The art of music production:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Omnibus
2005
|
| Ausgabe: | 3. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Previous ed.: 2002 |
| Beschreibung: | XIII, 302 S. 24 cm |
Internformat
MARC
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| 245 | 1 | 0 | |a The art of music production |c Richard James Burgess |
| 250 | |a 3. ed. | ||
| 264 | 1 | |a London |b Omnibus |c 2005 | |
| 300 | |a XIII, 302 S. |c 24 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Previous ed.: 2002 | ||
| 650 | 4 | |a Sound recordings / Production and direction | |
| 650 | 4 | |a Sound recording industry | |
| 650 | 4 | |a Sound recording industry / Vocational guidance | |
| 650 | 4 | |a Sound recording industry | |
| 650 | 4 | |a Sound recording industry |v Vocational guidance | |
| 650 | 4 | |a Sound recordings |x Production and direction | |
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Datensatz im Suchindex
| _version_ | 1804137930149593088 |
|---|---|
| adam_text | Contents
Introduction
xi
1.
What Kind Of Producer Do You Want To Be?
1
a)
All-Singing-All-Dancing-King-Of-The-Hill 1
b) Sidekick
б
c)
Collaborator
8
d)
Merlin The Magician
9
e) Other Ways Of Categorising Producers
13
2.
How Do You Get Started?
15
a) What Are The Ways In?
15
i. The Musician Or Artist?
15
ii. The Audio Engineer
... 20
iii.
The Songwriter
26
iv.
The
DJ
Producers
... 28
v. The Self Taught Home Studio Hobbyist
31
vi.
The Finding A New Act Routine
33
vii.
The
Who-The-Hell-Knows-How-They-Got-Started
Route
35
b) OK
-
So You Want To Be A Record Producer
-
What Next?
35
c) Are Qualifications A Help Or A Hindrance?
38
d) So Exactly How Much Technical Knowledge Do
You Need?
43
e) How Much Musical Knowledge Do You Need?
47
f) What If You Have Neither Musical Nor Technical Skills?
49
g) The Door s Open, The Foot s In, Now What?
50
3.
What s The Job Description?
52
a) We Are Not Worthy
60
m
The Art Of Music Production
b) Who Takes Care Of The Administration And
Paperwork?
c) Managing The Session From Day To Day
«У
і.
Pre-production
ii.
Recording The Live Band
¿
iii.
Recording An Orchestra Or
Big Band 75
iv.
Overdubbing Live Musicians
76
v. The Computer-Based Session
vi.
The Vocals 78
vii.
Which Method Makes A Better Record
-
Live,
Overdubbed Or Computer? 83
d) What Are They Going To Expect Of You?
86
i. The Artist? 8^
ii. The Record Company? °9
iii.
The Artist s Manager? 90
4.
Will They Still Love You Tomorrow? 91
a) What Is Your Working Life Expectancy? 91
b) How s Your Health? 92
c) What Keeps A&R People Coming Right Back To You?
94
i. If You re Hot 94
ii. If You re Not Quite There Yet 95
iii.
If You Were Recently Hot yo
iv.
When The Night s Closing In 96
v. What Prevents Them From Coming Back To You?
99
vi.
How Else Can You Get Work? 10°
vii.
What s The Best Way To Handle The Show
Reel/Resumé/CV
Tap Dance? 10°
5.
Producer Managers
a) To Have A Manager Or Not To Have A Manager?
b) Do They Earn Their Percentage? 105
i. Is She Just Fielding Calls Or Is She Out There
Pitching For You? 1°5
ii. How Do You Avoid Getting Ripped Off By Your
Manager?
107
iii.
Does He Siphon Off Some Of Your Work To Other
Producers In The Stable? 1°7
d) How Do You Define Best Manager For You?
1 !
3
iv
Contents
e)
How Can You Find Such A Person
-
If They Even
Exist?
114
f) How Do You Persuade Them To Take You On?
114
6.
How Do You Deal With The Artist, The Record Company
And The Artist s Manager?
117
a) What Should Your Relationship With The Artist Be?
117
i. Best Friends?
117
ii. Able To Fit In?
118
iii.
Hang After Hours, Between Albums, Party-Hearty
and Laugh At The Jokes?
118
iv.
Somewhat Aloof?
119
v. Professional?
119
vi.
How Do You Tell Them Something Is Not
Working?
119
b) Where Does Your Responsibility Lie?
120
i. To The Artist?
120
ii. To The Record Company?
123
iii.
