The art of music production :: the theory and practice /
Overview: The Art of Music Production is the first book to comprehensively analyze and describe the role of the music producer in creating successful music recordings. Now in its fourth edition, it is the definitive guide to the art and business of music production. Author and producer Richard James...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York :
Oxford University Press,
[2013]
|
| Ausgabe: | Fourth edition. |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | Overview: The Art of Music Production is the first book to comprehensively analyze and describe the role of the music producer in creating successful music recordings. Now in its fourth edition, it is the definitive guide to the art and business of music production. Author and producer Richard James Burgess distills this complex field by defining the distinct roles of a music producer. The first part of the book outlines the underlying theory of the art of music production. The second focuses on the job's practical aspects, including training, getting into the business, and-most importantly-the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from successful music producers, ranging from the beginnings of recorded sound to today's chart-toppers and across genre lines. It features many revealing anecdotes, encompassing both the daily and overarching career-related challenges that a producer faces. Burgess addresses the changes in the nature of music production brought about by technology and, in particular, the millennial shift that has occurred with digital recording and distribution. His lifelong experience in the recording industry as a studio musician, artist, composer, producer, manager, and marketer, combined with his extensive academic research in the field, brings a unique breadth and depth of understanding to the topic. |
| Beschreibung: | 1 online resource (xii, 329 pages) : illustration |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9780199921737 0199921733 |
Internformat
MARC
| LEADER | 00000cam a2200000 i 4500 | ||
|---|---|---|---|
| 001 | ZDB-4-EBU-ocn858861590 | ||
| 003 | OCoLC | ||
| 005 | 20240405112445.0 | ||
| 006 | m o d | ||
| 007 | cr cnu---unuuu | ||
| 008 | 130924s2013 nyua ob 001 0 eng d | ||
| 010 | |z 2013000203 | ||
| 040 | |a N$T |b eng |e rda |e pn |c N$T |d YDXCP |d IDEBK |d CDX |d UKMGB |d OCLCF |d OCLCO |d RRP |d NMC |d OCLCO |d EBLCP |d OCLCO |d OCLCQ |d OCLCO |d MOR |d YDX |d OCLCQ |d IUL |d CNCGM |d OCLCQ |d AGLDB |d JBG |d OCLCQ |d YOU |d S9I |d STF |d OCLCQ |d K6U |d TXM |d UKAHL |d OCLCQ |d OCLCO |d OCLCQ |d INARC |d OCLCO |d OCLCL | ||
| 016 | 7 | |a 016472004 |2 Uk | |
| 019 | |a 884544453 |a 922972660 |a 1357506433 | ||
| 020 | |a 9780199921737 |q (electronic bk.) | ||
| 020 | |a 0199921733 |q (electronic bk.) | ||
| 020 | |z 9780199921720 | ||
| 020 | |z 0199921725 | ||
| 020 | |z 9780199921744 | ||
| 020 | |z 0199921741 | ||
| 024 | |a 99955117930 | ||
| 035 | |a (OCoLC)858861590 |z (OCoLC)884544453 |z (OCoLC)922972660 |z (OCoLC)1357506433 | ||
| 050 | 4 | |a ML3790 |b .B84 2013eb | |
| 072 | 7 | |a MUS |x 041000 |2 bisacsh | |
| 082 | 7 | |a 781.49023 |2 23 | |
| 049 | |a MAIN | ||
| 100 | 1 | |a Burgess, Richard James, |e author. | |
| 240 | 1 | 0 | |a Art of record production |
| 245 | 1 | 4 | |a The art of music production : |b the theory and practice / |c Richard James Burgess. |
| 250 | |a Fourth edition. | ||
| 264 | 1 | |a New York : |b Oxford University Press, |c [2013] | |
| 300 | |a 1 online resource (xii, 329 pages) : |b illustration | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 347 | |a data file | ||
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Section One The Theory -- 1. Types of Music Producers -- Functional Typologies -- Subset Typologies -- In Summation -- Analogous Structures -- Leadership Styles -- Section Two The Practice -- 2. Becoming a Music Producer -- How Do You Become a Music Producer? -- Examples of Producers from Different Backgrounds -- Qualifications and Training -- 3. Being a Music Producer -- The Day-to-Day Responsibilities and Process -- Some Session Specifics -- Which Method Makes a Better Record-Live, Overdubbed, or Computer? -- What Are "They" Going to Expect of You? -- 4. What Are the Timeless Ingredients in a Hit? -- The Song (or Material) -- The Vocal -- The Arrangement -- The Performance -- The Engineering -- How Important Is the Mix? -- Timeliness -- The Heart -- Are There Exceptions to These Rules? -- 5. What Can You Expect from a Career as a Producer? -- How Is Your Health? -- Why Do A & R People Hire You? -- Branding, Marketing, and Sales -- 6. Managers. | |
