Hostname: page-component-cd9895bd7-gxg78 Total loading time: 0 Render date: 2024-12-22T21:29:40.506Z Has data issue: false hasContentIssue false
  • English
  • Français

Digital Sampling: The Design and Use of Music Technologies. By Paul Harkins. New York: Routledge, 2020. 208 pp. ISBN: 9781351209960

Review products

Digital Sampling: The Design and Use of Music Technologies. By Paul Harkins. New York: Routledge, 2020. 208 pp. ISBN: 9781351209960

Published online by Cambridge University Press:  19 March 2021

Mark Marrington
Mark Marrington*
Affiliation:
York St John University
*
m.marrington@yorksj.ac.uk
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Review
Information
Popular Music , Volume 39 , Issue 3-4 , December 2020 , pp. 717 - 720
Check for updates
Copyright
Copyright © The Author(s), 2021. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Brøvig-Hanssen, R., and Danielsen, A. 2016. Digital Signatures: The Impact of Digitization on Popular Music Sound (Cambridge, MA, MIT Press)CrossRefGoogle Scholar
Burgess, R. J. 2014. The History of Music Production (Oxford, Oxford University Press)Google Scholar
Cunningham, M. 1998. Good Vibrations: a History of Record Production (London, Sanctuary)Google Scholar
Eno, B. 1983, July. ‘The studio as a compositional tool – part 1’, Downbeat, pp. 56–67.Google Scholar
Goodwin, A. 1988. ‘Sample and hold: pop music in the digital age of reproduction’, Critical Quarterly, 30/3, pp. 34–49CrossRefGoogle Scholar
Katz, M. 2004. Capturing Sound: how Technology has Changed Music (Berkeley, CA, University of California Press)Google Scholar
Milner, G. 2010. Perfecting Sound Forever: the Story of Recorded Music (London, Granta)Google Scholar
Pinch, T.J., and Trocco, F. 2004. Analog Days: The Invention and Impact of the Moog Synthesizer (Cambridge, MA, Harvard University Press)CrossRefGoogle Scholar
Schloss, J. G. 2004. Making Beats: The Art of Sample-Based Hip-Hop (Middletown, CT, Wesleyan University Press)Google Scholar
Strachan, R. 2017. Sonic Technologies: Popular Music, Digital Culture and the Creative Process (New York, Bloomsbury)CrossRefGoogle Scholar
Théberge, P. 1997. Any Sound You Can Imagine: Making Music/Consuming Technology (Middletown, CT, Wesleyan University Press)Google Scholar
Warner, T. 2003. Pop Music: Technology and Creativity: Trevor Horn and the Digital Revolution (Aldershot, Ashgate)Google Scholar