To Yourself?
124
iv.
To The Project?
125
c) What About The Drug And Alcohol Connection?
126
i. Should You Be Bathroom Buddies?
126
ii. Is It OK If It Is Outside Of Working Hours?
128
iii.
What Do You Do If The Artist Does And You Don t?
128
d) What Do You Do When The Artist Freaks?
129
e) What Do You Do When The Record Company Freaks?
130
f) What Do You Do When The Artist s Manager Is
A Freak?
134
7.
Lawyers
135
a) How Much Will They Cost You?
136
b) How Much Should You Depend On Them?
137
c) How Much Do You Really Need Them?
138
d) What Happens When They Get It Wrong?
138
e) What Tricks Do They Get Up To?
139
f) And That s Just Your Lawyer. How Much Damage Can
The Other Guy Do?
140
8.
Difficulties And Pitfalls
143
a) Studio Nightmares
143
The Art Of Music
Production
143
b)
Serious Differences Of Opinion
c) The Endless Album
d)
Lack Of
Vision
e)
Micro-Vision
f)
Panic
Stations
і.
The Singer Can t Sing In Tune/Time
ii. The Band Can t Play In Tune/Time
iii.
One Of The Musicians Is Screwing Up Every Take
iv.
You re Calmly Cruising Up To The End Of The
Album, Bang On Budget, And The Artist Decides
Half Of It Is Crap
*
v. The A&R Person Hates The Mixes: Stay Calm And
Survive m
g) What Makes It Seem Like Hard Work? 155
h) How Much Loyalty Can You Expect Within The
Business? 156
i. From The Artist? 156
ii. From The A&R Person? l5S
iii.
Final Word On Loyalty l
i) First Girlfriend Syndrome 160
9.
Success And Money
a) How Much Can You Make? 162
b) Where Else Does The Money Come From? 165
c) Do Producers Earn Their Percentage? 1^8
d) How Can You Increase Your Chances Of Success?
1
3
e) What Is The Secret Of Longevity? l74
f) Hitting The Jackpot l75
10.
What Are The Timeless Ingredients In A Hit Record? l8°
a) The Label &
180
b) The Song
181
c) The Vocal
182
d) The Arrangement l82
e) The Performance
185
f) The Engineering
186
g) How Important Is The Mix Really? l87
h) Timeliness
187
i) The Heart
187
j) Are These Rules To Which There Are Exceptions? l89
vi
Contents
11.
Frequently Asked
Questions
191
a) How Much Can You Learn, How Much Is Natural
Ability?
191
b) How Do You Pick The Right Project?
192
c) Do Producers Have Their Own Sound?
192
d) Should You Get Involved In The Song Writing?
193
e) New Versus Established Artists?
195
f) What About The All-Important Credits?
196
i. Executive Producer
196
ii. Album Producer
197
in. Producer
198
iv.
Co-producer
198
v. Associate Producer
198
vi.
Additional Production By
198
vii.
Multiple Producer Credits
199
viii.
Recorded By
200
ix.
Engineered By
200
x. Mixed By
200
xi.
Remixed By Or Remix Produced By
200
xii.
Programmed By
201
xiii.
Edits By
201
g) What Are The Best Moments?
202
h) Why Are There So Few Female Record Producers?
202
i) Can You Successfully Genre Hop?
207
i. Advantages And Disadvantages
207
ii. Who Has Done It?
209
j) How Do You Deal With
... 209
i. Post-Purchase Dissonance More Commonly Known
As Buyer s Remorse ?
209
i. Post-Partum
Depression?
210
k) What Happens When The Fat Lady Sings?
211
i. How Do You Know When It s Over?
211
ii. Where Do Old Producers Go?
212
iii.
Should You Start Making Plans And When?
213
1)
Why Do People Want To Produce Records?
214
m) Why Do People Want To Make Records At All?
214
n) Do You Know When You Have Produced A Smash?
215
o) What Is Demo-Itis?
216
p) What Kind Of Person Becomes A Producer?
219
q) How Do Producers Feel About Remixers?
221
VII
The Art Of Music Production
r) What s The Remixer s Point Of View?
223
s) What s The A&R Person s Point Of View?
224
t) What Is The Sophomore Slump ?
225
12.
Working Outside The Mainstream?
228
a) Classical
228
b) Jazz
229
c) Country
231
d) Traditional, Folk, Roots And World Music
233
e) Children s Music
241
f) Regional Producers
246
13.
