Description |
1 online resource (209 pages) |
Contents |
Cover; Half Title; Praise; Title Page; Copyright Page; Table of Contents; List of Figures; Prelude/Acknowledgements; Introduction; PART I: Instruments; Chapter 1: Tomorrow's Music Today: The Fairlight CMI Series I and II; Following the Instrument: The Fairlight CMI Series I; Following the Designers (and Distributors): Peter Vogel, Kim Ryrie, and Bruce Jackson; The Users; Notes; Chapter 2: Page R and the Art of the Loop: The Fairlight CMI Series II, IIx, and III; Following the Users and Non-Users: Trevor Horn and the art of delegation |
|
Following the Fairlight CMI Series II and IIx: The Real-Time Composer (Page R)The Fairlight CMI Series III and the Commercial Failure of Fairlight Instruments; Notes; Chapter 3: Technologies of Hip-Hop: The E-mu Emulator, SP-12, and SP-1200; Following the Designers and the Instrument: E-mu Systems and the Emulator; Following the Users (and Non-Users) of the Emulator: The Marley Marl Moment; Following the Instruments: The Drumulator, the Emulator II, and SP-12; Following the Users/Non-Users of the SP-12: Boogie Down Productions (BDP) and Beastie Boys |
|
Discontinuing the Instrument: The SP-1200 and the Acquisition of E-muNotes; Interlude: Methodologies; Research Methodology; Notes; PART II: Users; Chapter 4: Microsampling: Akufen and Todd Edwards; Introduction; Microhouse, Microsampling; 'Everything is Recyclable': Resuscitating and Reviving Radio Waves; Todd Edwards and his Sample Choirs; Using the Ensoniq EPS and Akai S6000: Skip and 'Bumpy Swing' in UK Garage; Notes; Chapter 5: Appropriation, Additive Approaches, and Accidents: Found; Introduction; Finding Influences, Defining Sampling |
|
Found Sounds: Appropriation, an Additive Approach, and AccidentsSampling and the Home Studio: Dislocated Recording/ Live Performance; Notes; Chapter 6: Foot Pedals and Folk Music: King Creosote; Introduction; Old Instruments, New Folk: Accordions and Foot Pedals; Sample Sources and the Non-Use/Use of Delay Pedals in Live Performance; Colour, Texture, and Off-kilter Randomness; Notes; Chapter 7: The Sounds of Everyday Life (and Death): Matthew Herbert; Introduction; House Music + Musique Concrète = House Musique Concrète? |
|
Contractual Obligations: 'The Sampling of Other People's Music is Strictly Forbidden'The Sampling of Politics: Moral Rights and Wrongs; Notes; Conclusions; Notes; Interviews and Personal Communication; Bibliography; Discography; Index |
Notes |
Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force. WlAbNL |
|
Print version record |
Subject |
Sampler (Musical instrument) -- History
|
|
Electronic musical instruments -- History
|
|
Synthesizer (Musical instrument) -- History
|
|
Electronic musical instruments
|
|
Sampler (Musical instrument)
|
|
Synthesizer (Musical instrument)
|
Genre/Form |
History
|
Form |
Electronic book
|
LC no. |
2019016720 |
ISBN |
9781351209953 |
|
1351209957 |
|
9781351209946 |
|
1351209949 |
|