Best Music Recording & Sound

Learn the subtle editing, arrangement, and monitoring tactics which give industry insiders their competitive edge, and master the psychological tricks which protect you from all the biggest rookie mistakes. Pick up tricks and tips from leading-edge engineers working on today's multi-platinum hits, including Michael Brauer, Serban Ghenea, the Lord-Alge brothers, Tony Maserati, Manny Marroquin, Dave "Hard Drive" Pensado, Jack Joseph Puig, Mark "Spike" Stent, Phil Tan, Andy Wallace, and many, many more . Amazon Exclusive: A Letter from Mike Senior on Mixing Secrets for the Small Studio , "The 'Why The Hell' Challenge". In all these cases I've started with real-world small-studio recordings and used widely available mass-market technology to remix it to a commercial level, all without ever setting foot inside a "real" studio. If you want that kind of transformation for your music, then you can find a detailed explanation of my method in Mixing Secrets for the Small Studio . The second reason you might want to take notice of these mixing techniques, though, is that they've been drawn not only from my own professional experience, but also from more than four million words of first-hand interviews with the highest-profile engineers and producers on the planet. Amongst many other things in Mixing Secrets for the Small Studio , I try to deliver a stout kicking to the following questionable (but surprisingly pervasive) pieces of received wisdom: Indeed, the two most celebrated mixing speakers of all time, the Yamaha NS10 and the Auratone 5C Super Sound Cube, both have extremely uneven frequency-response plots, but excellent time-domain performance. Those common experiences are just the tip of the iceberg, and it's only by learning to work around the fickleness of your own hearing that you can begin to get decent mix results reliably. Corrective processing can certainly produce unmusical results, but it's important to realize that it doesn't have to, even if you're just using the editing facilities built into your software DAW. Furthermore, almost every small-studio production I've worked on sounded more musical (and became a lot easier to mix) once careful timing and tuning correction had been applied. In that case, it's much better to start with those while your ears are fresh, and while you've still got lots of mix real estate and computer CPU power to play with. In fact, a lot of the established classic reverb units sound pretty unnatural (the AMS RMX16, say, or the EMT 140 plate), but that doesn't stop them from appearing all over the current charts. I call this the "silver bullet" myth--that comforting delusion that the only thing separating your mix from the ones you hear on the radio is some single esoteric process. The malaise can almost always be traced to a whole selection of minor misjudgments that have been made at various points in the arrangement, editing, and mixing process. It doesn't matter if you have to replace the drums with samples, stuff synth pads between the guitar layers, add new backing vocals, or remove certain instruments entirely--just as long as your final product sounds great enough to make the client a happy bunny.

A photographic look into the world of vinyl record collectors. —. including Questlove. —. in the most intimate of environments—their record rooms. EILON PAZ is a professional photographer and the founder of the popular vinyl-collecting website Dust and Grooves.

Geoff Emerick became an assistant engineer at the legendary Abbey Road Studios in 1962 at age fifteen, and was present as a new band called the Beatles recorded their first songs. Always aiming for perfection, the Beatles never took no for an answer, and he did his best to oblige by developing innovative recording techniques, some simple (e.g., using a loudspeaker as a microphone), others more sophisticated. Eventually, during the tense and uncomfortable White Album sessions, the Beatles barely spoke to one another without anger, and Emerick quit before recording was finished.

Use with ARRL s online Exam Review for Ham Radio. Welcome to Amateur Radio. Radio and Signals Fundamentals. Electricity, Components, and Circuits. Propagation, Antennas, and Feed Lines. Amateur Radio Equipment. Communicating With Other Hams. Licensing Regulations. Operating Regulations. Safety. As you complete each chapter of this book, use ARRL's online Exam Review for Ham Radio to help prepare you for exam day. Once you've finished this book, use the online service to take practice exams with the same number and variety of questions that you'll encounter on exam day.

