Audio Production

Esta tesis doctoral aborda el estudio de la figura del productor musical como nexo entre la inspiracion creativa del artista, la tecnologia del estudio de grabacion, y las aspiraciones comerciales de la compania de discos. La investigacion afronta el analisis de la figura del productor estableciendo diferentes tipologias funcionales en las que se valora tanto su perfil profesional como personal. Aspectos como el liderazgo o la empatia se convierten en factores relevantes en la capacidad de gestionar el ?colectivo creativo? vinculado al estudio de grabacion como meta-instrumento. Asimismo se lleva a cabo una revision historica de la evolucion del estudio de produccion musical en Espana y de los roles profesionales que se establecen entorno a este. Esta base documental precede al desarrollo de una metodologia de analisis de la produccion musical basada en la representacion visual del espacio escenico que se genera durante el proceso de mezcla estereo y en el que intervienen aspectos t...

La réflexion proposée a pour but de mettre en valeur sur l’industrie musicale, et plus particulièrement sur le segment de la production audio, l’impact de l’apparition probable d’un essaim d’innovations technologiques dans un futur proche. Ces innovations sont à mettre en parallèle avec les modalités existantes de gestion, d’organisation et de création au sein des organisations du secteur. Le but recherché est de mettre en évidence la supériorité des organisations agiles et les mécanismes qui pourraient permettre d’accompagner les prémices de la singularité technologique.

Motivated by Marshall McLuhan’s suggestion that advances in technology serve to alter sense perceptions, and that it is the role of artists to be aware of such changes, the author explores intersections and contrasts among five different approaches to the subject and practice of ear training in the context of sound recording technology, with attention to how these approaches serve to expand and challenge traditional ear training pedagogy and what these changes to tradition reveal about how sound recording technology has altered our sense perceptions.

Low End Theory probes the much-mythologized field of bass and low-frequency sound. It begins in music but quickly moves far beyond, following vibratory phenomena across time, disciplines and disparate cultural spheres (including hauntings, laboratories, organ workshops, burial mounds, sound art, studios, dancefloors, infrasonic anomalies, and a global mystery called The Hum). Low End Theory asks what it is about bass that has fascinated us for so long and made it such a busy site of bio-technological experimentation, driving developments in science, technology, the arts, and religious culture.

The guiding question is not so much what we make of bass, but what it makes of us: how does it undulate and unsettle; how does it incite; how does it draw bodily thought into new equations with itself and its surroundings? Low End Theory is the first book to survey this sonorous terrain and devise a conceptual language proper to it. With its focus on sound's structuring agency and the multi-sensory aspects of sonic experience, it stands to make a transformative contribution to the study of music and sound, while pushing scholarship on affect, materiality, and the senses into fertile new territory. Through energetic and creative prose, Low End Theory works to put thought in touch with the vibratory encounter as no scholarly book has done before.

Reviews

“Low End Theory is an extremely broad-ranging book that refreshingly challenges the divisions between the humanities and sciences in terms of our understanding of sound, stretching this understanding from a wide-ranging interdisciplinary base. The core chapters represent a tour de force analysis of sound, body and experience that is both exhilarating and challenging. The reader will feel that they are racing through a stimulating sonic haze picking up wonderful nuggets of sonic knowledge on the way.” –  Michael Bull, Professor of Sound Studies, University of Sussex, UK

“A pioneering study of the murky world of bass that enlists speculative concepts to reveal the vibrational practices at work in ritual, science and in the underbelly of pop. Low End Theory contributes to a growing literature which recognises, tracks and encourages the perpetual reconstruction the sonic body.” –  Steve Goodman, Independent Scholar, UK, author of Sonic Warfare: Sound, Affect and the Ecology of Fear (2010) and Founder of record label Hyperdub

“We live in a world of vibrations. Sound envelops us, moves us, caresses or assaults us-especially in the lower frequencies that we cannot hear directly. In Low End Theory, Paul Jasen provides us with an ontology of bass. He works through the many ways-natural, social, and technological-that subsonic frequencies haunt us, affect us, and change us.” –  Steven Shaviro, DeRoy Professor of English, Wayne State University, USA

Este trabalho relata e desenvolve uma análise acústica realizada em 2015, apresentando a fundamentação teórica e a metodologia adotadas, discutindo resultados obtidos e apontando para novas perspectivas de pesquisa. Como métodos inovadores destacam-se a análise do comportamento modal da sala pelo critério de Bonello após os resultados de simulação por elementos finitos; a inclusão de representação musical para dar mais visibilidade a imagens mentais próprias à escuta humana. A inclusão de medições realizadas nas salas depois de construídas e devidamente instaladas de mobiliário e equipamentos permitiu estender a análise a outros aspectos de interesse como a disposição dos monitores de áudio.

