{"product_id":"140708","title":"Jang In-seok's Introduction to Sound ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/WQtVOREtWyXsXWVysIn9CQ.png?v=1764979624\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Jang In-seok's Introduction to Sound \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/6332933\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eA new guide for beginners in audio\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e This is an easy, new, and fun introduction to sound for anyone preparing to learn sound, written in a friendly and comfortable style by Professor Jang In-seok, a living legend in the Korean recording industry who recorded over 1,000 albums, including those by Cho Yong-pil and Lee Sun-hee, as if he were lecturing to a student right in front of him.\u003cbr\u003e \u003cbr\u003eRecent sound has changed from the past when it depended on the sound quality and meters of the equipment to a sound with a more emotional and creative artistic sense.\u003cbr\u003e Looking at engineers working these days, the range of people entering the field of acoustics is expanding considerably, including not only engineering majors but also art and even humanities majors.\u003cbr\u003e Another interesting change is that recording and mixing, which were previously the domain of engineers, are now required subjects for MIDI music composers and performers as well.\u003cbr\u003e\u003cbr\u003e However, most digital audio equipment and plug-ins use terms similar to conventional analog electronic engineering concepts, making it difficult for those in the humanities or arts who are not familiar with them to understand them.\u003cbr\u003e This book will serve as a guide to help readers bring their creative ideas to life through sound.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e  \u003cli\u003eYou can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eChapter 1 Sound\u003c\/b\u003e\u003cbr\u003e sound\u003cbr\u003e Amplitude and Loudness\u003cbr\u003e Frequency and Pitch\u003cbr\u003e fundamental, harmonic, overtone, overtone\u003cbr\u003e Frequency Band\u003cbr\u003e Frequency Spectrum\u003cbr\u003e Period\u003cbr\u003e Phase\u003cbr\u003e Polarity\u003cbr\u003e Wavelength\u003cbr\u003e Dynamic Envelop\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 2 Hearing\u003c\/b\u003e\u003cbr\u003e decibel\u003cbr\u003e Decibels for electrical and acoustic signals\u003cbr\u003e Level\u003cbr\u003e Dynamic Range\u003cbr\u003e Headroom\u003cbr\u003e Loudness Level\u003cbr\u003e Equal Loudness Contour\u003cbr\u003e Masking\u003cbr\u003e Octaves\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 3 Indoor Acoustics\u003c\/b\u003e\u003cbr\u003e sound field\u003cbr\u003e sound field\u003cbr\u003e Free Field\u003cbr\u003e Inverse Square Law\u003cbr\u003e Diffuse Field\u003cbr\u003e Critical Distance\u003cbr\u003e Ambience Miking\u003cbr\u003e Reverberation\u003cbr\u003e Live and Dead\u003cbr\u003e Flutter and Slapback Echo\u003cbr\u003e Indoor resonance\u003cbr\u003e Jeong Jae-pa \u003cbr\u003eSound diffuser\u003cbr\u003e sound absorption\u003cbr\u003e Porous Absorber\u003cbr\u003e Membrane Absorber\u003cbr\u003e Helmholtz Resonator\u003cbr\u003e Soundproofing and dustproofing\u003cbr\u003e wall\u003cbr\u003e ceiling\u003cbr\u003e floor\u003cbr\u003e door\u003cbr\u003e window\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 4 Studio Audio System\u003c\/b\u003e\u003cbr\u003e Studio audio equipment\u003cbr\u003e Mixing Console\u003cbr\u003e Recorder\u003cbr\u003e Microphone\u003cbr\u003e Direct Box (DI Box)\u003cbr\u003e Control room monitor system\u003cbr\u003e Cue System\u003cbr\u003e Audio Cable\u003cbr\u003e Connector\u003cbr\u003e Rack and Patch Bay\u003cbr\u003e Signal path of audio system\u003cbr\u003e Recording\u003cbr\u003e Mixdown\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 5 Microphone\u003c\/b\u003e\u003cbr\u003e Conversion method\u003cbr\u003e Dynamic Microphone\u003cbr\u003e Condenser Microphone\u003cbr\u003e Phantom Power\u003cbr\u003e Diameter, mass and case of the diaphragm\u003cbr\u003e High Pass