Average customer rating:
- Lots to learn in Auditon 2
- . . . for the cautious
- EXASPERATING BUT INDISPENSIBLE
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Adobe Audition 2.0 Classroom in a Book
Adobe Creative Team
Manufacturer: Adobe Press
ProductGroup: Book
Binding: Paperback
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Book Description
The most comprehensive way to learn Adobe Audition 2.0!
Classroom in a Book, the best-selling series of hands-on software training workbooks, helps you learn the features of Adobe software quickly and easily. Classroom in a Book offers what no other book or training program does--an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts.
Adobe Audition 2.0 Classroom in a Book contains thirteen lessons and a bonus CD with lesson files. The book covers the basics of learning Adobe Audition, and countless tips and techniques to help you quickly become an Audition expert. You'll learn how to work and edit in a multitrack mixing environment, create audio effects and original soundtracks with loops, restore poor-quality audio, export to CD and MP3, and more. You'll also learn about Audition 2.0's new features, including low-latency mixing with unlimited tracks, ASIO support, audible scrubbing, analog-modeled Multiband Compressor, recordable parameter automation with external hardware support, and more. You can follow the book from start to finish or choose only those lessons that interest you.
Customer Reviews:
Lots to learn in Auditon 2.......2007-03-09
A great book and cd of data. Because of not the greatest help files and no tutorials that came with Audition 2.0 this program while very powerful can be quite intimidatiing. Classroom in a book is very helpful in getting started and learning how to use the program.
. . . for the cautious.......2007-02-18
Could be considered a waste of time by many who are more experienced with applications of this sort. The difficult part is sticking to the tutorials and not wandering off on your own. Everything covered here can be accessed via the help files and user guide. Adobe might want to consider putting a little more effort into features such as a midi sequencer than reiterating itself.
EXASPERATING BUT INDISPENSIBLE.......2006-09-21
Above all, make sure the version of Audition 2.0 Classroom in a Book IS FOR YOUR OPERATING SYSTEM. Also understand that you must have the program to make sense of the manual.
Classroom in a Book is a good guide, but it has two omissions.
Anyone is in their rights to expect that a guide of this sort would have at least a few passages about live recording---but there is exactly one passing sentence in the entire manual about live recording. In Multitrack View the tracks have a panel wherein (among a great many other virtual dials and buttons and such) there is an "M" button, a "S" button, and an "R" button. "M" is for mute, which is explained more than once (even more than twice over the course of the book). "S" is for "Solo", which is also explained to its death over and over again. But as for the "R" button there is only one sentence regarding it.
"R" is "Armed for Record".
Now, maybe someone with a background in audio-editing software knows full well what "Armed for Record" means. Even for a rank beginner like me it wasn't that hard to figure out, I'll admit, but still for a book to go on and on about the other two buttons and to just mention the third term without any further comment seems to me a fundamental lapse. In my case it made for the beginning of a series of exasperating stumbles.
Going at it blind, I simply clicked on "R" and got a message informing me that the best recording was achieved by switching to ASIO. I knew that ASIO meant "Audio Stream In/Out" and had something to do with the new sound card that I had installed. The old sound card that had originally come with the computer was still in there, but apparently from what the message said I would only get mediocre results if I didn't switch by going to Edit and clicking on Audio Hardware Set-Up and following instructions from there on. Needless to say, this was easily done, and in seconds I had switched the program to my new audio card, which any intermediate or advanced user would have known to do from the get-go. Why install the card and not make sure the program was set to it? Ordinarily I would not even admit to anybody that I had to be told to do this; it's embarrassing; but still Audition is a very involved program; there's a lot to learn; and I was just very new to this whole business.
Anyway, I switched, and that should have been the end of it, but sadly the minute I switched my "R" buttons went gray and became inoperable! What's that? Maybe there's no problem on a Mac; I wouldn't know. All I know is that I'm a Windows XP Home Edition guy as I write this; and I lost my "R" buttons!