Technology Rules: Will the Internet Kill the Video Star?
248
a) Has Technology Made Studio Life Easier?
248
b) The Revolution Will Be Digitised: Where Is It All
Going?
252
c) What Does This Mean To The Professional Record
Producer?
256
d) Why Will We Even Need Labels In The Future?
268
e) Charts
270
f) Will Record Producers Survive The Revolution?
274
14.
The Final Cut
277
15.
Featured interview with legendary producer Arif
Mardin
279
Glossary
288
vm
|
| adam_txt |
Contents
Introduction
xi
1.
What Kind Of Producer Do You Want To Be?
1
a)
All-Singing-All-Dancing-King-Of-The-Hill 1
b) Sidekick
б
c)
Collaborator
8
d)
Merlin The Magician
9
e) Other Ways Of Categorising Producers
13
2.
How Do You Get Started?
15
a) What Are The Ways In?
15
i. The Musician Or Artist?
15
ii. The Audio Engineer
. 20
iii.
The Songwriter
26
iv.
The
DJ
Producers
. 28
v. The Self Taught Home Studio Hobbyist
31
vi.
The Finding A New Act Routine
33
vii.
The
Who-The-Hell-Knows-How-They-Got-Started
Route
35
b) OK
-
So You Want To Be A Record Producer
-
What Next?
35
c) Are Qualifications A Help Or A Hindrance?
38
d) So Exactly How Much Technical Knowledge Do
You Need?
43
e) How Much Musical Knowledge Do You Need?
47
f) What If You Have Neither Musical Nor Technical Skills?
49
g) The Door's Open, The Foot's In, Now What?
50
3.
What's The Job Description?
52
a) We Are Not Worthy
60
m
The Art Of Music Production
b) Who Takes Care Of The Administration And
Paperwork?
c) Managing The Session From Day To Day
«У
і.
Pre-production
ii.
Recording The Live Band
'¿
iii.
Recording An Orchestra Or
Big Band 75
iv.
Overdubbing Live Musicians
76
v. The Computer-Based Session
vi.
The Vocals 78
vii.
Which Method Makes A Better Record
-
Live,
Overdubbed Or Computer? 83
d) What Are 'They' Going To Expect Of You?
86
i. The Artist? 8^
ii. The Record Company? °9
iii.
The Artist's Manager? 90
4.
Will They Still Love You Tomorrow? 91
a) What Is Your Working Life Expectancy? 91
b) How's Your Health? 92
c) What Keeps A&R People Coming Right Back To You?
94
i. If You're Hot 94
ii. If You're Not Quite There Yet 95
iii.
If You Were Recently Hot yo
iv.
When The Night's Closing In 96
v. What Prevents Them From Coming Back To You?
99
vi.
How Else Can You Get Work? 10°
vii.
What's The Best Way To Handle The Show
Reel/Resumé/CV
Tap Dance? 10°
5.
Producer Managers
a) To Have A Manager Or Not To Have A Manager?
b) Do They Earn Their Percentage? 105
i. Is She Just Fielding Calls Or Is She Out There
Pitching For You? 1°5
ii. How Do You Avoid Getting Ripped Off By Your
Manager?
107
iii.
Does He Siphon Off Some Of Your Work To Other
Producers In The Stable? 1°7
d) How Do You Define 'Best Manager' For You?
1 !
3
iv
Contents
e)
How Can You Find Such A Person
-
If They Even
Exist?
114
f) How Do You Persuade Them To Take You On?
114
6.
How Do You Deal With The Artist, The Record Company
And The Artist's Manager?
117
a) What Should Your Relationship With The Artist Be?
117
i. Best Friends?
117
ii. Able To Fit In?
118
iii.
Hang After Hours, Between Albums, Party-Hearty
and Laugh At The Jokes?
118
iv.
Somewhat Aloof?
119
v. Professional?
119
vi.
How Do You Tell Them Something Is Not
Working?
119
b) Where Does Your Responsibility Lie?
120
i. To The Artist?
120
ii. To The Record Company?
123
iii.
To Yourself?
124
iv.
To The Project?
125
c) What About The Drug And Alcohol Connection?
126
i. Should You Be Bathroom Buddies?
126
ii. Is It OK If It Is Outside Of Working Hours?
128
iii.
What Do You Do If The Artist Does And You Don't?
128
d) What Do You Do When The Artist Freaks?
129
e) What Do You Do When The Record Company Freaks?
130
f) What Do You Do When The Artist's Manager Is
A Freak?
