Blending cultural studies and the history of communication technology, Sterne follows modern sound technologies back through a historical labyrinth. Along the way, he encounters capitalists and inventors, musicians and philosophers, embalmers and grave robbers, doctors and patients, deaf children and their teachers, professionals and hobbyists, folklorists and tribal singers. The Audible Past tracks the connections between the history of sound and the defining features of modernity: from developments in medicine, physics, and philosophy to the tumultuous shifts of industrial capitalism, colonialism, urbanization, modern technology, and the rise of a new middle class.
A provocative history of sound, The Audible Past challenges theoretical commonplaces such as the philosophical privilege of the speaking subject, the visual bias in theories of modernity, and static descriptions of nature. It will interest those in cultural studies, media and communication studies, the new musicology, and the history of technology.
Jonathan Sterne teaches in the Department of Communication and the Program for Cultural Studies at the University of Pittsburgh. He writes about media, technology, and the politics of culture, and is codirector of the online magazine Bad Subjects: Political Education for Everyday Life.
"Gebre Waddell covers this all-important subject in greater depth than has ever been done in a book." -- Dave Collins, mastering engineer for The Nightmare Before Christmas, Jurassic Park, Soundgarden, War, Ben Harper, and others
"Gebre provides students and educators with all the practical advice and hands-on tools they need to be successful." -- Jeffrey Rabhan, Chair of the New York University Clive Davis Institute of Recorded Music
Written by a professional mastering engineer, this detailed guide reveals world-class methods for delivering broadcast-ready masters. In Complete Audio Mastering: Practical Techniques, Gebre Waddell of Stonebridge Mastering explains every step in the process, from room and gear configuration to distribution of the final product. Find out how to put the final sheen on your mixes, work with DAWs, tweak loudness, use equalizers and compressors, and handle sequencing and fades. You'll also get tips for starting and running your own mastering studio.
Features full coverage of:Mastering concepts and equipment Room setup and speaker placement Session workflow and organization DAWs and audio interfaces Analog-to-digital and digital-to-analog converters Loudness optimization and dynamics Digital and analog EQs and filters Professional compressors and limiters Fades, crossfades, spacing, and sequencing Red Book CD, WAV, MP3, and DDP formats
Includes insights from the world’s foremost experts in audio mastering, including:
-- Robin Schmidt of 24-96 Mastering
-- Scott Hull of Masterdisk
-- Jaakko Viitalähde of Virtalähde Mastering
-- Dave Hill of Crane Song, Ltd., and Dave Hill Designs
-- Brad Blackwood of Euphonic Masters
-- Pieter Stenekes of Sonoris Software
-- Cornelius Gould of Omnia Audio
-- Jeff Powell, Grammy award–winning engineer; direct vinyl transfer engineer; engineer for Stevie Ray Vaughn, Bob Dylan, and others
-- David A. Hoatson of Lynx Studio Technology, Inc.
Sound Recording contains much information that will interest anyone interested in the history of recorded music and sound technology, such as:
- The world-famous composer John Phillip Sousa once denounced sound recordings as a threat to good musical tasted. He nonetheless made many recordings over the years
- Two innovative new products were introduced by RCA in 1958--the first modern cassette tape cartridge and the stereophonic LP record. The tape cartridge, which was about the size of a large paperback, flopped almost immediately; the stereo LP was the music industry's biggest hit ever
- Chrysler automobiles of the late 1950s offered Highway Hi-Fi, a dashboard phonograph that could play a record without skipping
- The predecessor of the Compact Disc was a 12-inch home videodisc system from the late 1970s--the first of its kind--called DiscoVision
The volume includes a timeline and a bibliography for those interested in delving further into the history of recorded sound.