To say this upset me and got me mad is an understatement. The next morning I was in a better frame of mind and logically went over the steps and saw that there was a pattern to what was happening. For some reason switching to ASIO will gray out the "R" buttons, but if you close the program and go back to it you'll have your "R" buttons back and still be in ASIO.
It's that simple, but there's no mention of it in the book.
Of course, "Armed for Record" must be followed up by clicking on the circular red button on what is called the "Transport Panel" at the bottom of the screen. You're left to guess this, but anyone who has operated a ghetto blaster or a VCR knows what that red circle is; but still it would nice for Adobe to spell this out for us intimidated newbies.
The other big omission gets back to the same lapse as the other one. The book does not bother to point out that switching to ASIO in Multitrack View will not carry over to Edit View. It may not seem like a big deal, but I freaked out when my stuff sounded so weak in Edit View. I couldn't figure it out. The louder I got it in Edit View the more obnoxiously deafening it became in Multitrack View because the two "views" were coming at me through two entirely different sound cards!
Finally I realized what the problem was. Duh . . .
On the positive side in the last analysis it's actually very nice that the two windows can have different settings to let me know how the same file will sound on different computers. My thing with this will be podcasting, and podcasting is about posting on the Net, so one should be aiming at a happy medium that accommodates ordinary cards and quality cards alike. I'm getting better and better at it. The quality will never be a sound stage level thing, but I'm fast approaching the same smoothness of an FM radio commercial.
So go with this book, yes, but keep my comments in mind as you go.
Customer Reviews:
Acoustic Masters Series: Bob Brozman's Bottleneck Blues Guitar.......2007-02-21
I have been playing for over 30 years, this is the best book on Bottleneck blues guitar. It is also alot of fun to play.
Very good place to start.......2003-11-09
I'm an intermediate player who bought 3 books to learn slide from.
This is the best of the bunch. The book covers a lot of ground but
the basics are here as well. Well spaced info and a good CD to
learn from. Other good books on blues (but not slide per se) are the Kenny Sultan series - they are not as hard as the Grossman and Mann books
Worth the $.......2002-08-13
I'm a metal guitarist (the real stuff, Maiden, Morbid Angel, Slayer style metal) that dabbles in jazz and fingerstyle.
I've loved Robert Johnson's country style blues forever and this book introduced me to the joys of playing slide guitar in open G in just two days! I can already play enough stuff to sound like I know what I'm doing.
Virtuoso slide instruction.......2000-08-23
Bob Brozman, in addition to being a certified ethnomusicologist and world expert on the National resonator guitar has compiled a mother lode of slide and rhythm techniques in the Country Blues style.Although at his own admission Brozman doesn't "play Robert Johnson like Robert Johnson.." in recordings or live venues he does easily teach the style of Johnson flawlessly in rhythm, phrase and slide technique. In addition he quotes and instructs from the other Country Blues giants..Charlie Patton, Willie Brown as well as including his own trademark licks. The rhythmic instruction included is essential learning for this style. Included CD is excellent in detail and example. A must have for anyone interested in this style
Book Description
The Hal Leonard Acoustic Guitar Method uses real songs to teach you all the basics of acoustic guitar in the style of The Beatles, Eric Clapton, John Mellencamp, the Indigo Girls, Robert Johnson, James Taylor and many others. Lessons include: strumming; fingerpicking; using a capo; open tunings; folk, country and bluegrass styles; acoustic blues; acoustic rock; and more. Songs include: Angie * Barely Breathing * Behind Blue Eyes * Building a Mystery * Change the World * Dust in the Wind * Fast Car * Here Comes the Sun * Jack and Diane * Landslide * Leaving on a Jet Plane * Maggie May * More Than Words * Name * You've Got a Friend * Yesterday * and more. In standard notation and tablature.
Customer Reviews:
Good but not for beginners........2007-05-24
I had seen this book in stores before I bought it, so I knew what I was getting into.
I think, over all, it's a good buy. But if you're just learning guitar, I'd wait until you got through Hal Leonard' s guitar method books (1-3), or some other basic guitar method. After a brief review of stumming patterns, the book takes off quite quickly with difficult syncopated rythyms and fancy chords.
