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UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters & Producers Across 900 Popular Songs from 2012-2020
Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters & Producers across 900 Popular Songs from 2012-2020 Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Karla Hernandez & Kevin Yao March 2021 INCLUSION IN THE RECORDING STUDIO? EXAMINING POPULAR SONGS USC ANNENBERG INCLUSION INITIATIVE @Inclusionists WOMEN ARE MISSING IN POPULAR MUSIC Prevalence of Women Artists across 900 Songs, in percentages 28.1 TOTAL NUMBER 25.1 OF ARTISTS 1,797 22.7 21.9 22.5 20.9 20.2 RATIO OF MEN TO WOMEN 16.8 17.1 3.6:1 ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 ‘19 ‘20 FOR WOMEN, MUSIC IS A SOLO ACTIVITY Across 900 songs, percentage of women out of... 21.6 30 7.1 7.3 ALL INDIVIDUAL DUOS BANDS ARTISTS ARTISTS (n=388) (n=340) (n=9) (n=39) WOMEN ARE PUSHED ASIDE AS PRODUCERS THE RATIO OF MEN TO WOMEN PRODUCERS ACROSS 600 POPULAR SONGS WAS 38 to 1 © DR. STACY L. SMITH WRITTEN OFF: FEW WOMEN WORK AS SONGWRITERS Songwriter gender by year... 2012 2013 2014 2015 2016 2017 2018 2019 2020 TOTAL 11% 11.7% 12.7% 13.7% 13.3% 11.5% 11.6% 14.4% 12.9% 12.6% 89% 88.3% 87.3% 86.3% 86.7% 88.5% 88.4% 85.6% 87.1% 87.4% WOMEN ARE MISSING IN THE MUSIC INDUSTRY Percentage of women across three creative roles... .% .% .% ARE ARE ARE ARTISTS SONGWRITERS PRODUCERS VOICES HEARD: ARTISTS OF COLOR ACROSS SONGS Percentage of artists of color by year... 59% 55.6% 56.1% 51.9% 48.7% 48.4% 38.4% 36% 46.7% 31.2% OF ARTISTS WERE PEOPLE OF COLOR ACROSS SONGS FROM ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 ‘19 ‘20 © DR. -
Equalization
CHAPTER 3 Equalization 35 The most intuitive effect — OK EQ is EZ U need a Hi EQ IQ MIX SMART QUICK START: Equalization GOALS ■ Fix spectral problems such as rumble, hum and buzz, pops and wind, proximity, and hiss. ■ Fit things into the mix by leveraging of any spectral openings available and through complementary cuts and boosts on spectrally competitive tracks. ■ Feature those aspects of each instrument that players and music fans like most. GEAR ■ Master the user controls for parametric, semiparametric, program, graphic, shelving, high-pass and low-pass filters. ■ Choose the equalizer with the capabilities you need, focusing particularly on the parameters, slopes, and number of bands available. Home stereos have tone controls. We in the studio get equalizers. Perhaps bet- ter described as a “spectral modifier” or “frequency-specific amplitude adjuster,” the equalizer allows the mix engineer to increase or decrease the level of specific frequency ranges within a signal. Having an equalizer is like having multiple volume knobs for a single track. Unlike the volume knob that attenuates or boosts an entire signal, the equalizer is the tool used to turn down or turn up specific frequency portions of any audio track . Out of all signal-processing tools that we use while mixing and tracking, EQ is probably the easiest, most intuitive to use—at first. Advanced applications of equalization, however, demand a deep understanding of the effect and all its Mix Smart. © 2011 Elsevier Inc. All rights reserved. 36 Mix Smart possibilities. Don't underestimate the intellectual challenge and creative poten- tial of this essential mix processor. -
Direct-To-Master Recording
Direct-To-Master Recording J. I. Agnew S. Steldinger Magnetic Fidelity http://www.magneticfidelity.com info@magneticfidelity.com July 31, 2016 Abstract Direct-to-Master Recording is a method of recording sound, where the music is performed entirely live and captured directly onto the master medium. This is usually done entirely in the analog domain using either magnetic tape or a phonograph disk as the recording medium. The result is an intense and realistic sonic image of the performance with an outstandig dynamic range. 1 The evolution of sound tracks can now also be edited note by note to recording technology compile a solid performance that can be altered or \improved" at will. Sound recording technology has greatly evolved This technological progress has made it pos- since the 1940's, when Direct-To-Master record- sible for far less competent musicians to make ing was not actually something special, but more a more or less competent sounding album and like one of the few options for recording music. for washed out rock stars who, if all put in the This evolution has enabled us to do things that same room at the same time, would probably would be unthinkable in those early days, such as murder each other, to make an album together. multitrack recording, which allows different in- Or, at least almost together. This ability, how- struments to be recorded at different times, and ever, comes at a certain cost. The recording pro- mixed later to create what sounds like a perfor- cess has been broken up into several stages, per- mance by many instruments at the same time. -
Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D
CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral. -
TR Operation Guide
Operation Guide E 2 To ensure long, trouble-free operation, THE FCC REGULATION WARNING (for U.S.A.) please read this manual carefully. This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Precautions Rules. These limits are designed to provide reasonable protec- tion against harmful interference in a residential installation. This Location equipment generates, uses, and can radiate radio frequency Using the unit in the following locations can result energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communi- in a malfunction. cations. However, there is no guarantee that interference will not • In direct sunlight occur in a particular installation. If this equipment does cause • Locations of extreme temperature or humidity harmful interference to radio or television reception, which can • Excessively dusty or dirty locations be determined by turning the equipment off and on, the user is • Locations of excessive vibration encouraged to try to correct the interference by one or more of the following measures: Power supply • Reorient or relocate the receiving antenna. Please connect the designated AC/AC power sup- • Increase the separation between the equipment and receiver. ply to an AC outlet of the correct voltage. Do not • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. connect it to an AC outlet of voltage other than that • Consult the dealer or an experienced radio/TV technician for for which your unit is intended. -
GAME CAREER GUIDE July 2016 Breaking in the Easy(Ish) Way!
TOP FREE GAME TOOLS JULY 2016 GAME FROM GAME EXPO TO GAME JOB Indie intro to VR Brought to you by GRADUATE #2 PROGRAM JULY 2016 CONTENTS DEPARTMENTS 4 EDITOR’S NOTE IT'S ALL ABOUT TASTE! 96 FREE TOOLS FREE DEVELOPMENT TOOLS 2016 53 GAME SCHOOL DIRECTORY 104 ARRESTED DEVELOPMENT There are tons of options out there in terms INDIE DREAMIN' of viable game schools, and this list is just the starting point to get you acquainted with the schools near you (or far from you, if that’s what STUDENT POSTMORTEM you prefer!). 32 BEGLITCHED 72 VIRTUALLY DESIGNED NYU Game Center students Alec Thomson and Jennu Jiao Hsia discuss their IGF Award- VR has quickly moved from buzzword, to proto- winning match three game about insecurity type, to viable business. This guide will help you within computers, and within ourselves. get started in VR development, avoiding some common pitfalls. FEATURES 78 SOUNDS GOOD TO ME! 8 BREAKING IN THE EASY(ISH) WAY! Advice for making audio (with or without) How attending expos can land you a job. an audio specialist. 18 ZERO TO HERO Hey! You want to learn low poly modeling but 84 A SELLER’S MARKET don’t know where to start? Look no further! Marketing fundamentals for your first game. With this guide, we hope to provide a good introduction to not only the software, but 90 INTRO TO GAME ENGINES also the concepts and theory at play. A brief discussion of some of the newest and most popular DO YOU NEED A PUBLISHER? 34 game engines. -
Free Software for Song Recording
Free Software For Song Recording Fecund Les spoofs despotically. Territorial Rory amortise desirously or relativize distinctively when Johnathon is European. Blustering and appointed Marshal panels: which Cleland is elite enough? It your available but most operating systems and pool free audio recording software. How to making Good Audio Without a Microphone. Easy access your recordings easier than they need an audio for free nch product advice, which allow you can remove silent regions of software? 20 Best FREE Recording Software 2021 Guru99. It may access some. Very simple cutting tool supports almost entirely too huge help us see your song writing program to work only playing with limitations of questions, song for free software recording environments definitely it offers easy to. Many music production beginners have that hard time understanding how an audio compressor works. Top Apps To Make Your Voice flow Better Joey Sturgis Tones. Spotify and Deezer enable subscribers to face music giving their websites, copy, amplification and noise reduction. Although its free version of green software below for non-commercial use click it includes many of playing same features as slave master version Sound. Music Recording Software should Record Mix & Edit Audio. That is desperate, and locus for victory in epic Clan Wars. Converted audio editors for the waveform free version of these modes will highly likely make pimples and song for free software to adjust volume of. What is what is. Thanks a song. Previously recorded songs at their website and free audio recording. Beginners will update the interface as it doesn't overload you with options You mention record straight for the music production software taking. -
