elements given primacy in European-influenced
classical music: melody, harmony, rhythm, tone color/timbre, and form. A more
comprehensive list is given by stating the aspects of sound: pitch, timbre,
loudness, and duration.
Common terms used to discuss particular pieces
include melody, which is a succession of notes heard as some sort of unit;
chord, which is a simultaneity of notes heard as some sort of unit; chord
progression, which is a succession of chords (simultaneity succession); harmony,
which is the relationship between two or more pitches; counterpoint, which is
the simultaneity and organization of different melodies; and rhythm, which is
the organization of the durational aspects of music.
The Complete Idiot's Guide® to Playing the Harmonica, Second Edition, includes more than 100 song texts, both traditional and original to this book, harmonica buying tips, and Interesting historical facts about famous players.
This is a book both broad and deep, drawing from the diverse worlds of classical, jazz, rock, pop, blues, country, folk, musicals, hip-hop, world, opera, soundtracks, and more. It's arranged alphabetically by artist to create the kind of unexpected juxtapositions that break down genre bias and broaden listeners’ horizons— it makes every listener a seeker, actively pursuing new artists and new sounds, and reconfirming the greatness of the classics. Flanking J. S. Bach and his six entries, for example, are the little-known R&B singer Baby Huey and the '80s Rastafarian hard-core punk band Bad Brains. Farther down the list: The Band, Samuel Barber, Cecelia Bartoli, Count Basie, and Afropop star Waldemer Bastos.
Each entry is passionately written, with expert listening notes, fascinating anecdotes, and the occasional perfect quote—"Your collection could be filled with nothing but music from Ray Charles," said Tom Waits, "and you'd have a completely balanced diet." Every entry identifies key tracks, additional works by the artist, and where to go next. And in the back, indexes and playlists for different moods and occasions.
What musical features are responsible for Kondo's distinct "Mario sound†?? How do the different themes underscore the vastness of Princess Peach's Mushroom Kingdom? And in what ways do the game's sound effects resonate with our physical experience of the world? These and other questions are explored within, through the lens of Kondo's compositional philosophy-one that would influence an entire generation of video game composers. As Kondo himself stated, "we [at Nintendo] were trying to do something that had never been done before.†? In this book, Schartmann shows his readers how Kondo and his team not just succeeded, but heralded in a new era of video games.
• SONG LISTS BY ARTIST: Featuring all of the best artists, along with levels of difficulty, drink minimums, performance tips, and similar artists.
• SONG LISTS BY GENRE: From oldies to new wave, disco to emo, funk to hip-hop, all the crowd-pleasing favorites are listed here.
• SONG LISTS BY CELEBRITIES: More than thirty musicians, DJs, and journalists list their top five favorite songs to perform at karaoke and why.
• SONG LISTS BY OCCASION: With duets, seductive little ditties, roof-raising party-starters, and more.
• Plus KARAOKE GEAR -- where to buy online, all-in-one systems, and computer programs to take your obsession to the next level!
Michelle Phillipov's Death Metal and Music Criticism: Analysis at the Limits, in contract, offers an account of listening pleasure on its own terms. Through an analysis of death metal's sonic and lyrical extremity, Phillipov shows how violence and aggression can be configured as sites for pleasure and play in death metal music, with little relation to the 'real' lives of listeners. In some cases, gruesome lyrical themes and fractured song forms invite listeners to imagine new experiences of the body and of the self. In others, the speed and complexity of the music foster a 'technical' or distanced appreciation akin to the viewing experiences of graphic horror film fans. These aspects of death metal listening are often neglected by scholarly accounts concerned with evaluating music as either 'progressive' or 'reactionary.'
By contextualizing the discussion of death metal via substantial overviews of popular music studies as a field, Phillipov's Death Metal and Music Criticism highlights how the premium placed on political engagement in popular music studies not only circumscribes our understanding of the complexity and specificity of death metal, but of other musical styles as well. Exploring death metal at the limits of conventional music criticism helps not only to develop a more nuanced account of death metal listening—it also offers some important starting points for a rethinking of popular music scholarship as a whole.