The other thing is that, even though it boasts having a lot of songs,I think around forty-five, most of them are just a few measures and riffs from those songs. Only at the end of each chapter is there a complete song to learn.
Not for beginners.......2007-05-16
I am a novice and this was not useful. I am keeping it around for when I get to the intermediate stages because there are some good information for once you know and understand the chords and how to read music.
For the Advancing Beginner.......2007-01-30
One thing to note with this book is right on the cover it says "supplement to Any Guitar Method". This is a book for someone who has learned the very basics and wants to see how all those chords, scales and strumming patterns apply to real music. It does assume a basic level of competence with the guitar. If you are brand new to the guitar, get this book in 6 months or so.
While browsing through the guitar section at a local bookstore, this book caught my eye because it shows real world examples of the techniques I've been currently practicing.
Again this is not for the beginner nor is it intended to be. But if you have the basics down and want to push your guitar playing to the next level this book will certainly get you there.
Good, but not for a beginner........2006-08-02
The title of this book is a bit misleading. This is not a method book with step-by-step lessons. This is a song book. It does tell how to finger most chords used, but that's the extent of the "lessons." This is not for beginners. This won't teach you how to play.
I purchased this book with the Complete Guitar Method series. This is an awesome supplement to that book. The included songs are fantastic, and the tab makes this very easy to use for those of you who don't read music. I've got mixed feelings as the title lead me to think this was something it was not. However, I am happy I have this book because I now have some great songs ready at hand when I need them.
I searched through OLGA and a few other tab sites for these songs, and the quality of the book shines. When you get tabs from the net you get someone's interpretation of a song. When you get this book, you actually get the song as it was actually written. Keep that in mind. I know it's not true of all tabs, but sometimes you should really consider a real book rather than what could possibly be a sloppy rendition from a tab site. Free tabs are great, but you can actually rely on this book to give the true song.
Buy this for the songs, not for the "lessons." It is worth the money just so long as you realize this isn't for the beginner.
Moves on and Skips Crucial Steps.......2006-07-21
This book teaches you a few chords and then 2 pages later introduces a song containing chords that are not taught in the book - stupid!!!! I wasn't impressed at all.
Book Description
Every guitarist dreams of owning a handmade instrument, but for most, the cost is likely to be prohibitive. The alternative - building your own fine guitar - is not as difficult as you might imagine, given some skill, patience, and the expert guidance of a master luthier. Every step of construction is fully covered, from choice, selection, and preparation of woods, to consideration of size, bracing, and tonal qualities. Each step of the building sequence is clearly photographed in color, with variations to the standard design shown to enable you to personalize your instrument as you make it. Briston, England-based Jonathan Kinkead has been building guitars for nearly 30 years. His craft is born out of experience and intuition rather than a strict following of technical detail. The resulting beauty of form and distinctive tone have earned him his reputation as one of the world's most respected independent luthiers.
Customer Reviews:
What to read first.......2007-10-05
"Build Your Own Acoustic Guitar" is the 2nd book you should read and is a great layout or outline for you while building your guitar. However, "Guitar Making" by Cumpiano & Natelson is still the most detailed, fact filled book on guitar making. I keep both on the shelf side by side.
Not just any guitar, this exact guitar........2007-09-30
I got this book, along with two other books in the same genre. The images are in color and very detailed. The instructions are fairly easy to follow. Why three stars and not more? Because this book is really about building a replica of a Kinkead guitar. I wanted instructions with more depth, more discussion of variations and explanations. I found that elsewhere. So, if you want a book that will walk you through building a Kinkead steel string guitar, and only that, buy this book. If you want a book that will take you through the breadth and depth of building classical and steel string guitars, with detailed instructions and explanations, buy something else.
build it and they will come.......2007-09-19
This book is very detailed, step by step with great pics and illustrations. I feel I can do it!