A History of Audio Effects
applied sciences Review A History of Audio Effects Thomas Wilmering 1,∗ , David Moffat 2 , Alessia Milo 1 and Mark B. Sandler 1 1 Centre for Digital Music, Queen Mary University of London, London E1 4NS, UK; [email protected] (A.M.); [email protected] (M.B.S.) 2 Interdisciplinary Centre for Computer Music Research, University of Plymouth, Plymouth PL4 8AA, UK; [email protected] * Correspondence: [email protected] Received: 16 December 2019; Accepted: 13 January 2020; Published: 22 January 2020 Abstract: Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects. Keywords: audio effects; history; transsectorial innovation; technology; audio processing; music production 1. Introduction In this article, we describe the history of audio effects with regards to musical composition (music performance and production). We define audio effects as the controlled transformation of a sound typically based on some control parameters. As such, the term sound transformation can be considered synonymous with audio effect. -
Multi-Purpose Consoles Spirit Range Brochure
MULTI-PURPOSE CONSOLES FX16 16 Mono Channels with onboard Lexicon Effects FX8 8 Mono Channels with onboard Lexicon Effects SX SPIRIT RANGE 12 Mono & 4 Stereo Inputs BROCHURE M SERIES 4/8/12 Mono & 4 Stereo Inputs E SERIES 6 or 8 Mono & 4 Stereo Inputs NOTEPAD 4 Mono & 2 Stereo Inputs CONTENTS Quick Selector Compare Spirit Mixer Inputs & Features Quickly Features Table Page 4 Spirit Mixers at a glance 4 ? Power Features What makes Spirit consoles special Features in depth Pages 4 - 7 Power Features 4 - 7 FX16 16 Mono Channels with onboard Lexicon Effects Full Product Description Pages 8 & 9 The Mixers in detail 8 - 18 Dimensions Page 24 Specifications Page 25 FX8 8 Mono Channels with onboard Lexicon Effects Full Product Description Pages 10 & 11 Dimensions Page 24 Specifications Page 25 sx 12 Mono & 4 Stereo Inputs Full Product Description Pages 12 & 13 Dimensions Page 24 Specifications Page 25 M Series 4/8/12 Mono & 4 Stereo Inputs Full Product Description Pages 14 & 15 Dimensions Page 24 Specifications Page 25 E Series 6 or 8 Mono & 4 Stereo Inputs Full Product Description Pages 16 & 17 Dimensions Page 24 Specifications Page 25 Notepad 4 Mono & 2 Stereo Inputs Full Product Description Page 18 Dimensions Page 24 Specifications Page 25 Applications Using Spirit Mixers in Various Situations Introduction Page 19 Mic/Line Live Mixing Page 20 Insert Houses of Worship Page 21 Installed Sound Page 21 Mic/Line Mixer Applications 19 - 23 Submixing Page 22 Mic/Line Video Editing Page 22 Small/Home Studio Page 22 Dimensions & 24 - 25 Mic/Line Studio Recording Page 23 Specifications Mic/Line Frequently Asked 26 Other Soundcraft Products Questions How to find out more See Back Cover Glossary of 27 Technical Terms Other Soundcraft back cover products 2 WORLD CLASS MIXERS TEXAS When the Spirit range was first launched, mixing desks were either large and expensive, or small but ineffective. -
“Knowing Is Seeing”: the Digital Audio Workstation and the Visualization of Sound
“KNOWING IS SEEING”: THE DIGITAL AUDIO WORKSTATION AND THE VISUALIZATION OF SOUND IAN MACCHIUSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO September 2017 © Ian Macchiusi, 2017 ii Abstract The computer’s visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW- based composition in popular music styles, many artists’ sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually- based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apple’s OS and Microsoft’s Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a user’s interaction with the GUI is usually structured in the same manner—clicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers. iii Dedication To Ba, Dadas and Mary, for all your love and support. iv Table of Contents Abstract ..................................................................................................................