134
7.
Lawyers
135
a) How Much Will They Cost You?
136
b) How Much Should You Depend On Them?
137
c) How Much Do You Really Need Them?
138
d) What Happens When They Get It Wrong?
138
e) What Tricks Do They Get Up To?
139
f) And That's Just Your Lawyer. How Much Damage Can
The Other Guy Do?
140
8.
Difficulties And Pitfalls
143
a) Studio Nightmares
143
The Art Of Music
Production
143
b)
Serious Differences Of Opinion
c) The Endless Album
d)
Lack Of
Vision
e)
Micro-Vision
f)
Panic
Stations
і.
The Singer Can't Sing In Tune/Time
ii. The Band Can't Play In Tune/Time
iii.
One Of The Musicians Is Screwing Up Every Take
iv.
You're Calmly Cruising Up To The End Of The
Album, Bang On Budget, And The Artist Decides
Half Of It Is Crap
*
v. The A&R Person Hates The Mixes: Stay Calm And
Survive m
g) What Makes It Seem Like Hard Work? 155
h) How Much Loyalty Can You Expect Within The
Business? 156
i. From The Artist? 156
ii. From The A&R Person? l5S
iii.
Final Word On Loyalty l
i) First Girlfriend Syndrome 160
9.
Success And Money
a) How Much Can You Make? 162
b) Where Else Does The Money Come From? 165
c) Do Producers Earn Their Percentage? 1^8
d) How Can You Increase Your Chances Of Success?
1
'3
e) What Is The Secret Of Longevity? l74
f) Hitting The Jackpot l75
10.
What Are The Timeless Ingredients In A Hit Record? l8°
a) The Label &
180
b) The Song
181
c) The Vocal
182
d) The Arrangement l82
e) The Performance
185
f) The Engineering
186
g) How Important Is The Mix Really? l87
h) Timeliness
187
i) The Heart
187
j) Are These Rules To Which There Are Exceptions? l89
vi
Contents
11.
Frequently Asked
Questions
191
a) How Much Can You Learn, How Much Is Natural
Ability?
191
b) How Do You Pick The Right Project?
192
c) Do Producers Have Their Own Sound?
192
d) Should You Get Involved In The Song Writing?
193
e) New Versus Established Artists?
195
f) What About The All-Important Credits?
196
i. Executive Producer
196
ii. Album Producer
197
in. Producer
198
iv.
Co-producer
198
v. Associate Producer
198
vi.
Additional Production By
198
vii.
Multiple Producer Credits
199
viii.
Recorded By
200
ix.
Engineered By
200
x. Mixed By
200
xi.
Remixed By Or Remix Produced By
200
xii.
Programmed By
201
xiii.
Edits By
201
g) What Are The Best Moments?
202
h) Why Are There So Few Female Record Producers?
202
i) Can You Successfully Genre Hop?
207
i. Advantages And Disadvantages
207
ii. Who Has Done It?
209
j) How Do You Deal With
. 209
i. Post-Purchase Dissonance More Commonly Known
As 'Buyer's Remorse'?
209
i. Post-Partum
Depression?
210
k) What Happens When The Fat Lady Sings?
211
i. How Do You Know When It's Over?
211
ii. Where Do Old Producers Go?
212
iii.
Should You Start Making Plans And When?
213
1)
Why Do People Want To Produce Records?
214
m) Why Do People Want To Make Records At All?
214
n) Do You Know When You Have Produced A Smash?
215
o) What Is Demo-Itis?
216
p) What Kind Of Person Becomes A Producer?
219
q) How Do Producers Feel About Remixers?
221
VII
The Art Of Music Production
r) What's The Remixer's Point Of View?
223
s) What's The A&R Person's Point Of View?
224
t) What Is The'Sophomore Slump'?
225
12.
Working Outside The Mainstream?
228
a) Classical
228
b) Jazz
229
c) Country
231
d) Traditional, Folk, Roots And World Music
233
e) Children's Music
241
f) Regional Producers
246
13.
Technology Rules: Will the Internet Kill the Video Star?
248
a) Has Technology Made Studio Life Easier?
248
b) The Revolution Will Be Digitised: Where Is It All
Going?
252
c) What Does This Mean To The Professional Record
Producer?
256
d) Why Will We Even Need Labels In The Future?
268
e) Charts
270
f) Will Record Producers Survive The Revolution?
274
14.
The Final Cut
277
15.
