A single-volume guide to recreating 100 top-selected synthesizer sounds from hit songs provides illustrated two-page spreads that list details about how the sound was originally created on professional-grade synthesizers and how to create the same sounds today using modern plug-ins and readily available software instruments. Original.

Is music property? Under what circumstances can music be stolen? Such questions lie at the heart of Joanna Demers’s timely look at how overzealous intellectual property (IP) litigation both stifles and stimulates musical creativity. A musicologist, industry consultant, and musician, Demers dissects works that have brought IP issues into the mainstream culture, such as DJ Danger Mouse’s “Grey Album” and Mike Batt’s homage-gone-wrong to John Cage’s silent composition “4’33.” Demers also discusses such artists as Ice Cube, DJ Spooky, and John Oswald, whose creativity is sparked by their defiant circumvention of licensing and copyright issues. Demers is concerned about the fate of transformative appropriation—the creative process by which artists and composers borrow from, and respond to, other musical works. In the United States, only two elements of music are eligible for copyright protection: the master recording and the composition (lyrics and melody) itself. Harmony, rhythm, timbre, and other qualities that make a piece distinctive are virtually unregulated. This two-tiered system had long facilitated transformative appropriation while prohibiting blatant forms of theft. The advent of digital file sharing and the specter of global piracy changed everything, says Demers. Now, record labels and publishers are broadening the scope of IP “infringement” to include allusive borrowing in all forms: sampling, celebrity impersonation—even Girl Scout campfire sing-alongs. Paying exorbitant licensing fees or risking even harsher penalties for unauthorized borrowing have become the only options for some musicians. Others, however, creatively sidestep not only the law but also the very infrastructure of the music industry. Moving easily between techno and classical, between corporate boardrooms and basement recording studios, Demers gives us new ways to look at the tension between IP law, musical meaning and appropriation, and artistic freedom.

The Sound of Pictures is an illuminating journey through the soundtracks of more than 400 films. How do filmmakers play with sound? And how does that affect the way we watch their movies? Whether pop or classical, sweeping or sparse, music plays a crucial role in our cinematic experience. Other sounds can be even more evocative: the sounds of nature, of cities and of voices. In The Sound of Pictures, Andrew Ford listens to the movies. He speaks to acclaimed directors and composers, discovering radically different views about how much music to use and when. And he explores some of cinema’s most curious sonic moments. How did Alfred Hitchcock use music to plant clues in his films? Why do some ‘mix-tape’ soundtracks work brilliantly and others fall flat? How do classics from A Clockwork Orange to The Godfather, Cinema Paradiso to High Noon, use music and sound effects to enhance what we see on screen? Whether you’re a film-buff or a music lover, The Sound of Pictures will enrich your experience of the movies. ‘Andrew Ford's book is delightfully snippy and entertaining. More importantly, it's also wonderfully informed in a way that will enhance film viewing past, present and future. A hugely enjoyable and revelatory read.’ —Margaret Pomeranz ‘The Sound of Pictures will be joyfully read by movie and music fans alike.’ —Canberra Times ‘Enjoyable and rewarding’ —Adelaide Advertiser ‘Beautifully written’ —Sydney Morning Herald ‘A must read’ —Courier Mail

Welcome to London, but not as you know it. A place where magics and horror run free, wonders and miracles are everyday things, and the dark streets are full of very shadowy people . . . Gideon Sable is a thief and a con man. He specializes in stealing the kind of things that can't normally be stolen. Like a ghost's clothes, or a photo from a country that never existed. He even stole his current identity. Who was he originally? Now, that would be telling. One thing's for sure though, he's not the bad guy. The people he steals from always have it coming. Gideon's planning a heist, to steal the only thing that matters from the worst man in the world. To get past his security, he's going to need a crew who can do the impossible . . . but luckily, he has the right people in mind. The Damned, the Ghost, the Wild Card . . . and his ex-girlfriend, Annie Anybody. A woman who can be anyone, with the power to make technology fall in love with her. If things go well, they'll all get what they want. And if they're lucky, they might not even die trying . . .