Build audio projects that produce great sound for far less than they cost in the store, with audio hobbyists’ favorite writer Randy Slone. In The Audiophile’s Project Sourcebook, Slone gives you—
• Clear, illustrated schematics and instructions for high-quality, high-power electronic audio components that you can build at home
• Carefully constructed designs for virtually all standard high-end audio projects, backed by an author who answers his email
• 8 power-amp designs that suit virtually any need
• Instructions for making your own inexpensive testing equipment
• Comprehensible explanations of the electronics at work in the projects you want to construct, spiced with humor and insight into the electronics hobbyist’s process
• Complete parts lists
"The Audiophile's Project Sourcebook" is devoid of the hype, superstition, myths, and expensive fanaticism often associated with 'high-end' audio systems. It provides straightforward help in building and understanding top quality audio electronic projects that are based on solid science and produce fantastic sound!
THE PROJECTS YOU WANT, FOR LESS
Balanced input driver/receiver circuits
Signal conditioning techniques
Preamps for home and stage
Passive and active filters
Bi-amping and tri-amping filters
Speaker protection systems
Clip detection circuits
Homemade test equipment
The first video cassette recorders were promoted in the 1970s as an extension of broadcast television technology—a time-shifting device, a way to tape TV shows. Early advertising for Sony's Betamax told potential purchasers “You don't have to miss Kojak because you're watching Columbo.” But within a few years, the VCR had been transformed from a machine that recorded television into an extension of the movie theater into the home. This was less a physical transformation than a change in perception, but one that relied on the very tangible construction of a network of social institutions to support this new marketplace for movies.
In From Betamax to Blockbuster, Joshua Greenberg explains how the combination of neighborhood video stores and the VCR created a world in which movies became tangible consumer goods. Greenberg charts a trajectory from early “videophile” communities to the rise of the video store—complete with theater marquee lights, movie posters, popcorn, and clerks who offered expert advice on which movies to rent. The result was more than a new industry; by placing movies on cassette in the hands (and control) of consumers, video rental and sale led to a renegotiation of the boundary between medium and message, and ultimately a new relationship between audiences and movies. Eventually, Blockbuster's top-down franchise store model crowded local video stores out of the market, but the recent rise of Netflix, iTunes, and other technologies have reopened old questions about what a movie is and how (and where) it ought to be watched. By focusing on the “spaces in between” manufacturers and consumers, Greenberg's account offers a fresh perspective on consumer technology, illustrating how the initial transformation of movies from experience into commodity began not from the top down or the bottom up, but from the middle of the burgeoning industry out.
Structured along four axes investigating the relations between participation and politics, surveillance, openness, and aesthetics, The Participatory Condition in the Digital Age comprises fifteen essays that explore the promises, possibilities, and failures of contemporary participatory media practices as related to power, Occupy Wall Street, the Arab Spring uprisings, worker-owned cooperatives for the post-Internet age; paradoxes of participation, media activism, open source projects; participatory civic life; commercial surveillance; contemporary art and design; and education.
This book represents the most comprehensive and transdisciplinary endeavor to date to examine the nature, place, and value of participation in the digital age. Just as in 1979, when Jean-François Lyotard proposed that “the postmodern condition” was characterized by the questioning of historical grand narratives, The Participatory Condition in the Digital Age investigates how participation has become a central preoccupation of our time.
Contributors: Mark Andrejevic, Pomona College; Bart Cammaerts, London School of Economics and Political Science (LSE); Nico Carpentier, Vrije Universiteit Brussel (VUB – Free University of Brussels) and Charles University in Prague; Julie E. Cohen, Georgetown University; Kate Crawford, MIT; Alessandro Delfanti, University of Toronto; Christina Dunbar-Hester, University of Southern California; Rudolf Frieling, California College of Arts and the San Francisco Art Institute; Salvatore Iaconesi, La Sapienza University of Rome and ISIA Design Florence; Jason Edward Lewis, Concordia University; Rafael Lozano-Hemmer; Graham Pullin, University of Dundee; Trebor Scholz, The New School in New York City; Cayley Sorochan, McGill University; Bernard Stiegler, Institute for Research and Innovation in Paris; Krzysztof Wodiczko, Harvard Graduate School of Design; Jillian C. York.