By Richard James Burgess
In The heritage of song Production, Richard James Burgess attracts on his adventure as a manufacturer, musician, and writer. starting in 1860 with the 1st recognized recording of an acoustic sound and relocating ahead chronologically, Burgess charts the highs and lows of the in the course of the a long time and concludes with a dialogue at the current country of track construction. all through, he tells the tale of the song manufacturer as either artist undefined, together with biographical sketches of key figures within the background of the undefined, together with Fred Gaisberg, Phil Spector, and Dr. Dre. Burgess argues that whereas know-how has outlined the character of tune construction, the force towards higher keep an eye on over the method, outcome, and total artistry come from manufacturers. the result's a deeply an expert ebook that sketches a severe course within the evolution of the sector, and analyzes the influence that recording and disseminative applied sciences have had on tune creation. A key and convenient reference ebook for college students and students alike, it stands as an excellent significant other to Burgess's famous, multi-edition ebook The artwork of tune construction.
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Extra resources for The History of Music Production
Brothers Harry, Raymond, and Charles Sooy worked as machinists for Johnson. 20 The History of Music Production The three Sooy brothers, working-class descendants of eighteenth century Dutch Huguenot immigrants, would spend their lives working for the same organization, eventually becoming recorders for Johnson’s Victor Talking Machine Company. 13 Victor reinvested its income in improving its products and in 1905 sold more than a million dollars worth of records. Johnson then designed Victrolas—with the acoustical horn enclosed by the cabinet.
The Starr Piano Company of Richmond, Indiana, started its recording company in 1916, changing the label name to Gennett The Acoustic Period 27 Records later that year. ”45 Hoagy Carmichael, quoted by Rick Kennedy, noted of the Richmond place, “The Studio was primitive; the room wasn’t soundproof and just outside was a railroad spur with switch engines puffing away noisily. Yet this obscure recording studio in a small Indiana city saw a history making parade of musicians. ”46 Louis Armstrong, King Oliver, Bix Beiderbecke, Jelly Roll Morton, and many others cut seminal jazz recordings in this little room, at the Starr piano factory, where a nearby train could interrupt the session.
Hughes chose not to patent his invention allowing it to be developed and improved, thereby donating it to the telephone and future broadcast and recording industries. 2 At the age of twenty-five, in June of the same year, Emile Berliner (later, the inventor of the gramophone) filed application for a patent for a microphone also 29 30 The History of Music Production using the loose contact principle. At first, Berliner used metal contacts and then, ultimately, carbon. 3 As is typical with inventions, there was rancorous dispute over whose came first.