Sound Studio Research Articles

Mixed messages: unsettled cosmopolitanisms in Nepali pop

This is an age of jazz. This is an age of having long, tangled hair, and of [young men] wearing an earring, and of wearing caps backwards [with the visor in the back]. And it is also a period of rap. Some raps are known as bhattirap and some are known as party rap. And some are meaningless raps. But at this moment it is a time of deuseerap. Deuseerap!!Opening rap in ‘Deusee rey extended mix’ by Brazesh Khanal(translated from Nepali; underlined words are sung in English)Throughout Asia, the English word ‘mix’ (or variant thereof) is being used today to characterise a new mode of musical borrowing and syncretism distinctive of several pop musics that have emerged in the 1990s. Earlier modes of pop music borrowing typically involve timbral, rhythmic and melodic adaptations of both indigenous and foreign materials, in which contrasts between different musical elements are smoothed over so that they can be integrated into unified musical expressions. In contrast, the new ‘mix’ music of India (Greene 2000, pp. 545–6), Nepal (Greene 1999A; Henderson 1999), Japan (Condry 1999), Indonesia (Wallach 1999) and South Asian diasporic communities (Manuel 1995) employs the latest sound studio technologies in order to reproduce more precisely than ever before the precise timbres, rhythms and tunings of sound bites of both foreign pop and indigenous music. Yet as these foreign and indigenous sounds are coming more sharply into focus in Asian soundscapes, their meanings and histories seem to be going out of focus. For one thing, a ‘mix’ commonly takes the form of a sonic montage: abruptly juxtaposed musical styles heard in rapid succession that project only a weak sense of overarching form. In this ‘mix’ configuration, foreign and indigenous sounds sometimes present themselves as inscrutable sound bites – snippets detached from their original musical and cultural contexts. Mixes typically celebrate sonic contrasts, rather than attempt to reach or move the listener within any single musical idiom. Moreover, foreign sounds travel to Asia so quickly through radio, music television, recordings and the Internet, that they are detached from their histories and original cultural contexts, and often present themselves as suggestive, intriguing, but underdetermined cultural indexes. This point is taken up below in an analysis of Nepali heavy metal, one of the elements in the mix. Both Western pop and indigenous sounds become perspectival constructs, taking on a range of meanings and affective forces in different listener experiences. Mix music embodies new, understudied and essentially postmodern musical aesthetics (in the sense of Manuel 1995) that have taken root in Asian and other world communities.

The acoustical design and measures of mixing studio of Emei film studio in Sichuan

The mixing studio of Emei film studio is a film sound studio which includes many functions (i.e. mixing recorded sound, dubbing foreign films into Chinese, recording stereo music etc.).This paper presents the acoustical design and measuring results of the studio of music, which is compatible with speech, the stereo control room and the soloists room.

NINETEENTH-CENTURY FRENCH PAINTING PRACTICES AND MATERIALS IN THE TROPICS: A CASE STUDY OF THE OEUVRE OF ROBERTO LEWIS IN PANAMA

NINETEENTH-CENTURY FRENCH PAINTING PRACTICES AND MATERIALS IN THE TROPICS: A CASE STUDY OF THE OEUVRE OF ROBERTO LEWIS IN PANAMA

Is there a Québec sound?

This article approaches the definition of the important term 'acousmatic' by reference to its origins in the sound studios of the French National Radio. The links from France to Québec are outlined and the Québecois acousmatic school, largely based in Montreal, is introduced. Aspects of a typical piece are discussed, and the author is able to answer the title question positively.

Integrated collapsible guitar, sound studio and case

A collapsible stringed instrument which is integrated into a compact carrying case with a portable sound studio. This instrument is collapsible by sliding the fretboard along channels in the body of the instrument inwardly or toward the rearward face of the case to retract or collapse the instrument for carrying. This instrument is extendible by following the reverse process. A novel, removable multiple coil pickup is included which plays at a normal electric tone or pitch, or at a combined, different tone or pitch by alternately lifting open or lowering to close the hinged top portion thereof. Said portable sound studio has a compact disc (CD) player, cassette tape player/recorder, and a special effects circuitry board for amplifying, mixing and altering sounds. An alternative embodiment of the present invention includes a "Hummingbird" fretboard having frets with ridges cut therein and which ridges generally decrease in size and shape in direct correspondence to guitar string size and shape.