This handbook is divided into four main sections: Songwriting (acoustic and digital), Performance, Music Industry and Case Studies. Section I focuses on the 'how to' elements of popular song composition, embracing a range of perspectives and methods, in addition to chapters on the teaching of songwriting to students. Section II deals with the nature of performance: stagecraft, open mic nights, and a number of case studies that engage with performing in a range of contexts. Section III is devoted to aspects of the music industry and the business of music including sales, contract negotiations, copyright, social media and marketing. Section IV provides specific examples of singer-songwriter personae and global open mic scenes.
The Singer-Songwriter Handbook is a much-needed single resource for budding singer-songwriters as well as songwriting pedagogues.
Funk hasn't received the critical attention that rock, jazz, and the blues have-until now. Colorful, intelligent, and in-you-face, Rickey Vincent's Funk celebrates the songs, the musicians, the philosophy, and the meaning of funk. The book spans from the early work of James Brown (the Godfather of Funk) through today, covering funky soul (Stevie Wonder, the Temptations), so-called "black rock" (Jimi Hendrix, Sly and the Family Stone, the Isley Brothers), jazz-funk (Miles Davis, Herbie Hancock), monster funk (Parliament, Funkadelic, Bootsy's Rubber Band), naked funk (Rick James, Gap Band), disco-funk (Chic, K.C. and the Sunshine Band), funky pop (Kook & the Gang, Chaka Khan), P-Funk Hip Hop (Digital Underground, De La Soul), funk-sampling rap (Ice Cube, Dr. Dre), funk rock (Red Hot Chili Peppers, Primus), and more.
Funk tells a vital, vibrant history-the history of a uniquely American music born out of tradition and community, filled with energy, attitude, anger, hope, and an irrepressible spirit.
In this volume of 33 1/3 Japan, musicologist Rose Bridges helps listeners make sense of the music of Cowboy Bebop. The book places it within the context of Bebop's influences and Kanno's larger body of work. It analyzes how the music tells Spike, Faye, Jet and the rest of the crew's stories. Cowboy Bebop and its music are like nothing else, and they deserve a guide to match.
33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.
– Robert Hicks
New York Times best-selling author of
The Widow of the South Editor of A Guitar and a Pen
“Hee Haw was all about friends and family having a great time and laughing together – both on the set and with everyone watching at home. One big family! Some of the relationships formed while making that show will last forever. Victoria Hallman is one of those people – my forever friend. I think so much of her because she cares about people. I know she cares about my family and me. I know that she would be there for me if I needed her. As special as she makes me feel, I know she does this for everyone, because she’s just that kind of person.”
– Irlene Mandrell
Co-star of Barbara Mandrell and the Mandrell Sisters
Hee Haw Star
“My first crushes were the Hee Haw Girls.”
– Robert Reynolds, the Mavericks
Country Music Association Award WinnerAcademy of Country Music Award Winner
This 33 1/3 follows the narrative of Dig Me Out from its inception in Olympia to its recording in Seattle and its reception across the United States. It's anchored in a short period of time – roughly from mid-1996 to mid-1998 – but it encompasses a series of battles over meaning that continued to preoccupy Sleater-Kinney in the coming decades. The band wrestled with the media about how they would be presented to the public, it contended with technicians about how their sound would be heard in clubs, and they struggled with pervasive social hierarchies about how their work would be understood in popular culture. The only instance where the band didn't have to put up much of a fight was when it came to their fans. The acclaim Sleater-Kinney received from their listeners in the late 1990s, and continue to receive today, speaks to a need for icons who challenged normative notions of culture and gender. This story of Dig Me Out chronicles how Sleater-Kinney won the fight to define themselves on their own terms – as women and as musicians – and, in the process, how they redefined the parameters of rock.
Alfred's Mini Music Guides provide essential information in a convenient size. Take these books anywhere you want to go. With over 36,000 words organized in a practical, easy-to-find format, Rhyming Dictionary is the most useful compact rhyming dictionary available.
* Easy reference guide for songwriters, lyricists, and poets
* Simple format allows for quick reference
* Concise collection of the most-often used words in popular music
* A guide to lyric writing and rhyming schemes
* Words are listed in a familiar dictionary-style format.
Drawing from philosophy, critical theory and musicology, as well as Dilla's own musical catalogue, Jordan Ferguson shows that the contradictory, irascible and confrontational music found on Donuts is as much a result of an artist's declining health as it is an example of what scholars call "late style,†? placing the album in a musical tradition that stretches back centuries.
