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The History of Music Production.
In The History of Music Production, Richard James Burgess draws on his experience as a producer, musician, and author. Beginning in 1860 with the first known recording of an acoustic sound and moving forward chronologically, Burgess charts the highs and lows of the industry throughout the decades an...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Oxford :
Oxford University Press,
2014.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Beginnings. Understanding sound ; Toward recording ; The phonograph ; The first producers
- The acoustic period. Acoustic recording ; International expansion ; The third major label ; The Sooys ; Documentation of cultural expression ; The end of an era
- The electric period. Toward electric recording ; Better sound ; Country music ; Further technological foundations ; The calm before the storm ; The thirties and forties ; Radio, film, and tape innovations
- Economic and societal overlay. Cyclical decline ; One thing after another : the thirties through the war ; Recovery
- The studio is interactive. Toward greater control ; Magnetic tape recording ; Defining some terms ; Mastering ; Editing ; Sound on sound ; Overdubbing ; Summing up of tape's impact ; The microgroove LP
- The post-World War II reconstruction of the recording industry. After the war ; The boom in independent labels ; The fifties ; Radio DJs
- Mobile music. More music for more people ; Music anywhere : radio on the move ; My music on the move ; My music anywhere
- Expanding the palette. Electric instruments and amplifiers ; Synthesizers ; Genre hybridization
- Some key producers. The objective ; Review of early producers ; Mitch Miller ; Leiber and Stoller ; Phil Spector ; Sam Phillips ; Steve Sholes ; Norrie Paramor ; Joe Meek ; Brian Wilson ; George Martin ; Holland, Dozier and Holland ; Teo Macero ; King Tubby ; Prince ; Rick Rubin ; Quincy Jones ; Robert John "Mutt" Lange ; Dr Dre ; Max Martin
- The sixties and seventies. Cultural and creative revolution ; The sixties ; Mix automation ; The seventies
- Toward the digital age. Digital recording ; Hip hop ; The state of the eighties ; The sound of the eighties ; The look of the eighties ; Shiny silver discs ; Singles ; Mixing ; Dance music ; Remixes ; Further eighties developments ; Mergers and acquisitions ; The Internet and the World Wide Web
- The nineties. The corporate state ; The charts and SoundScan ; Alternative rock ; Toward music online ; Progress with digitized data ; Digital radio ; Millennials ; Preparing the way for Napster
- Periods of standards and stability. Proprietary versus open systems ; Standards
- Deconstructing the studio. Democratizing technologies ; Improvised environments ; When is a home not a home? ; Freedom
- Random access recording technology. Why random access? ; The beginnings of random access for producers ; Drum machines, next generation sequencers, and MIDI ; The beginnings of random access digital recording ; Convergence and integration
- Transformative/disruptive technologies and the value of music. Definitions of terms ; The industry at the turn of the 21st century ; Missed opportunity ; Oh wait ; No big surprises ; What a great idea ; What happened to vertical integration? ; An idea whose time had come ; Denial and inaction ; The consequences ; The digital disruption and producer income ; Performance royalties ; Direct versus statutory licenses
- Post-millennial business models. American Idol ; Downloads ; Streaming audio ; Non-interactive streams ; Streaming on demand ; Web 2.0, social networking and social media commonalities
- The unfinished work. Sampling, mash-ups and remixes ; Using records as raw material ; Disco ; Hip hop ; Adapting compositions ; Adapting recordings ; The question of creativity ; The question of legality.