An Afternoon with Dick Griffey: His Philosophy and Thoughts on Business, with Reflections

On July 19, 1994, was privileged to spend several hours with Dick Griffey in his office, interviewing him, being interviewed by him, sitting in on a presentation with a high-profile client. From the moment Griffey welcomed me into his office, knew something special had happened. There was no pretension: This very busy, very successful man had made time for me. My pre-interview research had supplied the basic information: knew that, for over two decades, Dick Griffey, Chairman of the Board of Sound Of Los Angeles Records (SOLAR), had accomplished great things in the entertainment world and returned profits from his business ventures to the community. His business dreams began to develop when he was a young, promising drummer and student at Tennessee State University. Armed with a rich musical heritage developed and encouraged by his mother, Dick Griffey progressed from an ambitious young man to the owner of the second largest African American-owned record company in the United States. Griffey entered the entertainment business in the mid-sixties when he discovered the key to business operation: I started thinking how entertainers come and go, but business people are always here. He used his talents first as the booking agent for a highly successful nightclub, which he co-owned with former schoolmate and ex-New York Knicks player/coach Dick Barnett, but he quickly branched out into concert promotions under the company name Dick Griffey Productions and earned the distinction as the most prominent African American promoter in town. At that time, he was promoting domestic and international tours for some of the nation's biggest acts, such as Stevie Wonder and The Jacksons. Not content with these achievements, Griffey became talent coordinator for the nationally syndicated television dance program Soul Train. Concerts were becoming routine to me, he explains. When you promote a concert you basically do the same thing every time. was looking for new challenges. The Soul Train venture was so successful that in 1975 Griffey and the show's producer, Don Cornelius, went on to form Soul Train Records. Starting with one small act, Griffey carefully nurtured the label and, after an amicable separation from Cornelius, reorganized the company and founded the SOLAR label in 1977. Since that time, Griffey has directed SOLAR Records to both national and international prominence. Recording under the SOLAR and CONSTELLATION labels are numerous RB Spectrum VII Music and Hip Trip Music, publishing companies that administer publishing catalogs, including copyrighting, television licensing, royalty, and printed music services; Galaxy Studio, a state-of-the-art recording facility which includes a sound studio, rehearsal room, and writers' room; and the J. Hines Company, a distribution firm which serves as Griffey's memorial to his mother and mentor, Mrs. Juanita Hines. All of these businesses are housed in the multi-million-dollar, multi-story, Griffey-owned and operated Solar Towers located in Hollywood. …

The application of binaural technology

The present paper explains various aspects and possible applications of binaural technology. A short survey of the development of artificial-head technology is followed by an explanation of the physical principles of the head transfer function and a model description of the acoustically effective elements. Various possibilities for the application of binaural technology in sound studios are indicated. Commencing with the straightforward use of an artificial-head recording system, the paper goes on to discuss problems relating to the mixing of artificial-head recordings, spot-microphone technology and the creation of binaural scenarios using simulation techniques. The various possibilities for playback of head-related recordings (headphone and loudspeaker) are also discussed. The use of binaural recording and analysis techniques in the field of measurement technology are discussed using selected examples. The paper illustrates how useful the combination of objective analysis technology with the possibilities of subjective assessment in noise diagnosis and analysis can be. The possibility of simulating various development strategies is also shown. This allows prior assessment of the likely effectiveness of possible modifications, e.g. to improve noise quality.

Acoustical design of a multichannel broadcasting sound studio

NHK has constructed a multichannel sound studio for the purpose of efficient production of music programs. In order to provide musicians with well-defined sounds and to pick up well-separated sounds individually, the studio has a main area, three booths, and three alcoves suited for each use. The largest booth, with a floor area of nearly 92 m2 and a height of 9.5 m, is for strings. It is acoustically separated from the main area by four sliding glass doors. Variable reverberation units installed on its walls can vary the reverberation time from 0.64 to 0.81 s at 500 Hz. The alcoves are designed so as to be usable as small separate booths, when necessary, by setting up two of the sliding glass doors, which can be housed in the inner walls. The floors of the electric instrument alcove and the drum booth are independently floated off the main floated floor. Furthermore, in this report, the details of the acoustical design, the inner sound insulation of each booth and alcove, the vibration proofing and noise control of the air-conditioning equipment, and the measurements of the acoustical characteristics are also mentioned.

Speeches for Dr. Frankenstein: An Orchestral Approach to Music Synthesis

Speeches for Dr. Frankenstein: An Orchestral Approach to Music Synthesis. An article from journal Canadian University Music Review / Revue de musique des universités canadiennes (Number 4, 1983, pp. 2-341), on Érudit.