| 505 | 8 | |a What is the Definition of the Term "Manager"? -- What Does a Producer Manager Do? -- What Does a Manager Cost? -- Do They Earn Their Percentage? -- How Do You Make Sure You Receive All the Money Due to You? -- Could You Lose Work to Other Producers on the Manager's Roster? -- How Do You Define "Best Manager" for You? -- How Can You Find Such a Person? -- How Do You Persuade Them to Take You On? -- Business Managers -- 7. The Producer's Relationships -- With the Artist -- What about Drugs and Alcohol? -- What Do You Do When the Artist Becomes Difficult? -- What Do You Do When the Record Company Is Unhappy? -- What Do You Do When the Artist's Manager Is Difficult? -- 8. Lawyers -- What Are the Issues? -- What Can Be Done to Protect Producers? -- 9. Challenges and Controversies -- Differences of Opinion -- How Much Loyalty Can You Expect? -- Final Word on Loyalty -- 10. Success and Money -- How Are Producers Paid? -- How Much Can a Producer Make? | |
| 505 | 8 | |a Where Can Income Come From? -- How Many Producers Make Millions? -- The Terms -- Do Producers Earn Their Percentage? -- Major versus Independent Labels -- How Will Producers Make Money in the Future? -- Can You Increase Your Chances of Success? -- Credits -- What Is the Secret to Longevity? -- Add Entrepreneur to Your Portfolio -- 11. Why Are There So Few Women Producers? -- What We Know -- Some Women Producers in History -- Women Producers Today -- Inconclusive Conclusion -- 12. Frequently Asked Questions -- How Much Is Learned; How Much Is Natural Ability? -- How Do You Pick the Right Project? -- Should You Share in Songwriting Royalties? -- New versus Established Artists? -- What Is Involved in Being an Independent or Freelance Producer? -- What About Being a Staff Producer? -- What Are the Best Moments? -- Can You Successfully Genre-Hop? -- How Stable Is a Producer's Career? -- How Does a Production Career End? -- Making Plans and When? | |
| 505 | 8 | |a What Do Producers Do When Work Starts to Slow Down? -- Why Do People Want to Produce Records? -- Do You Know When You Have Produced a Hit? -- How Do Producers Feel about Mixers and Remixers? -- What's the Mixer's Viewpoint? -- What Is the "Sophomore Slump"? -- Digital versus Analog? -- 13. Working outside the Mainstream -- Classical -- Jazz -- Country -- Traditional, Folk, Roots, and World Music -- Children's Music -- Local and Regional Producers -- 14. Where Are We? How Did We Get Here? Where Are We Going? -- Will Mobile Modify the Internet that Crippled Cable but Vivified Video, which Killed the Radio Star? -- How Did We Get Here? -- The Revolution Continues -- What Does this Mean to the Professional Music Producer? -- Where Are We Going? -- Revenue Streams Are Multiplying -- Will We Even Need Labels in the Future? -- Charts -- Marketing -- Will Music Producers Survive the Revolution? -- 15. Conclusion: What If? -- The Final Cut. | |
| 520 | |a Overview: The Art of Music Production is the first book to comprehensively analyze and describe the role of the music producer in creating successful music recordings. Now in its fourth edition, it is the definitive guide to the art and business of music production. Author and producer Richard James Burgess distills this complex field by defining the distinct roles of a music producer. The first part of the book outlines the underlying theory of the art of music production. The second focuses on the job's practical aspects, including training, getting into the business, and-most importantly-the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from successful music producers, ranging from the beginnings of recorded sound to today's chart-toppers and across genre lines. It features many revealing anecdotes, encompassing both the daily and overarching career-related challenges that a producer faces. Burgess addresses the changes in the nature of music production brought about by technology and, in particular, the millennial shift that has occurred with digital recording and distribution. His lifelong experience in the recording industry as a studio musician, artist, composer, producer, manager, and marketer, combined with his extensive academic research in the field, brings a unique breadth and depth of understanding to the topic. | ||
