Erratum (1st Ed)
This page is dedicated to fixing any of those little things that somehow got past the author and editors. Please send them in if you find any!
Chapter 1 - Musica Universalis
Pg. 18
When discussing Stockhausen and additive synthesis, it is incorrect to say that he invented it as a method. While he was the first to build an additive synth in the modern sense of the word, additive synthesis first appeared in musical instruments decades earlier in the form of the Hammond organ (and its precursor Thadeus Cahill's Teleharmonium) - albeit in a more limited application. In fact, even though the term "additive synthesis" is of the 20th century, it could be argued that the theory and first electrical application is found in the work of Helmholz - On the Sensations of Tone (1863), and the Helmholz resonator. The latter is an electro-mechanical device that used multiple sin waves to mimic aspects of speech.
Pg. 19
When discussing Richard D. James' most influential and groundbreaking releases under the Aphex Twin moniker, only three were cited. A fourth album should be included in that list - "I Care Because You Do" (Warp, 1995).
When discussing Stockhausen and additive synthesis, it is incorrect to say that he invented it as a method. While he was the first to build an additive synth in the modern sense of the word, additive synthesis first appeared in musical instruments decades earlier in the form of the Hammond organ (and its precursor Thadeus Cahill's Teleharmonium) - albeit in a more limited application. In fact, even though the term "additive synthesis" is of the 20th century, it could be argued that the theory and first electrical application is found in the work of Helmholz - On the Sensations of Tone (1863), and the Helmholz resonator. The latter is an electro-mechanical device that used multiple sin waves to mimic aspects of speech.
Pg. 19
When discussing Richard D. James' most influential and groundbreaking releases under the Aphex Twin moniker, only three were cited. A fourth album should be included in that list - "I Care Because You Do" (Warp, 1995).
Chapter 2 - Plot Point On The Space-Time Continuum
Pg. 31
Where Are We Now?
The math used to create the metaphor of music as a 12 story building and the recording industry as a human hair, was calculated using centimeters instead of micrometers (microns). A more accurate visual metaphor would be a Shure SM57 microphone standing upright on top of an 18 story building.
Where Are We Now?
The math used to create the metaphor of music as a 12 story building and the recording industry as a human hair, was calculated using centimeters instead of micrometers (microns). A more accurate visual metaphor would be a Shure SM57 microphone standing upright on top of an 18 story building.
Chapter 7 - Creative Process
Pg. 118-9
Gravity, Stars, Supernovae, and Black Holes
The electrostatic force is thought to be responsible for dust clumping together in zero gravity. Once there is enough mass, gravity then takes over. See this article for more info - http://www.skyandtelescope.com/news/3308986.html
Gravity, Stars, Supernovae, and Black Holes
The electrostatic force is thought to be responsible for dust clumping together in zero gravity. Once there is enough mass, gravity then takes over. See this article for more info - http://www.skyandtelescope.com/news/3308986.html
Chapter 8 - Selecting Your Tools
Pg. 153 (2nd Ed. p. 317)
When discussing Don Buchla and his synthesizers I repeated a commonly stated falsehood - that he never connected a piano-style keyboard to his synths. That assertion is simple not true. While true of his early modular designs, he did in fact use keyboards with a number of his synths over the years.
Pg. 158
Figure 8.8 was given the wrong caption and credit. The image is of the 500 Series selection at Vintage King's LA showroom, and the photo was taken by Shevy Shovlin.
When discussing Don Buchla and his synthesizers I repeated a commonly stated falsehood - that he never connected a piano-style keyboard to his synths. That assertion is simple not true. While true of his early modular designs, he did in fact use keyboards with a number of his synths over the years.
Pg. 158
Figure 8.8 was given the wrong caption and credit. The image is of the 500 Series selection at Vintage King's LA showroom, and the photo was taken by Shevy Shovlin.