Great resource!.......2007-08-07
This is a well-written book which takes you step-by-step through the process of building an acoustic guitar. The text is clear, and concise...very good explanations of the technical details. The numerous photos help clarify the process. Highly recommended.
Good book.......2007-05-07
Good book. Author build a guitar almost from scratch using many hand tools. Author is even a bit motivational- telling the reader to have faith, focus on the task, and it will all go together. I wish it had more detail on building the various jigs and fixtures. I felt that I would likely need additional text to build a guitar, but this is a good book none the less. I was impressed by the authors extensive use of simple hand tools.
Book Description
Musical acoustics presents a unique opportunity to see science and art working together. This book is a balanced presentation of all aspects of musical acoustics. It explains how our ears and brains interpret musical events, and connects traditional physical analyses to musical reality. The purpose of the book is two fold: (1) To help readers use simple physical concepts as tools for understanding how music works, and (2) To use readers' interest in music to motivate the study and appreciation of scientific methods. Any given chapter will challenge readers with several points that are not obvious on the first reading. Starred sections are optional and are not a prerequisite to later sections.
Customer Reviews:
Great starting point for studying the intersection of science and sound.......2006-12-09
This book is an excellent starting place for someone who wants a somewhat quantitative treatment of the science of sound as it relates to music, but does not have the advanced math background necessary to digest something like "The Physics of Musical Instruments". The chapters and sections in this third edition are the same as in the previous edition, however some changes have been made to the content. The book is updated with more current references to the end-of-chapter bibliographies, and there is some new material, especially in areas affected by the personal computer's role in the digital processing of sound.
The author provides an integrated understanding of three major areas: the production of sound by various sources, the propagation of sound from source to listener, and the perception of sound by the human brain.
For easier reading, each chapter starts with an introductory section that sets up the chapter. There are also summaries and lists of symbols, terms, and relations highlighting the most important terms and quantitative expressions in each chapter. There are realistic and interesting exercise sets containing both qualitative and quantitative questions for each chapter, with most chapters containing 20-25 exercises. There are also projects included that provide out-of-class assignments that generally require students to do research. There are approximately three of these in each chapter. Finally, several new photographs have been added to this third edition, particularly of the inner ear structure and of the vocal cords in motion.
Like the previous reviewer, I make a habit of purchasing and reading several textbooks a year, and sometimes I am very disappointed and sometimes I am not. This is one of those purchases that I found most worthwhile. If you are interested in the intersection of math, acoustics, perception, and musical instruments I highly recommend it. A math background up to the level of algebra and geometry should be sufficient to understand the quantitative portions of the book. The table of contents is as follows:
1. THE NATURE OF SOUND.
Acoustics and Music. Organizing Our Study of Sound. The Physical Nature of Sound. The Speed of Sound. Pressure and Sound Amplitude.
2. WAVES AND VIBRATIONS.
The Time Element in Sound. Waveforms. Functional Relations. Simple Harmonic Oscillation. Work, Energy, and Resonance.
3. SOURCES OF SOUND.
Classifying Sound Sources. Percussion Instruments. String Instruments. Wind Instruments. Source Size. Sound from the Natural Environment.
4. SOUND PROPAGATION.
Reflection and Refraction. Diffraction. Outdoor Music. The Doppler Effect. Interference and Beats.
5. SOUND INTENSITY AND ITS MEASUREMENT.
Amplitude, Energy, and Intensity. Sound Level and the Decibel Scale. The Inverse-Square Law. Environmental Noise. Combined Sound Levels and Interference.
6. THE HUMAN EAR AND ITS RESPONSE.
The Mechanism of the Human Ear. Limits of Audibility and Discrimination. Characteristics of Steady Single Tones. Loudness and Intensity. Pitch and Frequency. Pitch and Loudness Together. Timbre and Instrument Recognition.
7. ELEMENTAL INGREDIENTS OF MUSIC.
Organizing Musical Events in Time. Melody and Harmony. Scales and Intervals. The Harmonic Series.
