LEADER 01864nam2-2200433---450- 001 990001734870203316 005 20110720140005.0 010 $a978-1-108-01292-8$b(vol. 1) 010 $a978-1-108-01293-5$b(vol. 2) 035 $a000173487 035 $aUSA01000173487 035 $a(ALEPH)000173487USA01 035 $a000173487 100 $a20040608e20101897km-y0itay50------ba 101 0 $aeng 102 $aGB 105 $aa|||||||001yy 200 1 $aDanish Arctic expeditions, 1605 to 1620$fedited by C. C. A. Gosch 210 $aCambridge [etc.]$cCambridge University Press$d2010 215 $a2 volumi (CXVII, 205; CXVIII, 187 p.)$cill.$d22 cm 225 2 $aCambridge library collection$iTravel and exploration 300 $aRiproduzione facsimilare dell'edizione: London : printed for the Hakluyt society, 1897 327 1 $aVol. 1: The Danish expeditions to Greenland in 1605, 1606, and 1607$aVol. 2: The expedition of Captain Jens Munk to Hudson's Bay in search of a North-West passage in 1619-20 410 0$1001000126532$12001$aCambridge library collection. 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Coll.$d00298056 959 $aBK 969 $aUMA 979 $aMARIA$b10$c20040608$lUSA01$h1254 979 $aANNAMARIA$b90$c20110719$lUSA01$h1404 979 $aANNAMARIA$b90$c20110720$lUSA01$h1400 996 $aDanish Arctic expeditions, 1605 to 1620$9946360 997 $aUNISA LEADER 04633nam 22004213u 450 001 9910464802103321 005 20210112005620.0 010 $a0-19-938501-7 010 $a0-19-935718-8 035 $a(CKB)3710000000117388 035 $a(EBL)1696420 035 $a(MiAaPQ)EBC1696420 035 $a(EXLCZ)993710000000117388 100 $a20140602d2014|||| u|| | 101 0 $aeng 135 $aur|n|---||||| 200 14$aThe History of Music Production$b[electronic resource] 210 $aOxford $cOxford University Press$d2014 215 $a1 online resource (265 p.) 300 $aDescription based upon print version of record. 311 $a0-19-935717-X 327 $aCover; The History of Music Production; Copyright; Dedication; CONTENTS; List of Illustrations; Preface; Introduction; 1 Beginnings; Understanding Sound; Toward Recording; The Phonograph; The First Producers; 2 The Acoustic Period; Acoustic Recording; International Expansion; The Third Major Label; The Sooys; Documentation of Cultural Expression; The End of an Era; 3 The Electric Period; Toward Electric Recording; Better Sound; Country Music; Further Technological Foundations; The Calm before the Storm; The Thirties and Forties; Radio, Film, and Tape Innovations 327 $a4 Economic and Societal OverlayCyclical Decline; One Thing after Another: The Thirties through the War; Recovery; 5 The Studio Is Interactive; Toward Greater Control; Magnetic Tape Recording; Defining Some Terms; Mastering; Editing; Sound on Sound; Overdubbing; Summing up Tape's Impact; The Microgroove LP; 6 The Post-World War II Reconstruction of the Recording Industry; After the War; The Boom in Independent Labels; The Fifties; Radio DJs; 7 Mobile Music; More Music for More People; Music Anywhere: Radio on the Move; My Music on the Move; My Music Anywhere; 8 Expanding the Palette 327 $aElectric Instruments and AmplifiersSynthesizers; Genre Hybridization; 9 Some Key Producers; The Objective; Review of Early Producers; Mitch Miller; Leiber and Stoller; Phil Spector; Sam Phillips; Steve Sholes; Norrie Paramor; Joe Meek; Brian Wilson; George Martin; Holland, Dozier, and Holland; Teo Macero; King Tubby; Prince; Rick Rubin; Quincy Jones; Robert John "Mutt" Lange; Dr. Dre; Max Martin; 10 The Sixties and Seventies; Cultural and Creative Revolution; The Sixties; Mix Automation; The Seventies; 11 Toward the Digital Age; Digital Recording; Hip Hop; The State of the Eighties 327 $aThe Sound of the EightiesThe Look of the Eighties; Shiny Silver Discs; Singles; Mixing; Dance Music; Remixes; Further Eighties Developments; Mergers and Acquisitions; The Internet and the World Wide Web; 12 The Nineties; The Corporate State; The Charts and SoundScan; Alternative Rock; Toward Music Online; Progress with Digitized Data; Digital Radio; Millennials; Preparing the Way for Napster; 13 Periods of Standards and Stability; Proprietary versus Open Systems; Standards; 14 Deconstructing the Studio; Democratizing Technologies; Improvised Environments; When Is a Home Not a Home?; Freedom 327 $a15 Random Access Recording TechnologyWhy Random Access?; The Beginnings of Random Access for Producers; Drum Machines, Next Generation Sequencers, and MIDI; The Beginnings of Random Access Digital Recording; Convergence and Integration; 16 Transformative/Disruptive Technologies and the Value of Music; Definitions of Terms; The Industry at the Turn of the 21st Century; Missed Opportunity; Oh, Wait; No Big Surprises; What a Great Idea; What Happened to Vertical Integration?; An Idea Whose Time Had Come; Denial and Inaction; The Consequences; The Digital Disruption and Producer Income 327 $aPerformance Royalties 330 $aIn The History of Music Production, Richard James Burgess draws on his experience as a producer, musician, and author. Beginning in 1860 with the first known recording of an acoustic sound and moving forward chronologically, Burgess charts the highs and lows of the industry throughout the decades and concludes with a discussion on the present state of music production. Throughout, he tells the story of the music producer as both artist and professional, including biographical sketches of key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Burgess arg 608 $aElectronic books. 676 $a781.49 700 $aBurgess$b Richard James$0847911 801 0$bAU-PeEL 801 1$bAU-PeEL 801 2$bAU-PeEL 906 $aBOOK 912 $a9910464802103321 996 $aThe History of Music Production$92223817 997 $aUNINA