Filter\u003cbr\u003e Pad\u003cbr\u003e Directionality\u003cbr\u003e Omnidirectional\u003cbr\u003e Unidirectional\u003cbr\u003e Bidirectional\u003cbr\u003e Off-axis Coloration\u003cbr\u003e Proximity Effect \u003cbr\u003edirectional structure\u003cbr\u003e Microphone electrical characteristics\u003cbr\u003e Frequency Response\u003cbr\u003e Transient Response\u003cbr\u003e Sensitivity\u003cbr\u003e Special microphone\u003cbr\u003e PZM (Pressure Zone Microphone)\u003cbr\u003e Lavalier Microphone\u003cbr\u003e Electret Condenser Microphone\u003cbr\u003e Dummy Head\u003cbr\u003e Stereo Microphone\u003cbr\u003e Direct Box\u003cbr\u003e Microphone Accessories\u003cbr\u003e Shock Mount\u003cbr\u003e Pop Filter and Windscreen\u003cbr\u003e Representative microphones\u003cbr\u003e Neumann U47\u003cbr\u003e Neumann U47FET\u003cbr\u003e Neumann M49\/50\u003cbr\u003e Neumann KM84 series\u003cbr\u003e Neumann U87\u003cbr\u003e AKG D12\/112\u003cbr\u003e AKG C451\u003cbr\u003e AKG C414 series\u003cbr\u003e Shure SM57\u003cbr\u003e Sennheiser MD421\u003cbr\u003e Sennheiser MD441\u003cbr\u003e Beyerdynamic M160\u003cbr\u003e Electro-Voice RE-20\u003cbr\u003e Royer R-121\u003cbr\u003e Preamp\u003cbr\u003e Preamplifier gain setup\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 6 Microphone Techniques\u003c\/b\u003e\u003cbr\u003e Comb filtering\u003cbr\u003e Floor reflection comb filtering\u003cbr\u003e Two or more microphone comb filtering\u003cbr\u003e 3:1 rule\u003cbr\u003e How to choose a microphone location\u003cbr\u003e Stereo miking\u003cbr\u003e Spaced Pair (AB) \u003cbr\u003eCoincident Pair (XY)\u003cbr\u003e Near Coincident Pair\u003cbr\u003e multi-micing\u003cbr\u003e kick drum\u003cbr\u003e snare drum\u003cbr\u003e hi-hat\u003cbr\u003e Tamtam\u003cbr\u003e symbol\u003cbr\u003e overhead\u003cbr\u003e Drum Kit Room Miking\u003cbr\u003e Simple drum kit\u003cbr\u003e piano\u003cbr\u003e electric guitar\u003cbr\u003e acoustic guitar\u003cbr\u003e lead vocals\u003cbr\u003e flute\u003cbr\u003e clarinet\u003cbr\u003e saxophone\u003cbr\u003e trumpet\u003cbr\u003e trombone\u003cbr\u003e soul\u003cbr\u003e harp\u003cbr\u003e marimba\u003cbr\u003e Classical piano miking\u003cbr\u003e Orchestra, piano, and vocal miking\u003cbr\u003e Surround Sound Miking Techniques\u003cbr\u003e Delos VR2 (Virtual Reality Recording format)\u003cbr\u003e NHK style\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 7 Monitor System\u003c\/b\u003e\u003cbr\u003e loudspeaker system\u003cbr\u003e Speaker Driver\u003cbr\u003e Crossover Network\u003cbr\u003e enclosure\u003cbr\u003e Seal Type\u003cbr\u003e Bass Reflex Type\u003cbr\u003e Speaker type\u003cbr\u003e Studio Monitoring\u003cbr\u003e Loudspeaker Monitoring\u003cbr\u003e Nearfield Monitor System\u003cbr\u003e Headphones\u003cbr\u003e Cue System\u003cbr\u003e Studio Vocal Headphone Monitoring\u003cbr\u003e \u003cbr\u003e\u003cb\u003eChapter 8 Equalizer\u003c\/b\u003e\u003cbr\u003e filter\u003cbr\u003e High Pass Filter (HPF)\u003cbr\u003e Low Pass Filter (LPF)\u003cbr\u003e Equalizer\u003cbr\u003e Graphic Equalizer\u003cbr\u003e Parametric Equalizer\u003cbr\u003e Dynamic Equalizer\u003cbr\u003e Enhancer\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 9 Compressors and Noise Gates\u003c\/b\u003e\u003cbr\u003e Compressor (limiter)\u003cbr\u003e How a compressor works\u003cbr\u003e Signal gain adjustment method\u003cbr\u003e Adjustment parameters\u003cbr\u003e Stereo Compressor\u003cbr\u003e Multiband Compressor\u003cbr\u003e DeEsser\u003cbr\u003e Compressor Adjustment Hearing Training\u003cbr\u003e Noise gate, expander\u003cbr\u003e Adjustment parameters\u003cbr\u003e Manual gating and editing\u003cbr\u003e DeNoiser\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 10 Reverb and Delay Systems\u003c\/b\u003e\u003cbr\u003e Reverberation System\u003cbr\u003e Main Presets\u003cbr\u003e Reverb adjustment\u003cbr\u003e Delay system\u003cbr\u003e Doubling\u003cbr\u003e Echo\u003cbr\u003e Modulation effects\u003cbr\u003e Flanging\u003cbr\u003e Phasing\u003cbr\u003e Chorusing\u003cbr\u003e Vibrato\u003cbr\u003e Pitch Shifter\u003cbr\u003e \u003cbr\u003e\u003cb\u003eChapter 11 Analog and Digital Recording Methods\u003c\/b\u003e\u003cbr\u003e Analog open-reel recorder\u003cbr\u003e Tape transport system\u003cbr\u003e electric circuit\u003cbr\u003e Types of recorders\u003cbr\u003e Track type\u003cbr\u003e Multitrack synchronized recording\u003cbr\u003e Cleaning\u003cbr\u003e digital audio\u003cbr\u003e Sampling Rate\u003cbr\u003e Anti-aliasing Filter\u003cbr\u003e Oversampling\u003cbr\u003e Quantization\u003cbr\u003e Dithering\u003cbr\u003e Digital recording and playback process\u003cbr\u003e coding\u003cbr\u003e Digital Interface\u003cbr\u003e Jitter\u003cbr\u003e Synchronization\u003cbr\u003e Data Reduction\u003cbr\u003e digital audio recorder\u003cbr\u003e Stationary Head Digital System\u003cbr\u003e Rotary Head Digital System\u003cbr\u003e MD (Mini Disc)\u003cbr\u003e hard disk recorder\u003cbr\u003e Digital Audio Workstation\u003cbr\u003e USB\u003cbr\u003e FireWire (IEEE 1394, iLink)\u003cbr\u003e Thunderbolt (Lightpeak)\u003cbr\u003e Soundfile Format\u003cbr\u003e Digital Audio Interface\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 12 Mixing Console\u003c\/b\u003e\u003cbr\u003e Console configuration and types\u003cbr\u003e Input section  \u003cbr\u003eMIC\/LINE\u003cbr\u003e Preamplifier OVERLOAD LED\u003cbr\u003e GAIN TRIM\u003cbr\u003e 48V\u003cbr\u003e Insert Send, Insert Return\u003cbr\u003e FADER\u003cbr\u003e AUX\u003cbr\u003e EQ\u003cbr\u003e fan port\u003cbr\u003e Direct Out\u003cbr\u003e Channel Assign\u003cbr\u003e Output section\u003cbr\u003e Group mixing circuit, group fader, bus output connector\u003cbr\u003e Stereo mix bus, master fader, main output connectors\u003cbr\u003e Metering\u003cbr\u003e Monitor Section\u003cbr\u003e Monitor selection button\u003cbr\u003e Solo\u003cbr\u003e MUTE\u003cbr\u003e Patch Bay\u003cbr\u003e Open\u003cbr\u003e Half-normalled\u003cbr\u003e Normalled\u003cbr\u003e Parallel\u003cbr\u003e Additional features\u003cbr\u003e Oscillator\u003cbr\u003e Talkback\u003cbr\u003e DIM\u003cbr\u003e MONO\u003cbr\u003e digital mixing console\u003cbr\u003e Digitally controlled analog mixing console\u003cbr\u003e digital mixing console\u003cbr\u003e DAW software mixer\u003cbr\u003e Track and mixer strips\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 13 Recording\u003c\/b\u003e\u003cbr\u003e Recording method\u003cbr\u003e Live Stereo Recording\u003cbr\u003e Live Mix Recording\u003cbr\u003e Multi-Track Recording\u003cbr\u003e Recording level\u003cbr\u003e Level setting\u003cbr\u003e Equalizing\u003cbr\u003e Live Sound Equalizing\u003cbr\u003e Studio Equalizing\u003cbr\u003e Instrument-specific processing\u003cbr\u003e drums\u003cbr\u003e bass guitar\u003cbr\u003e electric guitar  \u003cbr\u003eacoustic guitar\u003cbr\u003e vocal\u003cbr\u003e piano\u003cbr\u003e brass instruments\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 14 Mixing\u003c\/b\u003e\u003cbr\u003e auditory training\u003cbr\u003e Frequency band-specific sound identification training\u003cbr\u003e Understanding comb filtering\u003cbr\u003e Understanding sound dynamics, spatiality, and depth through excellent music\u003cbr\u003e Identifying the increase in low-frequency response due to proximity effect\u003cbr\u003e Monitoring\u003cbr\u003e Monitor level\u003cbr\u003e Mono Monitoring\u003cbr\u003e Six Key Elements of a Mix\u003cbr\u003e Level Balance\u003cbr\u003e Panning\u003cbr\u003e kick drum\u003cbr\u003e snare drum\u003cbr\u003e hi-hat\u003cbr\u003e Tamtam\u003cbr\u003e overhead\u003cbr\u003e drum set\u003cbr\u003e bass guitar\u003cbr\u003e lead vocal\u003cbr\u003e background vocals\u003cbr\u003e grand piano\u003cbr\u003e etc\u003cbr\u003e String section\u003cbr\u003e delay\u003cbr\u003e Flanging, chorusing, phasing\u003cbr\u003e Reverberation\u003cbr\u003e Equalizing\u003cbr\u003e frequency spectrum\u003cbr\u003e Compression\u003cbr\u003e Compressor adjustment\u003cbr\u003e Parallel Compression\u003cbr\u003e Serial compression\u003cbr\u003e Mix Bus Compression\u003cbr\u003e Noise Gate Adjustment Order\u003cbr\u003e Delay and reverb\u003cbr\u003e Type and