Emerging technology is facilitating collaboration and peer-production across a wide variety of industries. In the music industry, one example of this is in the use of a remote mix engineer-contracted to work on a recording made by another engineer in a different location and time domain because of the value in their specialised expertise. This paper examines the rise of the remote mix engineer in the contemporary music industry. It does this by examining the technology, methods of working, expertise and the concept of stardom using two contrasting examples-one a world-renowned mix engineer with several decades of experience and a high profile client list, the other being a younger and less experienced mix engineer with a different range of clients.

This article addresses the cultural and historical significance of the modern interpretation of extended range guitars while also discussing specifications of the instruments and the context of a mix. The extended range guitar refers to the added strings on a traditional six string guitar by adding a seventh, eight, and even ninth string to the electric guitar. First, this article explores how artists such as Steve Vai, Korn, Meshuggah, and Animals As Leaders have impacted and shaped the commercial creation, success, and cultural effects on the musical community with these extended range guitars, specifically within heavy metal. Secondly, it examines the specifications of the extended range guitars, such as scale length, string gauges, hardware, wood, and price in relation to seventh, eighth, and ninth strings. Lastly, it discusses how to approach a mix with extended range instruments, considering that these guitars are now interfering with low frequencies in relation to a drum kit and bass guitar.

A need exists for students and communication educators to go beyond the traditional concepts of literacy. Students enrolled in our communication courses are expected to be proficient in verbal communication through traditional face-to-face forms of engagement and more mediated/electronic modes of interaction. Practitioners of communication must be able to archive their speeches and other relevant oral presentations for future consumption. This skill set will be equivalent to mastering word processing and information gathering as a measure of being a successful graduate in the field of communication.

The impact that COVID-19 has had on pedagogical instruction of recording technologies, the music business, podcasting, and other aspects of audio production cannot be overstated. Many of us scrambled in the early shift towards online instruction and have continued to innovate ways to make virtual and face-to-face instruction work during a global pandemic. This presentation will share strategies for maintaining a rigorous curriculum while meeting the educational and emotional needs of students during this unprecedented time.

Abstract: The informational utility model states that (a) message utility increases as the intensity of the magnitude, likelihood, and immediacy of outcomes conveyed in the message increases, and that (b) increased utility leads to increased selection of the message. This study tests the model with radio news. Respondents listened to stories reflecting high or low intensity of one informational utility dimension. Afterward, respondents reported their retention and perceived relevance of each story. Results showed that individuals recalled more facts about stories of high, as opposed to low, utility; however, perceived relevance findings were nonsignificant.
Citation: Dillman Carpentier, F. R. (2008). Applicability of the Informational Utility model for radio news. Journalism and Mass Communication Quarterly, 85, 577-590.

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Musik lagu melodi jingle toa speaker ringtone alat untuk jualan es krim bakpao roti keliling. Bisa di rekam dan hapus sendiri tanpa perlu beli memori lagi. Penggunaan mudah, tinggal dihubungkan ke accu motor bisa untuk jualan keliling.

Melayani pengiriman ke seluruh wilayah Indonesia, seperti:
Aceh, Medan Sumatera, Padang Sumatera, Pekanbaru Riau, Jambi, Palembang Sumatera, Bengkulu, Lampung, Pangkalpinang Bangka, Tanjungpinang Riau,
Jakarta, Bandung Jawa Barat, Semarang Jawa Jengah, Yogyakarta, Surabaya Jawa Timur, Serang Banten, Denpasar Bali, Mataram Nusa Tenggara, Kupang Nusa Tenggara,
Pontianak Kalimantan, Palangka Raya Kalimantan, Banjarmasin Kalimantan, Samarinda Kalimantan, Tanjung Selor Kalimantan,
Manado Sulawesi, Palu Sulawesi, Makassar Sulawesi, Kendari Sulawesi, Gorontalo, Mamuju Sulawesi, Ambon Maluku, Sofifi Maluku, Jayapura Papua, Manokwari Papua

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whatsapp: 0852-1042-3883
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speaker jualan keliling, toa jualan keliling, melodi jualan keliling

Order info KLIK wa.me/6285210423883

Musik lagu melodi jingle toa speaker ringtone alat untuk jualan es krim bakpao roti keliling. Bisa di rekam dan hapus sendiri tanpa perlu beli memori lagi. Penggunaan mudah, tinggal dihubungkan ke accu motor bisa untuk jualan keliling.