| 650 | 0 | |a Sound recordings |x Production and direction. |0 http://id.loc.gov/authorities/subjects/sh88003431 | |
| 650 | 0 | |a Sound recording industry |x Vocational guidance. | |
| 650 | 6 | |a Enregistrements sonores |x Industrie |x Orientation professionnelle. | |
| 650 | 7 | |a MUSIC |x Instruction & Study |x Theory. |2 bisacsh | |
| 650 | 7 | |a Sound recording industry |x Vocational guidance |2 fast | |
| 650 | 7 | |a Sound recordings |x Production and direction |2 fast | |
| 758 | |i has work: |a Art of record production (Text) |1 https://id.oclc.org/worldcat/entity/E39PCGqRmK49PbWqQYF9MVqvVy |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 775 | 0 | 8 | |i Revision of: |a Burgess, Richard James. |t Art of record production. |d London? : Omnibus, ©1997 |h vii, 228 p. ; 25 cm. |z 0711955522 |
| 776 | 0 | 8 | |i Print version: |a Burgess, Richard James. |s Art of record production. |t Art of music production. |b Fourth edition |z 9780199921720 |w (DLC) 2013000203 |w (OCoLC)824088283 |
| 856 | 4 | 0 | |l FWS01 |p ZDB-4-EBU |q FWS_PDA_EBU |u https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=642156 |3 Volltext |
| 938 | |a Askews and Holts Library Services |b ASKH |n AH25565951 | ||
| 938 | |a Askews and Holts Library Services |b ASKH |n AH25563572 | ||
| 938 | |a Coutts Information Services |b COUT |n 26201331 | ||
| 938 | |a ProQuest Ebook Central |b EBLB |n EBL3055630 | ||
| 938 | |a EBSCOhost |b EBSC |n 642156 | ||
| 938 | |a ProQuest MyiLibrary Digital eBook Collection |b IDEB |n cis26201331 | ||
| 938 | |a YBP Library Services |b YANK |n 11157393 | ||
| 938 | |a Internet Archive |b INAR |n artofmusicproduc0000burg_4thed | ||
| 994 | |a 92 |b GEBAY | ||
| 912 | |a ZDB-4-EBU | ||
| 049 | |a DE-863 | ||
Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBU-ocn858861590 |
|---|---|
| _version_ | 1804748442930511872 |
| adam_text | |
| any_adam_object | |
| author | Burgess, Richard James |
| author_facet | Burgess, Richard James |
| author_role | aut |
| author_sort | Burgess, Richard James |
| author_variant | r j b rj rjb |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | M - Music |
| callnumber-label | ML3790 |
| callnumber-raw | ML3790 .B84 2013eb |
| callnumber-search | ML3790 .B84 2013eb |
| callnumber-sort | ML 43790 B84 42013EB |
| callnumber-subject | ML - Literature on Music |
| collection | ZDB-4-EBU |
| contents | Section One The Theory -- 1. Types of Music Producers -- Functional Typologies -- Subset Typologies -- In Summation -- Analogous Structures -- Leadership Styles -- Section Two The Practice -- 2. Becoming a Music Producer -- How Do You Become a Music Producer? -- Examples of Producers from Different Backgrounds -- Qualifications and Training -- 3. Being a Music Producer -- The Day-to-Day Responsibilities and Process -- Some Session Specifics -- Which Method Makes a Better Record-Live, Overdubbed, or Computer? -- What Are "They" Going to Expect of You? -- 4. What Are the Timeless Ingredients in a Hit? -- The Song (or Material) -- The Vocal -- The Arrangement -- The Performance -- The Engineering -- How Important Is the Mix? -- Timeliness -- The Heart -- Are There Exceptions to These Rules? -- 5. What Can You Expect from a Career as a Producer? -- How Is Your Health? -- Why Do A & R People Hire You? -- Branding, Marketing, and Sales -- 6. Managers. What is the Definition of the Term "Manager"? -- What Does a Producer Manager Do? -- What Does a Manager Cost? -- Do They Earn Their Percentage? -- How Do You Make Sure You Receive All the Money Due to You? -- Could You Lose Work to Other Producers on the Manager's Roster? -- How Do You Define "Best Manager" for You? -- How Can You Find Such a Person? -- How Do You Persuade Them to Take You On? -- Business Managers -- 7. The Producer's Relationships -- With the Artist -- What about Drugs and Alcohol? -- What Do You Do When the Artist Becomes Difficult? -- What Do You Do When the Record Company Is Unhappy? -- What Do You Do When the Artist's Manager Is Difficult? -- 8. Lawyers -- What Are the Issues? -- What Can Be Done to Protect Producers? -- 9. Challenges