8. SOUND SPECTRA AND ELECTRONIC SYNTHESIS.
Prototype Steady Tones. Periodic Waves and Fourier Spectra. Modulated Tones. Electronic and Computer Music.
9. PERCUSSION INSTRUMENTS AND NATURAL MODES.
Searching for Simplicity. Coupled Pendulums. Natural Modes and Their Frequencies. Tuning Forks and Xylophone Bars. Drums, Cymbals, and Bells. Striking Points and Vibration Recipes. Damped Vibrations.
10. PIANO AND GUITAR STRINGS.
Natural Modes of a Thin String. Vibration Recipes for Plucked Strings. Vibration Recipes for the Piano. Piano Scaling and Tuning.
11. THE BOWED STRING.
Violin Construction. Bowing and String Vibrations. Resonance. Sound Radiation from String Instruments.
12. BLOWN PIPES AND FLUTES.
Air Column Vibrations. Fluid Jets and Edgetones. Organ Flue Pipes. Organ Registration and Design. Fingerholes and Recorders. The Transverse Flute.
13. BLOWN REED INSTRUMENTS.
Organ Reed Pipes. The Reed Woodwinds. The Brass Family. Playable Notes and Harmonic Spectra. Radiation.
14. THE HUMAN VOICE.
The Vocal Apparatus. Sound Production. Formants. Special Characteristics of the Singing Voice.
15. ROOM ACOUSTICS.
General Criteria for Room Acoustics. Reverberation Time. Reverberation Calculation. Reverberant Sound Levels. Sound Reinforcement. Spatial Perception.
16. SOUND REPRODUCTION.
Electric and Magnetic Concepts. Transducers. Microphones. Amplifiers. Recording. Loudspeakers. Multiphonic Sound Reproduction.
17. THE EAR REVISITED.
Types of Pitch Judgment. Pitch Perception Mechanisms. Modern Pitch Perception Theory. Critical Bands. Combination Tones. Loudness and Masking. Timbre.
18. HARMONIC INTERVALS AND TUNING.
Interval Perception. Intervals and the Harmonic Series. Musical Scales. The Impossibility of Perfect Tuning. Tuning and Temperament.
19. STRUCTURE IN MUSIC.
Melodies and Modes. Chords and Harmonic Progressions. Consonance and Dissonance. Musical Forms and Styles.
20. EPILOGUE: SCIENCE AND ESTHETICS.
APPENDIX A. WRITTEN MUSIC.
APPENDIX B. THE METRIC SYSTEM.
Units for Physical Measurements. Scientific Notation and Computation.
APPENDIX G. GLOSSARY.
APPENDIX H. HINTS AND ANSWERS TO SELECTED EXERCISES.
Index.
The Chromatic Scale; The Chromatic Series Slider.
Fascinating.......2003-04-25
This book is a thorough overview of physics behind music. In the first part of the book, Hall lays the foundation with an investigation into waves, sound propagation, sound measurement, and the human ear. The middle third of the book takes up families of instruments, and how they work to create musical sounds. The last part of the book investigates room acoustics, sound reproduction, and the perception of intervals, tunings, and musical structure. Each chapter includes references and suggestions for further reading, numerous mathematical exercises for practicing the concepts covered in the chapter, and a list of potential projects for further investigation. The book includes a glossary and answers to selected problems, as well as an index.
I read quite a few textbooks for work and occasionally just for interest's sake, but this one really stands out. After reading the first few chapters, I found myself wishing I could sit in on Hall's lectures. His style is intensely personal, and his explanations are incredibly clear. I'll admit that sometimes my eyes glossed over while slogging through some of the numbers and charts, but it was mainly my fault for not being a more active reader. In order to get the most from this book, you really need to read it with calculator in hand, or better yet, an Excel spreadsheet open, ready to try out the numbers and scenarios that Hall provides us with. Nevertheless, the math is kept quite simple- -no calculus; if you can do algebra, you should be able to get through the book.
