By Julian Colbeck, Alan Parsons
Publish 12 months note: First released in 2012
More than just the e-book of the award-winning DVD set, Art & technology of Sound Recording, the publication takes mythical engineer, manufacturer, and artist Alan Parsons' techniques to sound recording to the following point. In booklet shape, Parsons has the distance to incorporate extra technical heritage details, extra designated diagrams, plus an entire set after all notes on all of the 24 themes, from "The short historical past of Recording" to the now-classic "Dealing with Disasters."
Written with the DVD's coproducer, musician, and writer Julian Colbeck, ASSR, the ebook bargains readers a vintage "big picture" view of contemporary recording know-how along side a nearly encyclopedic checklist of particular thoughts, tactics, and gear. For all its heft and authority authored through a guy knowledgeable at London's famed Abbey highway studios within the Seventies ASSR, the e-book can be written in simple English and is jam-packed with worthy anecdotes from Alan Parsons' personal profession operating with the Beatles, purple Floyd, and numerous others.
Not simply informative, but in addition hugely pleasing and inspirational, ASSR, the booklet is the correct platform on which to construct services within the artwork and technology of sound recording.
Read or Download Alan Parsons' Art & Science of Sound Recording: The Book PDF
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Extra resources for Alan Parsons' Art & Science of Sound Recording: The Book
Inasmuch as no new music came of countless unrealized projects, they are usually unceremoniously tossed aside by music historians as nothing more than inconsequential curiosities: no music, no value. But Stravinsky’s desire to undertake such collaborations, to interact with those he saw as his artistic counterparts, reveals the larger sphere in which he wished to move, and certainly speaks clearly to his own self-image. His friendships and his ambitions helped to define who he was, or at least who he wanted to be.
That he felt perfectly comfortable doing so was just one more indication of how important he considered himself. He felt entitled to appropriate ideas, as long as they were good ideas, as he once said, since those were the only ones worth the effort of stealing. Three years after his residency in Cambridge, Harvard sent Stravinsky the only copy of the English translation. Maximizing every opportunity, Stravinsky knew there was still considerable mileage for them available on the lecture circuit and in radio interviews, magazine articles, and such.
Harvard had hoped that he would spend much more time with the students than the two hours a week to which he agreed. ) The list of contractual particulars is endless, and throughout the summer, in letter after letter, Stravinsky tenaciously negotiated every one. Of course, the foundational ideas expressed in Roland-Manuel’s drafts ob- Truths and Illusions ў 27 viously were approved by Stravinsky, but to a sizable extent the Poetics lectures served more as a public demonstration that the composer resourcefully employed to impress the “Harvard and Radcliffe esthetes” (as Frederick Jacobi described them), whose approbation was more important to the composer than he was willing to admit.