musical authenticity depends largely on the mediation of the conceived era of sound recording as a tool and catalyst which will disrupt music's stage of would be to capture the sound of live musicians performing simultaneously in the studio describes recording engineers as “both craftsmen and shamans, harnessing
AndyStuhlThesis
3 sept 2015 · The development of the recording studio in the UK has been shaped by the interplay between videos The computer is the first device in the history of popular music where all the craft-union mode of production became outmoded He suggested that early PA businesses would also offer basic sound
Sept
FIXED: Contemporary Fixed Practices and the Fixed-Live Continuum 115 Chapter 9 This instrument is presented in contrast to the traditional concept of musical instead, sensors and interfaces, techniques for sound analysis, generation and manipu- producer, instrument dealers, auditorium managers, agents, etc ***
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comprehend how exactly our interaction with and our conception of musical instruments in contemporary forms of electronic music and sound art meant to facilitate live sound processing underwent lots of adaptions and transi- recorded sounds, the synthesis of sounds that are physically irreproducible, playing
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studio was emptied of heterogeneous sound sources; sound recordings were raised A music conceived in terms of such pseudo-instruments would admit of an effect the same emotions the film aroused; some people who live close to railway the craftsman's mark, seems indissociable from msthetic appreciation, and
ing his own recordings and for making me reconsider the idea of autonomous instruments can be said about live interaction: by intervening in the autonomous sound generation of It is also easy to introduce new musical concepts, such as The electroacoustic studio has been referred to as the composer's instrument
Autonomous Instruments
live and recorded musical performances music composition
Motion picture video and television programme distribution activities. 5914. Motion picture projection activities. 592. 5920. Sound recording and music
https://ieeexplore.ieee.org/iel7/6287639/8600701/08501898.pdf
as struggle and satisfaction in live sound engineers' theory of labor and —the question of whether “music” should be conceived of as a singular coherent ...
classifications are aligned to ISCO 08 in concept and structure will find it are separately identified from other image and sound recording equipment.
teachers. Workshops on art and crafts theatre
live and recorded musical performances music composition
Electrical machinery and equipment and parts thereof; sound recorders and reproducers; Musical instruments; parts and accessories of such articles.
cording of analog instruments such as a tenor saxophone
https://ieeexplore.ieee.org/iel7/6287639/6514899/08501898.pdf
For reinforcement of musical instruments there are several main objectives of microphone techniques: to maximize pick-up of suitable sound from the desired instrument to minimize pick-up of undesired sound from instruments or other sound sources and to provide sufficient gain-before-feedback
When recording an acoustic guitar try placing one mic three to six inches away directly in front of the sound hole Then put another microphone of the same type four feet away This will allow you to hear the instrument and an element of room ambience Record both mics dry and flat (no RECORDING Microphone Techniques for 4
Mixing and Mastering with IK Multimedia T-RackS: The Official Guide (Cengage Learning): T-RackS is a popular stand-alone audio mastering application that includes a suite of powerful analog-modeled and digital dynamics and EQ processor modules that also work perfectly as plug-ins during mixing
The Sound Recording Technology program isthe largest division of the UMass MusicDepartment Notable recording productionand broadcasting professionals lead thebachelor’s and master’s degree curriculum You train in a 1200-seat concert venue sixrecording studios eight studio labs and 30practice rooms A musical entrance audition isrequired
Live sound or ‘sound reinforcement’ systems utilise many of the skills applied in the recording studio but with significant differences Accepted practice in the studio does not always transfer effectively to the live sound environment where acoustic properties cannot be relied on or controlled in the way that they can in a recording studio
The 2009 UNESCO Framework for Cultural Statistics (FCS)