Featured interview with legendary producer Arif
Mardin
279
Glossary
288
vm |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Burgess, Richard James |
| author_GND | (DE-588)134340477 |
| author_facet | Burgess, Richard James |
| author_role | aut |
| author_sort | Burgess, Richard James |
| author_variant | r j b rj rjb |
| building | Verbundindex |
| bvnumber | BV035009881 |
| callnumber-first | M - Music |
| callnumber-label | ML3790 |
| callnumber-raw | ML3790 |
| callnumber-search | ML3790 |
| callnumber-sort | ML 43790 |
| callnumber-subject | ML - Literature on Music |
| ctrlnum | (OCoLC)57485016 (DE-599)BVBBV035009881 |
| dewey-full | 781.49163 781.49/023 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.49163 781.49/023 |
| dewey-search | 781.49163 781.49/023 |
| dewey-sort | 3781.49163 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| edition | 3. ed. |
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| genre | (DE-588)4048476-2 Ratgeber gnd-content |
| genre_facet | Ratgeber |
| id | DE-604.BV035009881 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T21:43:25Z |
| indexdate | 2024-07-09T21:20:07Z |
| institution | BVB |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016679147 |
| oclc_num | 57485016 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | XIII, 302 S. 24 cm |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | Omnibus |
| record_format | marc |
| spelling | Burgess, Richard James Verfasser (DE-588)134340477 aut The art of music production Richard James Burgess 3. ed. London Omnibus 2005 XIII, 302 S. 24 cm txt rdacontent n rdamedia nc rdacarrier Previous ed.: 2002 Sound recordings / Production and direction Sound recording industry Sound recording industry / Vocational guidance Sound recording industry Vocational guidance Sound recordings Production and direction Popmusik (DE-588)4046781-8 gnd rswk-swf Schallplattenindustrie (DE-588)4471179-7 gnd rswk-swf Musikproduktion (DE-588)4235850-4 gnd rswk-swf Schallplattenproduzent (DE-588)4179370-5 gnd rswk-swf Musikwirtschaft (DE-588)4268614-3 gnd rswk-swf Beruf (DE-588)4005857-8 gnd rswk-swf (DE-588)4048476-2 Ratgeber gnd-content Musikwirtschaft (DE-588)4268614-3 s Schallplattenindustrie (DE-588)4471179-7 s Beruf (DE-588)4005857-8 s DE-604 Schallplattenproduzent (DE-588)4179370-5 s 1\p DE-604 Popmusik (DE-588)4046781-8 s Musikproduktion (DE-588)4235850-4 s 2\p DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016679147&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Burgess, Richard James The art of music production Sound recordings / Production and direction Sound recording industry Sound recording industry / Vocational guidance Sound recording industry Vocational guidance Sound recordings Production and direction Popmusik (DE-588)4046781-8 gnd Schallplattenindustrie (DE-588)4471179-7 gnd Musikproduktion (DE-588)4235850-4 gnd Schallplattenproduzent (DE-588)4179370-5 gnd Musikwirtschaft (DE-588)4268614-3 gnd Beruf (DE-588)4005857-8 gnd |
| subject_GND | (DE-588)4046781-8 (DE-588)4471179-7 (DE-588)4235850-4 (DE-588)4179370-5 (DE-588)4268614-3 (DE-588)4005857-8 (DE-588)4048476-2 |
| title | The art of music production |
| title_auth | The art of music production |
| title_exact_search | The art of music production |
| title_exact_search_txtP | The art of music production |
| title_full | The art of music production Richard James Burgess |
| title_fullStr | The art of music production Richard James Burgess |
| title_full_unstemmed | The art of music production Richard James Burgess |
| title_short | The art of music production |
| title_sort | the art of music production |
| topic | Sound recordings / Production and direction Sound recording industry Sound recording industry / Vocational guidance Sound recording industry Vocational guidance Sound recordings Production and direction Popmusik (DE-588)4046781-8 gnd Schallplattenindustrie (DE-588)4471179-7 gnd Musikproduktion (DE-588)4235850-4 gnd Schallplattenproduzent (DE-588)4179370-5 gnd Musikwirtschaft (DE-588)4268614-3 gnd Beruf (DE-588)4005857-8 gnd |
| topic_facet | Sound recordings / Production and direction Sound recording industry Sound recording industry / Vocational guidance Sound recording industry Vocational guidance Sound recordings Production and direction Popmusik Schallplattenindustrie Musikproduktion Schallplattenproduzent Musikwirtschaft Beruf Ratgeber |
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