and Controversies -- Differences of Opinion -- How Much Loyalty Can You Expect? -- Final Word on Loyalty -- 10. Success and Money -- How Are Producers Paid? -- How Much Can a Producer Make? Where Can Income Come From? -- How Many Producers Make Millions? -- The Terms -- Do Producers Earn Their Percentage? -- Major versus Independent Labels -- How Will Producers Make Money in the Future? -- Can You Increase Your Chances of Success? -- Credits -- What Is the Secret to Longevity? -- Add Entrepreneur to Your Portfolio -- 11. Why Are There So Few Women Producers? -- What We Know -- Some Women Producers in History -- Women Producers Today -- Inconclusive Conclusion -- 12. Frequently Asked Questions -- How Much Is Learned; How Much Is Natural Ability? -- How Do You Pick the Right Project? -- Should You Share in Songwriting Royalties? -- New versus Established Artists? -- What Is Involved in Being an Independent or Freelance Producer? -- What About Being a Staff Producer? -- What Are the Best Moments? -- Can You Successfully Genre-Hop? -- How Stable Is a Producer's Career? -- How Does a Production Career End? -- Making Plans and When? What Do Producers Do When Work Starts to Slow Down? -- Why Do People Want to Produce Records? -- Do You Know When You Have Produced a Hit? -- How Do Producers Feel about Mixers and Remixers? -- What's the Mixer's Viewpoint? -- What Is the "Sophomore Slump"? -- Digital versus Analog? -- 13. Working outside the Mainstream -- Classical -- Jazz -- Country -- Traditional, Folk, Roots, and World Music -- Children's Music -- Local and Regional Producers -- 14. Where Are We? How Did We Get Here? Where Are We Going? -- Will Mobile Modify the Internet that Crippled Cable but Vivified Video, which Killed the Radio Star? -- How Did We Get Here? -- The Revolution Continues -- What Does this Mean to the Professional Music Producer? -- Where Are We Going? -- Revenue Streams Are Multiplying -- Will We Even Need Labels in the Future? -- Charts -- Marketing -- Will Music Producers Survive the Revolution? -- 15. Conclusion: What If? -- The Final Cut. |
| ctrlnum | (OCoLC)858861590 |
| dewey-full | 781.49023 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.49023 |
| dewey-search | 781.49023 |
| dewey-sort | 3781.49023 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| edition | Fourth edition. |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>08512cam a2200721 i 4500</leader><controlfield tag="001">ZDB-4-EBU-ocn858861590</controlfield><controlfield tag="003">OCoLC</controlfield><controlfield tag="005">20240405112445.0</controlfield><controlfield tag="006">m o d </controlfield><controlfield tag="007">cr cnu---unuuu</controlfield><controlfield tag="008">130924s2013 nyua ob 001 0 eng d</controlfield><datafield tag="010" ind1=" " ind2=" "><subfield code="z"> 2013000203</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">N$T</subfield><subfield code="b">eng</subfield><subfield code="e">rda</subfield><subfield code="e">pn</subfield><subfield code="c">N$T</subfield><subfield code="d">YDXCP</subfield><subfield code="d">IDEBK</subfield><subfield code="d">CDX</subfield><subfield code="d">UKMGB</subfield><subfield code="d">OCLCF</subfield><subfield code="d">OCLCO</subfield><subfield code="d">RRP</subfield><subfield code="d">NMC</subfield><subfield code="d">OCLCO</subfield><subfield code="d">EBLCP</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCO</subfield><subfield code="d">MOR</subfield><subfield code="d">YDX</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">IUL</subfield><subfield code="d">CNCGM</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">AGLDB</subfield><subfield code="d">JBG</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">YOU</subfield><subfield code="d">S9I</subfield><subfield code="d">STF</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">K6U</subfield><subfield code="d">TXM</subfield><subfield code="d">UKAHL</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">INARC</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCL</subfield></datafield><datafield tag="016" ind1="7" ind2=" "><subfield code="a">016472004</subfield><subfield code="2">Uk</subfield></datafield><datafield tag="019" ind1=" " ind2=" "><subfield code="a">884544453</subfield><subfield code="a">922972660</subfield><subfield