Mobile Music 66 More Music for More People 66 Music Anywhere: Radio on the Move 67 My Music on the Move 69 My Music Anywhere 70Ĩ. The Post–World War II Reconstruction of the Recording Industry 56 After the War 56 The Boom in Independent Labels 58 The Fifties 61 Radio DJs 64ħ. The Studio Is Interactive 42 Toward Greater Control 42 Magnetic Tape Recording 44 Defining Some Terms 48 Mastering 49Įditing 49 Sound on Sound 50 Overdubbing 52 Summing up Tape’s Impact 54 The Microgroove LP 54Ħ. Economic and Societal Overlay 38 Cyclical Decline 38 One Thing after Another: The Thirties through the War 39 Recovery 40ĥ.
The Electric Period 29 Toward Electric Recording 29 Better Sound 30 Country Music 32 Further Technological Foundations 33 The Calm before the Storm 34 The Thirties and Forties 34 Radio, Film, and Tape Innovations 36Ĥ. The Acoustic Period 16 Acoustic Recording 16 International Expansion 18 The Third Major Label 19 The Sooys 20 Documentation of Cultural Expression 24 The End of an Era 26ģ. Beginnings 2 Understanding Sound 2 Toward Recording 3 The Phonograph 5 The First Producers 12Ģ. To my sons Ace and Blaze for always stimulating my thinking, making every day an adventure, and for bringing even more music and words to our house and my life than I ever thought possible.ĬONTENTS List of Illustrations xi Preface xiii To my parents for giving me the freedom of mind to pursue my adventures. Sound recordings- Production and direction-History. The history of music production / by Richard James Burgess pages cm Includes bibliographical references and index. Library of Congress Cataloging-in-Publication Data Burgess, Richard James, author.
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