Analogue-to-digital and digital-to-analogue conversion for broadcast quality sound

A 13-channel p.cm. system forms a significant part of the BBC's national radio distribution network, and is used to carry high-quality soundprogramme material hundreds of miles with minimal impairment from noise, interference and distortion. High-quality analogue-to-digital converters (a.d.c) and digital-to-analogue converters (d.a.c) are required for use in sound-programme links, and other applications for these converters, such as digital sound studio equipment, can be foreseen, To date, the BBC has used 13-bit a.d.cs and d.a.cs developed within the Corporation. The next generation of digital equipment is likely to require coders and decoders giving 14 bits/sample or even higher resolution. In this paper, some of the defects which may be encountered with various types of a.d.c. and d.a.c. are discussed, and the merits of different types of converter for high-quality sound are considered.

Fim Recording and Reproduction

In a historical summary of motion-picture sound recording and reproduction, some of the technical problems and solutions are discussed, starting with the conversion of silent motionpicture studios to sound studios. During the early years, both the sound-on-disk system (arner Vitaphone) and the sound-onilm system (Fox Movietone) were used. The film recording method was in its early development stage and the sound quality was relatively poor, but it had many inherent advantages which ultimately led to its universal acceptance. The first commercially successful photographic sound recording system used a variable intensity modulator known as the Aeo-light. This was later replaced by the ERPI light valve which is still in use today. The optical system used with the light valve is shown, and certain photographic requirements for linear recording are discussed. The variable area recording system is the outgrowth of the Duddell oscillograph. The oil damped galvanometer was replaced by a magnetic-type optical modulator, and a more effective optical system was developed. Several sound tracks produced by this unit are shown. Noise reduction methods required by both the variable area and variable density recording systems are described. An unusual type of sibilant distortion caused considerable difficulty in the early variable area sound tracks. The nature of this distortion and the means of correcting it are given. Although magnetic recording is one of the oldest methods known, it came into its own during World War II. Its potential importance to the motion-picture industry was quickly recognized.

A Nonintermittent Photomagnetic Sound Film Editor

The editing of magnetic sound tracks by visual and aural methods has become increasingly important because of the rapid adoption of the magnetic system by the industry, both for primary recordings and theater release. Three-dimensional theatrical and multicamera television films have also stressed the need for editors which show more than one picture. A solution is suggested for these problems and a system of electronic editing is proposed, leading to an enlargement of editing processes to include sound recording, re-recording and dubbing, formerly limited to the sound studio.

Space Acoustics<!--<xref ref-type="fn" rid="fn1-10.5594_J11803">*</xref>-->

The relationship between the area, shape, and fitments of a sound studio or auditorium and their effect on sound quality is discussed. A probable evolution of music appreciation, from the pentatonic and whole-note scales of certain primitive peoples to harmony, as we know it today, is traced. Various methods of acoustical treatment of enclosed areas are described and illustrated.

IN A SOUND STUDIO. An Auditorium Program by the Physics Class

School Science and MathematicsVolume 37, Issue 3 p. 273-280 IN A SOUND STUDIO. An Auditorium Program by the Physics Class B. S. Whitmore, B. S. Whitmore Greencastle High School, Greencastle, PennsylvaniaSearch for more papers by this author B. S. Whitmore, B. S. Whitmore Greencastle High School, Greencastle, PennsylvaniaSearch for more papers by this author First published: March 1937 https://doi.org/10.1111/j.1949-8594.1937.tb11246.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume37, Issue3March 1937Pages 273-280 RelatedInformation

Sound proofing broadcast studio

Sound proofing broadcast studio

Dry Cell Batteries for Recording and Projecting

From inquiries received from sound-picture engineers and sound studios, we know that dry cell batteries are being used to a certain extent in recording and projecting. The details of why and how these batteries are used are not always available, probably, because the art is still experimental and perhaps also because some of the methods are being held secret. At any rate the interest in dry batteries indicates that they are becoming a standard part of the equipment. This being the case, a few words concerning dry cell batteries and their characteristic might be of interest to the motion picture engineers.

Typical Sound Studio Recording Installations

In this age of diversification it is to be expected that different individuals and different groups will have different ideas regarding the methods which should be followed to produce the results they have in mind. This condition exists to an unusual degree in the motion picture industry, and it may, therefore, be presumptuous on my part to attempt a description of a typical sound studio recording installation. I shall, however, attempt to place before you not only some typical studio layouts but to bring also to your attention a few of the factors which have influenced the design of these layouts.