By Julian Colbeck, Alan Parsons
Publish yr note: First released in 2012
More than just the ebook of the award-winning DVD set, Art & technology of Sound Recording, the ebook takes mythical engineer, manufacturer, and artist Alan Parsons' methods to sound recording to the subsequent point. In e-book shape, Parsons has the distance to incorporate extra technical heritage details, extra designated diagrams, plus an entire set after all notes on all the 24 themes, from "The short background of Recording" to the now-classic "Dealing with Disasters."
Written with the DVD's coproducer, musician, and writer Julian Colbeck, ASSR, the booklet deals readers a vintage "big picture" view of recent recording know-how together with a virtually encyclopedic record of particular suggestions, strategies, and kit. For all its heft and authority authored by way of a guy knowledgeable at London's famed Abbey highway studios within the Nineteen Seventies ASSR, the booklet is usually written in undeniable English and is filled with invaluable anecdotes from Alan Parsons' personal occupation operating with the Beatles, red Floyd, and numerous others.
Not simply informative, but additionally hugely unique and inspirational, ASSR, the booklet is definitely the right platform on which to construct services within the artwork and technological know-how of sound recording.
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Extra info for Alan Parsons' Art & Science of Sound Recording: The Book
23 And in the magnificent image of harmony at the birth of the world in Athanasius Kircher’s Musurgia universalis (1650) each day of creation is linked to a register of a celestial organ. Likewise, early organologies only rarely attempted any description of instruments’ actual sounds. Partly, this reflects the diverse instrumental landscape of the sixteenth and seventeenth centuries. To describe the sound of one flute and speak more generally about the timbre of flutes are two different tasks: the latter involves a certain amount of technological and musical standardization in order for any description to be useful or meaningful; before the eighteenth century, musical instruments were not only extremely various, but also variable.
1726), 455–65, at p. 459. Metaphorical ocular harpsichords 37 Fig. 3 Polycarpe Poncelet’s taste scale from his Chimie du gouˆt et de l’odorat of 1755 (p. xx). Image used by kind permission of the Rare Book and Manuscript Library of the University of Pennsylvania. Though Castel never attempted to create harpsichords for the nose or mouth, others took up the idea. Polycarpe Poncelet, in his 1755 treatise on taste, theorized the notion of taste consonance and dissonance, creating a taste-scale of seven flavors: sharp, bland, sweet, bitter, sweet-and-sour, sour, and hot (Fig.
E. Chapman as Harmonie universelle: The Books on Instruments (The Hague: Martinus Nijhoff, 1957), p. 23. 35 36 Lessons at the ocular harpsichord and . . 35 For Mersenne, questions regarding the quality of tone were highly subjective; his experimental method, which yielded powerful practical results in the field of organ building, could not be brought to bear on comparisons of instruments. Theoretical treatises functioned on a level that was too abstract to be concerned with instrumental timbre; organological treatises focused primarily on mechanical questions of construction and sound production.