Melayani pengiriman ke seluruh wilayah Indonesia, seperti:
Aceh, Medan Sumatera, Padang Sumatera, Pekanbaru Riau, Jambi, Palembang Sumatera, Bengkulu, Lampung, Pangkalpinang Bangka, Tanjungpinang Riau,
Jakarta, Bandung Jawa Barat, Semarang Jawa Jengah, Yogyakarta, Surabaya Jawa Timur, Serang Banten, Denpasar Bali, Mataram Nusa Tenggara, Kupang Nusa Tenggara,
Pontianak Kalimantan, Palangka Raya Kalimantan, Banjarmasin Kalimantan, Samarinda Kalimantan, Tanjung Selor Kalimantan,
Manado Sulawesi, Palu Sulawesi, Makassar Sulawesi, Kendari Sulawesi, Gorontalo, Mamuju Sulawesi, Ambon Maluku, Sofifi Maluku, Jayapura Papua, Manokwari Papua

============================
Pemesanan hubungi
whatsapp: 0852-1042-3883
============================

lagu untuk jualan, speaker jualan, speaker toa kecil, musik jualan, melodi jualan keliling, toa jualan keliling, speaker jualan keliling, musik pedagang keliling,

This study explores the sound quality attributes and dimensions of hyper- compression. Four expert listeners took part in an elicitation experiment drawing on descriptive analysis methods for data elicitation and content analysis for data analysis. Participants were presented with unprocessed and hyper-compressed stimuli in an A-B comparison test and required to record any differences perceived. Axial coding of this text data resulted in a total of 43 sound quality attributes. These attributes were abducted into four established sound quality dimensions: (1) Clearness/distinctness, (2) Feeling of space, (3) Fullness vs thinness and (4) Brightness vs darkness. New dimensions comprised: (1) Energy and (2) Instrument level change while no difference was also perceived. This study represents a first step towards uncovering the sound quality attributes and representative sound quality dimensions associated with hyper-compression.

In the discipline of audio production, significant deliberate practice is required to achieve learning outcomes that are mapped to industry skills. However, these learning outcomes may not be directly assessed, as their realisation is necessary to complete assignments. The absence of a tangible reward for the mastery of these skills reduces their perceived importance to the student. To address this issue, a digital badge was offered to reward deliberate practice resulting in the mastery of ‘studio signal flow’.

This presentation discusses the design and implementation of the digital badge whilst identifying and discussing the limitations of the approach. Design focused on the development of a task with sufficient motivational qualities to encourage deliberate practice. Consideration was given to the reported characteristics of digital native students, avoiding de-motivation, badge labelling, the provision of objective metrics, and managing the perceived value of the badge. Implementation required the creation of a digital artefact to evidence the learning, facilitating badge visibility across multiple platforms, and managing badge delivery. The limitations of using digital badges as a reward for deliberate practice will be discussed and adjustments to the approach will be proposed.

You are invited you to a talk, Q&A session and drinks reception at the University of West London to launch Simon Zagorski-Thomas' new book, The Musicology of Record Production, at 6.30pm on Thursday 30th October in Lawrence Hall. Simon is a Reader at the London College of Music, UWL and teaches record production and electronic music composition. In this talk, he will use a range of examples to explore how theoretical knowledge and practice as research can help to bridge the divide between the vocational and the traditionally academic. Drawing on recordings by artists as varied as classical pianist, Andrei Gavrilov, jazz trumpeter, Miles Davis, and pop singer, Britney Spears, he will explore how students, professionals and researchers can better understand the mechanics of record production by exploring the guiding principles behind professional techniques.

All are welcome but there are a limited number of places and they have to be booked. Please visit:  http://www.uwlsu.com/lcmlive to reserve a place.
You can find out more about the book on Simon's website: http://zagorski-thomas.com/

The talk will take place in The Lawrence Hall, University of West London, St Mary’s Road. London W5 5RF which is on the 65 bus route and is about equidistant from South Ealing (Piccadilly Line) and Ealing Broadway (District, Central and Mainline from Paddington). Parking is mostly free after 6pm.

I hope to see you there.