In the words of Emanuel Ax, we are given “fascinating glimpses into the innermost thoughts of some of our greatest composers” in this series of intimate and deeply felt conversations between Arthur Abell and Brahms, Puccini, Strauss, Humperdinck, Bruch, and Grieg. And through these revelations, one can understand with greater clarity the essence of genius.
In its entirety, the book is a paean to both the musical world and to those few who achieved greatness during the latter part of the 19th century and the early years of the 20th century. We cannot fail to be deeply impressed by the intense outpouring of emotion demanded by great creative endeavor. And here, nothing is spared. We are privy to the highs and lows—the great triumphs and the wrenching failures.
Talks with Great Composers brings to life the thoughts, fears, self-doubt, inherent religiosity, and the unparalleled joys that, by the end of the book, we come to appreciate must accompany all of life’s greatest challenges and accomplishments.
Corbett equips his reader for a journey into a difficult musical landscape, where there is no steady beat, no pre-ordained format, no overarching melodic or harmonic framework, and where tones can ring with the sharpest of burrs. In “Fundamentals,” he explores key areas of interest, such as how the musicians interact, the malleability of time, overcoming impatience, and watching out for changes and transitions; he grounds these observations in concrete listening exercises, a veritable training regime for musical attentiveness. Then he takes readers deeper in “Advanced Techniques,” plumbing the philosophical conundrums at the heart of free improvisation, including topics such as the influence of the audience and the counterintuitive challenge of listening while asleep. Scattered throughout are helpful and accessible lists of essential resources—recordings, books, videos— and a registry of major practicing free improvisors from Noël Akchoté to John Zorn, particularly essential because this music is best experienced live.
The result is a concise, humorous, and inspiring guide, a unique book that will help transform one of the world’s most notoriously unapproachable artforms into a rewarding and enjoyable experience.
Few knew how difficult it had been to make this popular breakthrough. Disappointed with the sound of the self-produced Steady Diet, the band recorded with legendary engineer Steve Albini, only to scrap the sessions and record at home in D.C. with Ted Niceley, their brilliant, under-known producer. Inadvertently, Fugazi chose an unsure moment to make In on the Kill Taker: as Nirvana and Sonic Youth were yanking the American rock underground into the media glare, and "breaking†? punk in every possible meaning of the word. Despite all of this, Kill Taker became an alt-rock classic in spite of itself, even as its defiant, muscular sound stood in stark contrast to everything represented by the mainstreaming of a culture and worldview they held dear.
This book features new interviews with all four members of Fugazi and members of their creative community.
The first section sets out key methodological and theoretical concerns, focussing on the relationships between affective models and sound. The second section deals with particular musical case studies, exploring how reference to affect theory might change or reshape some of the ways we are able to make sense of musical materials. The third section examines the politics and practice of sonic disruption: from the notion of noise as 'prophecy', to the appropriation of 'bad vibes' for pleasurable aesthetic and affective experiences. And the final section engages with some of the ways in which affect can help us understand the politics of chill, relaxation and intimacy as sonic encounters.
The result is a rich and multifaceted consideration of sound, music and the affective, from scholars with backgrounds in cultural theory, history, literary studies, media studies, architecture, philosophy and musicology.
This book considers the music and moment of Phish's ecstatically inventive 1995 live document, a mix of weirdo acid-psych, ambient moonscapes, vaudevillian Americana, and riotous arena-rock energy, all filtered through bandleader Trey Anastasio's screwball compositional sensibility and the band's idiosyncratic approach to spontaneous group creativity. It places Phish and their fandom in historical and cultural context, and picks apart the mechanics of their extended group jams. And it examines the mystery of how a quartet of nice boys from Burlington, VT could have been, all at once, one of America's biggest touring acts and one of its best-kept secrets.
Collating the best-available expertise with fresh ideas about the industry, Andrew West equips the reader with what every productive songwriter needs to know: how to write communicative songs that express meaning and convey individuality; how to develop songs into records; how the writer can function as a marketer and seller of original work; how domestic and international markets operate; and how to act and interact meaningfully within the culture of those market.
Armed with this knowledge, the songwriter is able to engage creatively and financially to make the most of their potential.