I've found the information in the book to be quite useful. Hall's description of how resonance works in drums has helped me make sense of my tabla teacher's pickiness about where my fingers strike the tabla heads. And at last I understand the physics behind why some rooms in my house are acoustically dead, and others are alive. Hall has opened up a new world of ideas for me, and I will be thinking them through for years to come. I would recommend this book to anyone who wants to know how music really works.
Product Description
100 Tips for Acoustic Guitar is a handbook for all things acoustic. Broken down into a series of graduated exercises, spiced with words of wisdom from some of the names in the business, here at last is a handbook to developing your technique and learning theory painlessly. With a full audio CD supporting the exercises within, 100 Tips For Acoustic Guitar is an essential guide for every guitar enthusiast, whether you want to be a campfire accompanist or the next John Williams!
Customer Reviews:
Most intelligent design i've ever seen.......2006-05-10
David Mead has taken all the fat and left the meat in this guide for guitarists of all skill levels. These are the questions you should be asking but didn't know how or what to ask for.
Has missed out on a couple subjects of which I thought was important(like left hand technique). Over all however, this is the most intelligent book to motivate and inspire a guitarist who wants to enjoy the journey to mastering an instrument.I work in a music shop so I am subjected to a whole lot of useless literature on the subject of learning guitar.
i hope it works out for you as well as it did for me.
Not just for beginners.......2005-12-16
If you're a self taught guitarist and you feel like you haven't learned much in the past few months or years...buy this book.
Book Description
This album-matching folio includes 12 classic Henry Mancini tracks arranged for solo guitar in standard notation and tab by 12 master guitarists. In addition to the breathtaking arrangements, this new folio includes a "masterclass" CD on which the artists walk through the key aspects and techniques for each arrangement. Titles (and arrangers) are: Baby Elephant Walk (William Coulter) * Charade (Aaron Stang) * The Days of Wine and Roses (David Cullen) * Dear Heart (Wayne Johnson) * It's Easy to Say (Doug Smith) * Moon River (Ed Gerhard) * Peter Gunn (Pat Donohue) * The Pink Panther (Laurence Juber) * What's Happening (Mike Dowling) * The Sweetheart Tree (Mark Hanson) * Theme from "The Thorn Birds" (Al Petteway) * Two for the Road (Amrit Sond).
Customer Reviews:
For serious guitar players.......2007-06-08
This book+cd masterclass is just that, a master class. The quality of the arrangements make learning the songs very worth while, although most are challenging to master as they are technically intermediate to advanced.
The music from the Pink Guitar CD (Henry Mancini : Pink Guitar) is amazing and should be purchased on its own merit. If the music from the Pink Guitar CD inspires you to learn those arrangements, then this book is for you. It would be almost impossible to learn any of the pieces in this book without owning the retail Pink Guitar CD for guidance as the accompanying CD to this book focuses on the artists' comments and teachings on playing their respective arrangements.
Although most tab guitar books are focused at introductory lessons, this book is quite a bit more advanced and should be enjoyable for higher level acoustic guitar players. Beginner players may find many of the pieces outside of their range.
Accompanying CD is a let down.......2006-12-30
The CD that accompanies the book is mostly a tutorial stuff. I was expecting completed pieces like they do in some other books. What a let down. The tutorial does help in some of the technical parts though.
Most of the pieces require odd tunings. You probably have to stop and tune extensively between pieces and this can be inconvenient.
I should have just bought the music CD to enjoy the music.
Book Description
We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture.
The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling.
Integrating contributions from a wide range of disciplines--including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others--Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects.
Customer Reviews:
An interim review..........2007-06-14
A very engaging, wide-ranging look at the aural environment from many perspectives: cultural, historical, architectural, physical, sociological, political and more. The authors explore many of the deep and often times not-so-obvious connections and influences in an unusual, informative and refreshingly multi-disciplinary approach. Even though covered topics are broad in scope and complexity, the book is written in an easy and engaging conversational style that is neither academically stodgy nor technically overwhelming. But neither does it attempt to simplify the subject into shallow triviality.
