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Handbook of Vinyl Polymers Radical Polymerization Process and Technology Second Edition

Vinyl The Analogue Record in the Digital Age

Industrial Polymers Specialty Polymers and Their Applications

The Soundtrack Album Listening to Media

HBO’s Original Voices Race Gender Sexuality and Power

Research Progress in Nano and Intelligent Materials

Labels Making Independent Music

Mask Making Techniques Creating 3-D Characters from 2-D Designs for Theatre Cosplay Film and TV

Harry Smith's Anthology of American Folk Music America Changed Through Music

Harry Smith's Anthology of American Folk Music America Changed Through Music

Released in 1952 the Anthology of American Folk Music was the singular vision of the enigmatic artist musicologist and collector Harry Smith (1923–1991). A collection of eighty-four commercial recordings of American vernacular and folk music originally issued between 1927 and 1932 the Anthology featured an eclectic and idiosyncratic mixture of blues and hillbilly songs ballads old and new dance music gospel and numerous other performances less easy to classify. Where previous collections of folk music both printed and recorded had privileged field recordings and oral transmission Smith purposefully shaped his collection from previously released commercial records pointedly blurring established racial boundaries in his selection and organisation of performances. Indeed more than just a ground-breaking collection of old recordings the Anthology was itself a kind of performance on the part of its creator. Over the six decades of its existence however it has continued to exert considerable influence on generations of musicians artists and writers. It has been credited with inspiring the North American folk revival—The Anthology was our bible asserted Dave Van Ronk in 1991 We all knew every word of every song on it—and with profoundly influencing Bob Dylan. After its 1997 release on CD by Smithsonian Folkways it came to be closely associated with the so-called Americana and Alt-Country movements of the late 1990s and early 2000s. Following its sixtieth birthday and now available as a digital download and rereleased on vinyl it is once again a prominent icon in numerous musical currents and popular culture more generally. This is the first book devoted to such a vital piece of the large and complex story of American music and its enduring value in American life. Reflecting the intrinsic interdisciplinarity of Smith’s original project this collection contains a variety of new perspectives on all aspects of the Anthology. | Harry Smith's Anthology of American Folk Music America Changed Through Music

GBP 42.99
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Small Signal Audio Design

Small Signal Audio Design

Small Signal Audio Design is a highly practical handbook providing an extensive repertoire of circuits that can be assembled to make almost any type of audio system. The publication of Electronics for Vinyl has freed up space for new material (though this book still contains a lot on moving-magnet and moving-coil electronics) and this fully revised third edition offers wholly new chapters on tape machines guitar electronics and variable-gain amplifiers plus much more. A major theme is the use of inexpensive and readily available parts to obtain state-of-the-art performance for noise distortion crosstalk frequency response accuracy and other parameters. Virtually every page reveals nuggets of specialized knowledge not found anywhere else. For example you can improve the offness of a fader simply by adding a resistor in the right place- if you know the right place. Essential points of theory that bear on practical audio performance are lucidly and thoroughly explained with the mathematics kept to an absolute minimum. Self’s background in design for manufacture ensures he keeps a wary eye on the cost of things. This book features the engaging prose style familiar to readers of his other books. You will learn why mercury-filled cables are not a good idea the pitfalls of plating gold on copper and what quotes from Star Trek have to do with PCB design. Learn how to: make amplifiers with apparently impossibly low noise design discrete circuitry that can handle enormous signals with vanishingly low distortion use humble low-gain transistors to make an amplifier with an input impedance of more than 50 megohms transform the performance of low-cost-opamps build active filters with very low noise and distortion make incredibly accurate volume controls make a huge variety of audio equalisers make magnetic cartridge preamplifiers that have noise so low it is limited by basic physics by using load synthesis sum switch clip compress and route audio signals be confident that phase perception is not an issue This expanded and updated third edition contains extensive new material on optimising RIAA equalisation electronics for ribbon microphones summation of noise sources defining system frequency response loudness controls and much more. Including all the crucial theory but with minimal mathematics Small Signal Audio Design is the must-have companion for anyone studying researching or working in audio engineering and audio electronics.

GBP 74.99
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How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom

How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom

This book explores how and why the blues became a central component of English popular music in the 1960s. It is commonly known that many 'British invasion' rock bands were heavily influenced by Chicago and Delta blues styles. But how exactly did Britain get the blues? Blues records by African American artists were released in the United States in substantial numbers between 1920 and the late 1930s but were sold primarily to black consumers in large urban centres and the rural south. How then in an era before globalization when multinational record releases were rare did English teenagers in the early 1960s encounter the music of Robert Johnson Blind Boy Fuller Memphis Minnie and Barbecue Bob? Roberta Schwartz analyses the transmission of blues records to England from the first recordings to hit English shores to the end of the sixties. How did the blues largely banned from the BBC until the mid 1960s become popular enough to create a demand for re-released material by American artists? When did the British blues subculture begin and how did it develop? Most significantly how did the music become a part of the popular consciousness and how did it change music and expectations? The way that the blues and various blues styles were received by critics is a central concern of the book as their writings greatly affected which artists and recordings were distributed and reified particularly in the early years of the revival. 'Hot' cultural issues such as authenticity assimilation appropriation and cultural transgression were also part of the revival; these topics and more were interrogated in music periodicals by critics and fans alike even as English musicians began incorporating elements of the blues into their common musical language. The vinyl record itself under-represented in previous studies plays a major part in the story of the blues in Britain. Not only did recordings shape perceptions and listening habits but which artists were available at any given time also had an enormous impact on the British blues. Schwartz maps the influences on British blues and blues-rock performers and thereby illuminates the stylistic evolution of many genres of British popular music. | How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom

GBP 48.99
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