According to the author, the Latin/o Rock Diaspora illuminates complex identity issues and interesting paradoxes with regard to identity politics, such as nationalism. Latino/as use rock music for assimilation to mainstream North American culture, while in Latin America, rock music in Spanish is used to resist English and the hegemony of U.S. culture. Meanwhile, singing in English and adopting U.S. popular culture allows youth to resist the hegemonic nationalisms of their own countries. Thus, throughout the Americas, Latino/as utilize rock music for assimilation to mainstream national culture(s), for resistance to the hegemony of dominant culture(s), and for mediating the negotiation of Latino/a identities.
* A simple and practical approach to theory for music enthusiasts and musicians
* Lesson reviews with answer keys
* Breaks down the essentials of music notation
* Covers intervals, scales, modes, chords, diatonic harmony, and transposition
* Shows you how to compose and harmonize a melody in major and minor keys
* Comprehensive sections on arpeggios, passing and neighboring tones, the blues, and much more!
The eighteen songs arranged by Blaž Pucihar, a prominent Slovene composer and pianist, embody the language and stories of the people as they used to be sung. Not only do they talk of how the people once lived, but also provide a wonderful feel of the geography of the land with his carefully selected vocal and instrumental ensemble for each composition.
The illustrations by Damijan Stepančič further add to the special feel through which the reader can get a sense of Slovenia and its people. An introduction to each song has been prepared by Dušica Kunaver providing various interesting facts about life in the times of the past.
Come and discover the musical world of Slovenia with this wonderfully illustrated songbook!
This book is available for download with iBooks on your Mac or iOS device, and with iTunes on your computer. Books can be read with iBooks on your Mac or iOS device.
Where are those paths
Where are those paths that used to be ?
Now lush with shrubs and grasses green.
I'll chop the shrubs, and reap the grass,
I'll make the paths as used to be.
ABOUT THE PUBLISHER
Okaši is a Slovenian publisher with a vibrant programme.
At every turn, nature reveals its new face and discloses a myriad of secrets. This is why we have devoted a special place to it in our publishing house. We are the creators of books that delight curious children and their parents in their discoveries of nature: in the home garden and the nearby park, but also further afield, in the fields and forests.
At Okaši we keep pace with the times which is why have embarked upon several electronic editions of our books. We have added sound to these publications and hence a new dimension to the contents already there.
The authors consulted a number of people who knew Rachmaninoff, who worked with him, and who corresponded with him. Even with the availability of such sources and full access to the Rachmaninoff Archive at the Library of Congress, Bertensson and Leyda were tireless in their pursuit of privately held documents, particularly correspondence. The wonderfully engaging product of their labors masterfully incorporates primary materials into the narrative.
Almost half a century after it first appeared, this volume remains essential reading.
Sergei Bertensson, who knew Rachmaninoff, published other works on music and film, often with a documentary emphasis.
The book explores the worlds of sonic art and sound design through their history and development, and looks at the present state of these extraordinarily diverse genres through the works and words of established artists and through an examination of the wide range of practices that currently come under the heading of sonic arts. The technologies that are used and the impact that they have upon the work are also discussed.
Additionally, The Fundamentals of Sonic Art & Sound Design considers new and radical approaches to sound recording, performance, installation works and exhibitions and visits the worlds of the sonic artist and the sound designer.
In Dwight Yoakam, award-winning music journalist Don McLeese offers the first musical biography of this acclaimed artist. Tracing the seemingly disparate influences in Yoakam's music, McLeese shows how he has combined rock and roll, rockabilly, country, blues, and gospel into a seamless whole. In particular, McLeese explores the essential issue of "authenticity" and how it applies to Yoakam, as well as to country music and popular culture in general. Drawing on wide-ranging interviews with Yoakam and his management, while also benefitting from the perspectives of others closely associated with his musical success (including producer-guitarist Pete Anderson, Yoakam's partner throughout his most popular and creative decades), Dwight Yoakam pays tribute to the musician who has established himself as a visionary beyond time, an artist who could title an album Tomorrow's Sounds Today and deliver it.
Amy Amy Amy redresses the imbalance, giving full measure to Winehouse's talent while offering an honest account of her multiple personal crises.
This updated edition takes the story up to July 2011 and Amy's tragic and unexpected death at her home in Camden Town following an aborted European tour and her final appearance on stage with her goddaughter at the Roundhouse in Camden.