Resources

E-books:

New Music Strategies: The 20 Things You Must Know About Music Online

Music in the Digital Age

Free Software:

Audacity (Freeware Digital Recording Software EVERYONE Loves)

Solfege (Eartraining)

Real Traps Articles:

More Than You Ever Wanted To Know About Acoustics:

Acoustic Basics

How To Set Up A Listening Room: Optimizing Placements

Creating A Reflection Free Zone

Room Measuring Series

Everything You Ever Wanted To Know About SPL Meters

Do I Really Need A Vocal Booth?

The Manhattan Home Theater: A Treatment Design for Very Small Rooms

Does Wood Really Sound Warm?

Measuring Microphones: Ten Omni Microphones Compared

Sounding Off (Article for Sound on Sound)

Acoustics: Good or Bad Vibes

Improve Your Monitoring

Recording Spaces

How To Tune Your Room

Maximum Studio, Minimum Stress

Optimizing Acoustic Treatment Using the EFT Software

Measuring Absorbtion

How Does That Sound Look: A Beginner’s Guide to Sound Analysis

Audibility of Narrow-Band EQ: Despelling a Common Audio Myth

Sound on Sound Articles:

Recording How-Tos:

Recording Bands On Location

Recording Drums

Mixing Multitracked Drums

Recording Electric Guitar

20 Tips On Recording Guitars

Recording Acoustic Guitar

Recording Bass Instruments

Recording Bass Guitar

Recording Vocals On A Computer

How To Record Singing Guitarists

Recording Real Pianos

Recording Brass And Reeds

Maximum Quality Minimum Cost

Obtaining Maximum Level On Digital Recordings

Synth Secrets:

Part 1: What’s In A Sound?

Part 2: The Physics Of Percussion

Part 3: Modifiers & Controllers

Part 4: Of Filters & Phase Relationships

Part 5: Further With Filters

Part 6: Of Responses And Resonance

Part 7: Envelopes, Gates & Triggers

Part 8: More About Envelopes

Part 9: An Introduction To VCAs

Part 10: Modulation

Part 11: Amplitude Modulation

Part 12: An Introduction To Frequency Modulation

Part 13: More On Frequency Modulation

Part 14: An Introduction To Additive Synthesis

Part 15: An Introduction To ESPS And Vocoders

Part 16: From Sample And Hold To Sample-rate Converters (1)

Part 17: From Sample And Hold To Sample-rate Converters (2)

Part 18: Priorities And Triggers

Part 19: Duophony

Part 20 Introducing Polyphony

Part 21 From Polyphony To Digital Synths

Part 22: From Springs, Plates & Buckets to Physical Modelling

Part 23: Formant Synthesis

Part 24: Synthesizing Wind Instruments

Part 25: Synthesizing Brass Instruments

Part 26: Brass Synthesis On A Minimoog

Part 27: Roland SH101/ARP Axxe Brass Synthesis

Part 28: Synthesizing Plucked Strings

Part 29: The Theoretical Acoustic Guitar Patch

Part 30: A Final Attempt To Synthesize Guitars

Part 31: Synthesizing Percussion

Part 32: Practical Percussion Synthesis

Part 33: Synthesizing Drums: The Bass Drum

Part 34: Practical Bass Drum Synthesis

Part 35: Synthesizing Drums: The Snare Drum

Part 36: Practical Snare Drum Synthesis

Part 37: Analyzing Metallic Percussion

Part 38: Synthesizing Realistic Cymbals

Part 39: Practical Cymbal Synthesis

Part 40: Synthesizing Cowbells & Claves

Part 41: Synthesizing Pianos

Part 42: Synthesizing Acoustic Pianos On The Roland JX10 (1)

Part 43: Synthesizing Acoustic Pianos On The Roland JX10 (2)

Part 44: Synthesizing Acoustic Pianos On The Roland JX10 (3)

Part 45: Synthesizing Strings: String Machines

Part 46: Synthesizing Strings, PWM & String Sounds

Part 47: Synthesizing Bowed Strings: the Violin family

Part 48: Practical Bowed-string Synthesis

Part 49: Practical Bowed-string Synthesis (continued)

Part 50: Articulation & Bowed-string Synthesis

Part 51: Synthesizing Pan Pipes

Part 52: Synthesizing Simple Flutes

Part 53: Practical Flute Synthesis

Sound on Sound Glossary

Alan W. Pollack:

Notes On The Beatles:

Introduction to the Project

Alphabetical Index of Songs

Chronological [by release] Index of Songs

Songs Indexed By Recording Project

Kyle Gann:

Information On Tunings:

Just Intonation 101

An Introduction to Historical Tunings [read this one-c]

Anatomy of an Octave

His Reasons for Using Just Intonation

Misc. Writings by the Composer and Musicologist:

The Case Against Over-Notation

A Forest From The Seeds of Minimalism

What Women’s Music Does, or Doesn’t, Mean

Banging on Pianos

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