number of effectors\u003cbr\u003e reverberation system\u003cbr\u003e Reverb Equalization\u003cbr\u003e How to create spatiality\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 15 Mastering\u003c\/b\u003e\u003cbr\u003e Mastering adjustment order\u003cbr\u003e Equalization\u003cbr\u003e Frequency balance adjustment\u003cbr\u003e Compression\u003cbr\u003e Leveling\u003cbr\u003e Manual gain riding \u003cbr\u003eNormalization\u003cbr\u003e Digital limiting\u003cbr\u003e MaxxBass\u003cbr\u003e S1 Stereo Imager\u003cbr\u003e Apply mastering\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 16 Cabling and Grounding\u003c\/b\u003e\u003cbr\u003e Shielding\u003cbr\u003e Foil Shield\u003cbr\u003e Braid Shield and Wrapped Shield\u003cbr\u003e Unbalanced and balanced shielded cables\u003cbr\u003e Cables and connecting equipment\u003cbr\u003e Unshielded cables and speaker cables\u003cbr\u003e connector\u003cbr\u003e phone plug\u003cbr\u003e Phono plug\u003cbr\u003e XLR and other connectors\u003cbr\u003e Grounding\u003cbr\u003e ground loop\u003cbr\u003e Studio Ground\u003cbr\u003e Rack Ground\u003cbr\u003e electric guitar amplifier\u003cbr\u003e Studio power system\u003cbr\u003e electrical noise\u003cbr\u003e\u003cbr\u003e supplement\u003cbr\u003e Glossary\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e This book is an easy, new, and fun introduction to sound for anyone preparing to learn sound, written in a friendly and comfortable style by Professor Jang In-seok, a living legend in the Korean recording industry who has recorded over 1,000 albums, including for Cho Yong-pil and Lee Sun-hee, as if he were lecturing to a student right in front of him.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eRecent sound has changed from the past when it depended on the sound quality and meters of the equipment to a sound with a more emotional and creative artistic sense.\u003cbr\u003e Looking at engineers working these days, the range of people entering the field of acoustics is expanding considerably, including not only engineering majors but also art and even humanities majors.\u003cbr\u003e Another interesting change is that recording and mixing, which were previously the domain of engineers, are now required subjects for MIDI music composers and performers as well.\u003cbr\u003e This may be because he recognized that in order to convey his work more faithfully, he needed not only a musical message but also a perfect sound balance.\u003cbr\u003e This is similar to how a performer prefers a more sonically superior instrument to faithfully convey his musical inclinations. \u003cbr\u003eHowever, most digital audio equipment and plug-ins use terms similar to conventional analog electronic engineering concepts, making it difficult for those in the humanities or arts who are not familiar with them to understand them.\u003cbr\u003e While writing The Recording, which was published recently, most of the questions I received from my students and MIDI music students were similar to these.\u003cbr\u003e For these various reasons, I worked on this book while writing The Recording.\u003cbr\u003e Just as a composer or performer cannot express his or her own musical ideas if he or she cannot visualize the notes written on the score, even if one has extensive knowledge of acoustics, one cannot concretize one's own sonic imagination if one cannot listen and analyze the sound. \u003cbr\u003eThis book will serve as a great guide to bringing your creative ideas to life through sound. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e February 20, 2012\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 328 pages | 188*257*30mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9788997185108\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 8997185101 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43894922182698,"sku":"140708","price":46.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/840c969cadcd32cc99491108abe3bb1b.jpg?v=1765451733","url":"https:\/\/librairie.coreenne.fr\/en\/products\/140708","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}