Learn the subtle editing, arrangement, and monitoring tactics which give industry insiders their competitive edge, and master the psychological tricks which protect you from all the biggest rookie mistakes. Pick up tricks and tips from leading-edge engineers working on today's multi-platinum hits, including Michael Brauer, Serban Ghenea, the Lord-Alge brothers, Tony Maserati, Manny Marroquin, Dave "Hard Drive" Pensado, Jack Joseph Puig, Mark "Spike" Stent, Phil Tan, Andy Wallace, and many, many more . Amazon Exclusive: A Letter from Mike Senior on Mixing Secrets for the Small Studio , "The 'Why The Hell' Challenge". In all these cases I've started with real-world small-studio recordings and used widely available mass-market technology to remix it to a commercial level, all without ever setting foot inside a "real" studio. If you want that kind of transformation for your music, then you can find a detailed explanation of my method in Mixing Secrets for the Small Studio . The second reason you might want to take notice of these mixing techniques, though, is that they've been drawn not only from my own professional experience, but also from more than four million words of first-hand interviews with the highest-profile engineers and producers on the planet. Amongst many other things in Mixing Secrets for the Small Studio , I try to deliver a stout kicking to the following questionable (but surprisingly pervasive) pieces of received wisdom: Indeed, the two most celebrated mixing speakers of all time, the Yamaha NS10 and the Auratone 5C Super Sound Cube, both have extremely uneven frequency-response plots, but excellent time-domain performance. Those common experiences are just the tip of the iceberg, and it's only by learning to work around the fickleness of your own hearing that you can begin to get decent mix results reliably. Corrective processing can certainly produce unmusical results, but it's important to realize that it doesn't have to, even if you're just using the editing facilities built into your software DAW. Furthermore, almost every small-studio production I've worked on sounded more musical (and became a lot easier to mix) once careful timing and tuning correction had been applied. In that case, it's much better to start with those while your ears are fresh, and while you've still got lots of mix real estate and computer CPU power to play with. In fact, a lot of the established classic reverb units sound pretty unnatural (the AMS RMX16, say, or the EMT 140 plate), but that doesn't stop them from appearing all over the current charts. I call this the "silver bullet" myth--that comforting delusion that the only thing separating your mix from the ones you hear on the radio is some single esoteric process. The malaise can almost always be traced to a whole selection of minor misjudgments that have been made at various points in the arrangement, editing, and mixing process. It doesn't matter if you have to replace the drums with samples, stuff synth pads between the guitar layers, add new backing vocals, or remove certain instruments entirely--just as long as your final product sounds great enough to make the client a happy bunny.

Every album and every song ever released by the Beatles - from "Please Please Me" (U.S. 1963) to "The Long and Winding Road" (U.S. 1970) - is dissected, discussed, and analyzed by two music historians in this lively, fully illustrated work. *Starred Review* This hefty gem of a book catalogs every recording released by the Beatles, in chronological order of album release. They know their stuff (Guesdon is a musician; Margotin, a music critic), and it shows—especially in the Production and Technical Details sections, where the type of equipment is named and described, recording speeds are discussed, and there is much talk of the number of takes each song required and why.

“The industry bible” ( Los Angeles Times ), now updated, essential for anyone in the music business—musicians, songwriters, lawyers, agents, promoters, publishers, executives, and managers—trying to navigate the rapid transformation of the industry. Now if you’re reading this and trying to decide whether the music business will disappear and if you’d be better off putting the price of this book into your stamp collection, there actually is a beautiful weather forecast. As we’ll discuss, streaming has the potential to make the music business bigger than it’s ever been in history. People who never would have gone into a record store are listening to streams, and the numbers are growing fast. As these new ways to exploit music take hold, you might wonder how artists get paid. And at no extra charge (if you act RIGHT NOW), there’s an update of what’s happening with traditional music business deals—recording, songwriting, merchandising, touring, and so forth.

Here's what The Rap Year Book does: It takes readers from 1979, widely regarded as the moment rap became recognized as part of the cultural and musical landscape, and comes right up to the present, with Shea Serrano hilariously discussing, debating, and deconstructing the most important rap song year by year. Complete with infographics, lyric maps, uproarious and informative footnotes, portraits of the artists, and short essays by other prominent music writers, The Rap Year Book is both a narrative and illustrated guide to the most iconic and influential rap songs ever created. Shea Serrano is a no.

