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Alan Parsons' Art & Science of Sound Recording: The Book by Julian Colbeck, Alan Parsons

By Julian Colbeck, Alan Parsons

Publish yr note: First released in 2012
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More than just the e-book of the award-winning DVD set, Art & technology of Sound Recording, the booklet takes mythical engineer, manufacturer, and artist Alan Parsons' methods to sound recording to the following point. In publication shape, Parsons has the distance to incorporate extra technical heritage details, extra precise diagrams, plus a whole set in fact notes on all of the 24 subject matters, from "The short background of Recording" to the now-classic "Dealing with Disasters."

Written with the DVD's coproducer, musician, and writer Julian Colbeck, ASSR, the ebook bargains readers a vintage "big picture" view of contemporary recording expertise along side a nearly encyclopedic record of particular options, procedures, and kit. For all its heft and authority authored through a guy knowledgeable at London's famed Abbey highway studios within the Seventies ASSR, the e-book can also be written in undeniable English and is jam-packed with worthwhile anecdotes from Alan Parsons' personal profession operating with the Beatles, purple Floyd, and numerous others.

Not simply informative, but additionally hugely wonderful and inspirational, ASSR, the e-book is the right platform on which to construct services within the paintings and technological know-how of sound recording.

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Additional info for Alan Parsons' Art & Science of Sound Recording: The Book

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The soul of the symphony fearlessly exposes itself to danger, it “wagt sich plötzlich mitten in die schäumenden Fluthen zu stürzen,” “dringt verwegen in wildere Labyrinthe”; it seeks out melancholy and pain, “die Schrecken des Trübsinns, die bitteren Quaalen des Schmerzes”; and it is assailed by misfortune, by “die Kriegsschaaren des Unglücks” that “wälzen sich in verzerrten Gestalten fürchterlich, schauerlich wie ein lebendig gewordenes Gebirge über einander” (W1:222). Here the emotions are unleashed in a cataclysm that earlier in this section Berglinger had termed “Herzenswuth” (W1:219), frenzied passion.

Having heard this tale, the novices embrace each other and the nature of the polyphony becomes more harmonious: Die Lehrlinge umarmten sich und gingen fort. Die weiten hallenden Säle standen leer und hell da, und das wunderbare Gespräch in zahlosen Sprachen unter den tausendfaltigen Naturen, die in diesen Sälen zusammengebracht und in mannichfaltigen Ordnungen aufgestellt waren, dauerte fort. (SN1:95) This is not monotone, but rather harmonious polyphony. 26 The tale is not, however, successful in realizing its ideal.

Wholly free individuals will speak over and across each other, trampling each other’s discursive rights; within such anarchy, exercising the right to discourse cannot be expressive of an egalitarian ideal founded in mutual recognition and respect. If the inclusion of all voices is to grow from such recognition and respect, then polyphony must be dependent on some degree of external determination of the individual by the whole, on a loss of his or her absolute freedom. Novalis’s polyphony, though, is not just a matter of the individual’s subordination to a democracy imposed from without, but of the poetic individual’s conscious and willing participation.

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