PDF-[BOOK]-Off the Record: The Technology and Culture of Sound Recording in America

Best Research in the General History of Recorded Sound from The Association for Recorded Sound Collections David L Morton examines the process of invention innovation and diffusion of communications technology using the history of sound recording as the focus Off the Record demonstrates how the history of both the hardware and the ways people used it is essential for understanding why any particular technology became a fixture in everyday life or faded into obscurity Mortons approach to the topic differs from most previous works which have examined the technologys social impact but not the reasons for its existence Recording culture in America emerged Morton writes not through the dictates of the technology itself but in complex ways that were contingent upon the actions of usersEach of the case studies in the book emphasizes one of five aspects of the culture of recording and its relationship to new technology at the same time telling the story of sound recording history One of the misconceptions that Morton hopes to dispel is that the only important category of sound recording involves music Unique in his broadbased approach to sound technology the five case studies that Morton investigates are      The phonograph recordRecording in the radio businessThe dictation machineThe telephone answering machine andHome tapingReaders will learn for example that the equipment to create the telephone answering machine has been around for a century but that the ownership and use of answering machines was a hotly contested issue in the telephone industry at the turn of the century hence stifling its commercial development for decades Morton also offers fascinating insight into early radio that while The Amos and Andy Show initially was prerecorded and not broadcast live the commercial stations saw this easily distributed program as an economic threat many nonnetwork stations could buy the disks for easy relatively inexpensive replaying As a result Amos and Andy was sold to Mutual and went live shortly afterward  . A pre-conference workshop for. SEMLA. October 10, 2013. Nashville, Tennessee. Agenda. Information . Quick introduction to RDA. Sound recording formats introduction. When to input a new record. Preferred sources of information. origin and purpose. I have taken some slides from arguably the finest cataloging teacher of the early 21. st. century, Rick J. Block.. I have taken out aspects that don’t apply to classical music much, since this is what we are dealing here.. Which is Best?. Cody Barras. Musical Acoustics. Fall 2012. Vinyl, CD or MP3. There is quite a deal of debate among recording specialists and internet know-it-alls about the general quality of sound recordings over various mediums. Some say that the compression of an MP3 gives an over processed sound, others say the artifacts on a record make for an unclean recording, and still others say that the CD is not the happy medium it claims to be.. Brandon . Halleran. 1857 Phonautograph . 1857, . Édouard-Léon. Scott de . Martinsville . invented the phonautograph, the first device that could record sound waves as they passed through the air. It was intended only for visual study of the recording and could not play back the sound. The recording medium was a sheet of soot-coated paper wrapped around a rotating cylinder carried on a threaded rod. A stylus, attached to a diaphragm through a series of levers, traced a line through the soot, creating a graphic record of the motions of the diaphragm as it was minutely propelled back and forth by the audio-frequency variations in air pressure.. INART 258 Fundamentals of MIDI & Digital Audio. Mark Ballora. , instructor. 1. 2. Recording Fundamentals. Recall the slides from earlier presentations concerning reverberation.... 2. 3. Distance. GERRY BROPHY. TALKING LIFE. Ground Rules. . Confidentiality. We have the right to make mistakes and not know things. Take responsibility for your learning by asking questions and giving feedback. Allow others to have their say, challenge the views not the person. Credits. :. Sound Recordings Cataloging Workshop. / Jay . Weitz. (Online Audiovisual Catalogers Conference 2012). RDA Basics: Sound Recordings. /Kathy . Glennan. (2011). RDA: Special Formats Training / Jim . composition. , and the other, FOR THE RECORDING ITSELF, which is called the . sound recording. copyright. It is not uncommon for each copyright to have separate ownership.. OVERVIEW. THE PA or the . Dr. Andrew Maz. About Me. D.M.A. – Early Music, USC. M.A. – Musicology, UCLA. B.A. – Classical Guitar, UCSD. Songwriter. Producer. Recording Engineer. Film Composer. Educator. Educator. Cerritos College. 5. Filmic Sound Spaces. Sound Theory Sound Practice. Edited by Rick Altman (1992). With essays by James . Lastra. , Michel . Chion. , and others. The Soundscape of Modernity: Architectural Acoustics and The Culture of Listening in America, 1900-1933 . Nancy . Lorimer. , Stanford University. Scope. Recorded music. AACR2 Chapter 6 & parts of Chapter 21. Only music recordings covered, not spoken word. Only 4 ¾ in. discs (CDs, SACDs, DVD-audio), with some mention of other types. EMC, LVD - 2 - IntroductionThank you for investing in the NT1-A studio condenser microphone.Whether you UPDATE-DATABASEPulse to request a lookup of all the missing data for all albums on the xiva systemRECORD-QUALITY-Pulse to scroll through the available compression options for recordingENABLE-RECORDSTA Best Research in the General History of Recorded Sound from The Association for Recorded Sound Collections David L. Morton examines the process of invention, innovation, and diffusion of communications technology, using the history of sound recording as the focus. Off the Record demonstrates how the history of both the hardware and the ways people used it is essential for understanding why any particular technology became a fixture in everyday life or faded into obscurity. Morton’s approach to the topic differs from most previous works, which have examined the technology’s social impact, but not the reasons for its existence. Recording culture in America emerged, Morton writes, not through the dictates of the technology itself but in complex ways that were contingent upon the actions of users.Each of the case studies in the book emphasizes one of five aspects of the culture of recording and its relationship to new technology, at the same time telling the story of sound recording history. One of the misconceptions that Morton hopes to dispel is that the only important category of sound recording involves music. Unique in his broad-based approach to sound technology, the five case studies that Morton investigates are :     The phonograph recordRecording in the radio businessThe dictation machineThe telephone answering machine, andHome tapingReaders will learn, for example, that the equipment to create the telephone answering machine has been around for a century, but that the ownership and use of answering machines was a hotly contested issue in the telephone industry at the turn of the century, hence stifling its commercial development for decades. Morton also offers fascinating insight into early radio: that, while The Amos and Andy Show initially was pre-recorded and not broadcast live, the commercial stations saw this easily distributed program as an economic threat: many non-network stations could buy the disks for easy, relatively inexpensive replaying. As a result, Amos and Andy was sold to Mutual and went live shortly afterward.