1949), known for his work with the E Street Band, and his brand of poetic lyrics - Americana, working class, sometimes political sentiments centered on his native New Jersey - his distinctive voice, and his lengthy and energetic stage performances.

Titles: Alouette * Alpine Melody * Amazing Grace * Au Claire de la Lune * Aunt Rhody * Auld Lang Syne * Aura Lee * The Bandleader * Beautiful Brown Eyes * Blow the Man Down! * Largo (Dvorak) * Lavender's Blue * Lightly Row * Little Brown Jug * Liza Jane * London Bridge * Lone Star Waltz * Love Somebody * Lullaby * The Marine's Hymn * Mary Ann * Merrily We Roll Along * Mexican Hat Dance * Michael, Row the Boat Ashore * Money Can't Buy Everything * My Fifth * Ode to Joy * On Top of Old Smoky * O Sole Mio * Raisins and Almonds * Rock Along * Rockets * Rockin' Intervals * Rock It Away!

Titles: Alouette * Alpine Melody * Amazing Grace * Au Claire de la Lune * Aunt Rhody * Auld Lang Syne * Aura Lee * The Bandleader * Beautiful Brown Eyes * Blow the Man Down! * Largo (Dvorak) * Lavender's Blue * Lightly Row * Little Brown Jug * Liza Jane * London Bridge * Lone Star Waltz * Love Somebody * Lullaby * The Marine's Hymn * Mary Ann * Merrily We Roll Along * Mexican Hat Dance * Michael, Row the Boat Ashore * Money Can't Buy Everything * My Fifth * Ode to Joy * On Top of Old Smoky * O Sole Mio * Raisins and Almonds * Rock Along * Rockets * Rockin' Intervals * Rock It Away!

He describes growing up Catholic in Freehold, New Jersey, amid the poetry, danger, and darkness that fueled his imagination, leading up to the moment he refers to as “The Big Bang”: seeing Elvis Presley’s debut on The Ed Sullivan Show . Like many of his songs (“Thunder Road,” “Badlands,” “Darkness on the Edge of Town,” “The River,” “Born in the U.S.A,” “The Rising,” and “The Ghost of Tom Joad,” to name just a few), Bruce Springsteen’s autobiography is written with the lyricism of a singular songwriter and the wisdom of a man who has thought deeply about his experiences. Born to Run takes readers on a riveting ride through the everyman rock star’s deeply lived existence.” — Associated Press. His story is intimate and personal, but he has an interest in other people and a gift for sizing them up..” —Dwight Garner, The New York Times. He delivers the story of Bruce—in digestibly short chapters—via an informally steadfast Jersey plainspeak that’s worked and deftly detailed and intimate with its readers—cleareyed enough to say what it means when it has hard stories to tell, yet supple enough to rise to occasions requiring eloquence—sometimes rather pleasingly subsiding into the syntax and rhythms of a Bruce Springsteen song." “A virtuoso performance, the 508-page equivalent to one of Springsteen and the E Street Band's famous four-hour concerts: Nothing is left onstage, and diehard fans and first-timers alike depart for home sated and yet somehow already aching for more.” — NPR.

Titles: Alouette * Alpine Melody * Amazing Grace * Au Claire de la Lune * Aunt Rhody * Auld Lang Syne * Aura Lee * The Bandleader * Beautiful Brown Eyes * Blow the Man Down! * Largo (Dvorak) * Lavender's Blue * Lightly Row * Little Brown Jug * Liza Jane * London Bridge * Lone Star Waltz * Love Somebody * Lullaby * The Marine's Hymn * Mary Ann * Merrily We Roll Along * Mexican Hat Dance * Michael, Row the Boat Ashore * Money Can't Buy Everything * My Fifth * Ode to Joy * On Top of Old Smoky * O Sole Mio * Raisins and Almonds * Rock Along * Rockets * Rockin' Intervals * Rock It Away!