{"id":46,"date":"2012-09-17T13:43:29","date_gmt":"2012-09-17T13:43:29","guid":{"rendered":"http:\/\/digital.eca.ed.ac.uk\/sounddesignmedia\/?page_id=46"},"modified":"2014-09-14T16:00:56","modified_gmt":"2014-09-14T16:00:56","slug":"bibliography","status":"publish","type":"page","link":"https:\/\/digital.eca.ed.ac.uk\/sounddesignmedia\/bibliography\/","title":{"rendered":"Course bibliography"},"content":{"rendered":"

Books<\/h2>\n
\n
Bartlett, B. (1991). Stereo Microphone Techniques<\/i>. Boston\u202f; London: Focal Press<\/div>\n<\/div>\n
\n
Borwick, J. (1990). Microphones: Technology and Technique<\/i>. London: Focal Press<\/div>\n<\/div>\n

Borwick, J. (ed.) (1996). Sound Recording Practice<\/i> Oxford: Oxford University Press<\/p>\n

Chadabe, J. (1997). Electric Sound: The Past and Promise of Electronic Music<\/span> (p. 370). Upper Saddle River, N.J: Prentice Hall.<\/p>\n

Chion, M. (1994). Audio-Vision: Sound on Screen<\/span> (p. 239). New York: Columbia University Press.<\/p>\n

Cook, P. R. (2002). Real Sound Synthesis for Interactive Applications<\/span> (p. 263). Natick, Mass: A K Peters.<\/p>\n

\n
Dickreiter, M. (1989). Tonmeister Technology: Recording Environment, Sound Sources, Microphone Techniques<\/i>. New York: Temmer Enterprises..<\/div>\n<\/div>\n
\n
Eargle, J. (2004) The Microphone Book<\/i>. Second edition. Oxford: Elsevier, Focal Press.<\/div>\n<\/div>\n

Gibson, B. (1999). The Audiopro Home Recording Course<\/span> (p. 200). Hal Leonard Corporation.<\/p>\n

Gibson, B. (2002a). Sound Advice on Compressors, Limiters, Expanders, & Gates<\/span> (p. 79). ProAudio Press.<\/p>\n

Gibson, B. (2002b). Sound Advice on Equalizers, Reverbs & Delays<\/span> (p. 77). ProAudio Press.<\/p>\n

Helmholtz, H. V. (1948). On the sensations of tone as a physiological basis for the theory of music<\/span> (p. 575). P. Smith.<\/p>\n

Howard, D. M. (2001). Acoustics and Psychoacoustics<\/span>. Music technology series (2nd ed., p. 385). Oxford: Focal Press.<\/p>\n

Manning, P. (1985). Electronic and computer music<\/span> (p. 291). Clarendon Press.<\/p>\n

Miranda, E. R. (2001). Composing music with computers<\/span> (p. 238). Focal Press.<\/p>\n

Miranda, E. R. (2002a). Computer sound design<\/span> (p. 263). Focal Press.<\/p>\n

Miranda, E. R. (2002b). Computer sound design<\/span> (p. 263). Focal Press.<\/p>\n

Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics<\/span>. (1999). (p. 372). Cambridge, Mass: MIT Press.<\/p>\n

\n
Nisbett, A. (1989). The Use of Microphones<\/i>. Third edition. Media Manuals. London\u202f; Boston: Focal Press.<\/div>\n<\/div>\n

NetLibrary, Inc. (1999). Music, Cognition, and Computerized Sound an Introduction to Psychoacoustics<\/span> (p. 372). Cambridge, Mass: MIT Press.<\/p>\n

Owsinski, B., & O’Brien, M. (1999). The Mixing Engineer’s Handbook<\/span> (p. 219). Mix Books.<\/p>\n

\n
Pohlmann, K. (2010). Principles of Digital Audio, Sixth Edition<\/i>. 6 edition. New York: McGraw-Hill\/TAB Electronics.<\/div>\n<\/div>\n

Roads, C. (1996). The Computer Music Tutorial<\/span> (p. 1234). Cambridge, Mass: MIT Press.<\/p>\n

Roads, C., & NetLibrary, Inc. (1996). The Computer Music Tutorial<\/span> (p. 1234). Cambridge, Mass: MIT Press.<\/p>\n

Rumsey, F., & McCormick, T. (2006). Sound and recording<\/span> (p. 569). Focal Press.<\/p>\n

Schafer, R. M. (1977). The tuning of the world<\/span> (p. 301). Knopf.<\/p>\n

Sonnenschein, D. (2001). Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema<\/span> (p. 245). Studio City, CA: Michael Wiese Productions.<\/p>\n

Soundscape: The School of Sound Lectures, 1998-2001<\/span>. (2003). (p. 242). London: Wallflower Press.<\/p>\n

\n
Watkinson, J. (2001) The Art of Digital Audio<\/i>. Taylor & Francis.<\/div>\n<\/div>\n


\n<\/span><\/h2>\n","protected":false},"excerpt":{"rendered":"

Books Bartlett, B. (1991). Stereo Microphone Techniques. Boston\u202f; London: Focal Press Borwick, J. (1990). Microphones: Technology and Technique. London: Focal Press Borwick, J. (ed.) (1996). Sound Recording Practice Oxford: Oxford University Press Chadabe, J. (1997). Electric Sound: The Past and …<\/p>\n

Course bibliography<\/span> Read More »<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"acf":[],"_links":{"self":[{"href":"https:\/\/digital.eca.ed.ac.uk\/sounddesignmedia\/wp-json\/wp\/v2\/pages\/46"}],"collection":[{"href":"https:\/\/digital.eca.ed.ac.uk\/sounddesignmedia\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/digital.eca.ed.ac.uk\/sounddesignmedia\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/sounddesignmedia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/sounddesignmedia\/wp-json\/wp\/v2\/comments?post=46"}],"version-history":[{"count":6,"href":"https:\/\/digital.eca.ed.ac.uk\/sounddesignmedia\/wp-json\/wp\/v2\/pages\/46\/revisions"}],"predecessor-version":[{"id":607,"href":"https:\/\/digital.eca.ed.ac.uk\/sounddesignmedia\/wp-json\/wp\/v2\/pages\/46\/revisions\/607"}],"wp:attachment":[{"href":"https:\/\/digital.eca.ed.ac.uk\/sounddesignmedia\/wp-json\/wp\/v2\/media?parent=46"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}