Unlike many modern-day science popularizations, this book is not a simple distillation of some lofty academic field. Rather it is at once the introductory text, the major body of research and a pointer to even wider exploration of the a heretofore under-explored and under-appreciated topic. There's plenty of new and useful material here for the professional practitioner in a number of disciplines. At the same time, the entire book is accessible to the casual reader, the neophyte. No chapter or paragraph need be avoided by any reader: all are carried along with the narrative: none are left behind.
Personally, I have read book in out-of-order pieces as my busy schedule allows, without the feeling that I really should have read it in a more disciplined fashion. Rather than having to read other sections out of sheer necessity, I've gone back to fill in the holes more out of curiosity and interest.
If you want to understand the intimate connection between humans and the aural space they live in, there is no better place to find it than this book. If you're looking for a new model of understanding of a complex topic through an truly broad, interdisciplinary approach, this book is the best model I know of.
It's difficult to recommend it to highly.
Spaces Speak - review.......2007-06-12
Very interesting and new thinking about that sound around. Recommend for sound engineers, acoustic design architects, musicians and people who love music and/or are interested in the aural spaces abounding. Do you like John Cage, Terry Riley, ee cummings? Can you sing the sound of one _ _ _ _ _ _ _ _ _ _ _ _?
Book Description
An essential item for the instrument builder, The Luthier's Handbook explores the secrets and science behind making good-sounding acoustic stringed instruments. Renowned author Roger H. Siminoff brings to the table more than four decades of luthiery experience and shares the time-tested philosophies, tips and technology of the craft. As the ideal complement to other books on building instruments, this text describes the structural and acoustical attributes of air chambers; what to listen for when tap-tuning; selecting a good piece of wood; placement of the braces and tone bars and how to tune them; how to select the right strings; what to consider in bridge design concepts; and much more. Includes a free String Gauge Calculator for determining the right set of strings.
Customer Reviews:
DON'T BOTHER WITH THIS!!.......2007-09-23
Very Very Poor.
A complete waste of time and money.
All about his theories (some of which are scientifically incorrect)without any real practical guidance.
I'm sure he can build a great guitar or mandolin, but this book puts YOU no closer to achieving a good result.
5 STARS +++.......2007-08-08
A 5 STAR rating still does not give this book the credit it deserves compared to ALL the other books written on guitar construction "Tuning".
Although I am not a luthier, I have spent a lifetime earning a living in the field of structural vibrations, and as such, I can firmly say that this is the only guitar construction book I have read that gets it ALL right with regards to "tuning" the instrument during construction to achieve the desired response. Most of the Masters seem to know how to "tune" a guitar, but I think many may not truely understand the technical details of the process.
Yes, as one of the reviewers stated, it may be too complicated for some beginners, but the title says "Luthier's" Handbook, not "Beginner's" Handbook.
I plan to build my first guitar (or more) during my retirement and entend to use this book as my "Bible".
The Luthier's handbook.......2007-05-25
I thought that this was a very good product, one that was easily read and that was very nicely laid out.
A good purchase.......2007-04-02
I'm not luthier even if I would like to be. When I boght the book my purpose was to understand why some instruments sounds good and other sound bad. Reading it I understood the many varibles to consider when designing and thus building an acoustic instrument.
Great Book!.......2007-02-23
This is an excellent book for an expert or a novice. It is easy to read...is very insightful about what makes your guitar sound the way it does, and will give you many ideas about how to customize the sound in your own projects.
Average customer rating:
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Listening: An Introduction to the Perception of Auditory Events (Bradford Books)
Stephen Handel
Manufacturer: The MIT Press
ProductGroup: Book
Binding: Paperback
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The Psychology of Music, Second Edition (Cognition and Perception)
ASIN: 0262581272 |
Book Description
Listening combines broad coverage of acoustics, speech and music perception, psychophysics, and auditory physiology with a coherent theoretical orientation in a lively and accessible introduction to the perception of music and speech events.
Stephen Handel is Professor of Psychology at the University of Tennessee.
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