code="a">1357506433</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780199921737</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">0199921733</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">9780199921720</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">0199921725</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">9780199921744</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">0199921741</subfield></datafield><datafield tag="024" ind1=" " ind2=" "><subfield code="a">99955117930</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)858861590</subfield><subfield code="z">(OCoLC)884544453</subfield><subfield code="z">(OCoLC)922972660</subfield><subfield code="z">(OCoLC)1357506433</subfield></datafield><datafield tag="050" ind1=" " ind2="4"><subfield code="a">ML3790</subfield><subfield code="b">.B84 2013eb</subfield></datafield><datafield tag="072" ind1=" " ind2="7"><subfield code="a">MUS</subfield><subfield code="x">041000</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="082" ind1="7" ind2=" "><subfield code="a">781.49023</subfield><subfield code="2">23</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">MAIN</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Burgess, Richard James,</subfield><subfield code="e">author.</subfield></datafield><datafield tag="240" ind1="1" ind2="0"><subfield code="a">Art of record production</subfield></datafield><datafield tag="245" ind1="1" ind2="4"><subfield code="a">The art of music production :</subfield><subfield code="b">the theory and practice /</subfield><subfield code="c">Richard James Burgess.</subfield></datafield><datafield tag="250" ind1=" " ind2=" "><subfield code="a">Fourth edition.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">New York :</subfield><subfield code="b">Oxford University Press,</subfield><subfield code="c">[2013]</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (xii, 329 pages) :</subfield><subfield code="b">illustration</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="347" ind1=" " ind2=" "><subfield code="a">data file</subfield></datafield><datafield tag="504" ind1=" " ind2=" "><subfield code="a">Includes bibliographical references and index.</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Print version record.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Section One The Theory -- 1. Types of Music Producers -- Functional Typologies -- Subset Typologies -- In Summation -- Analogous Structures -- Leadership Styles -- Section Two The Practice -- 2. Becoming a Music Producer -- How Do You Become a Music Producer? -- Examples of Producers from Different Backgrounds -- Qualifications and Training -- 3. Being a Music Producer -- The Day-to-Day Responsibilities and Process -- Some Session Specifics -- Which Method Makes a Better Record-Live, Overdubbed, or Computer? -- What Are "They" Going to Expect of You? -- 4. What Are the Timeless Ingredients in a Hit? -- The Song (or Material) -- The Vocal -- The Arrangement -- The Performance -- The Engineering -- How Important Is the Mix? -- Timeliness -- The Heart -- Are There Exceptions to These Rules? -- 5. What Can You Expect from a Career as a Producer? -- How Is Your Health? -- Why Do A & R People Hire You? -- Branding, Marketing, and Sales -- 6. Managers.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">What is the Definition of the Term "Manager"? -- What Does a Producer Manager Do? -- What Does a Manager Cost? -- Do They Earn Their Percentage? -- How Do You Make Sure You Receive All the Money Due to You? -- Could You Lose Work to Other Producers on the Manager's Roster? -- How Do You Define "Best Manager" for You? -- How Can You Find Such a Person? -- How Do You Persuade Them to Take You On? -- Business Managers -- 7. The Producer's Relationships -- With the Artist -- What about Drugs and Alcohol? -- What Do You Do When the Artist Becomes Difficult? -- What Do You Do When the Record Company Is Unhappy? -- What Do You Do When the Artist's Manager Is Difficult? -- 8. Lawyers -- What Are the Issues? -- What Can Be Done to Protect Producers? -- 9. Challenges and Controversies -- Differences of Opinion -- How Much Loyalty Can You Expect? -- Final Word on Loyalty -- 10. Success and Money -- How Are Producers Paid? -- How Much Can a Producer Make?</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Where Can Income Come From? -- How Many Producers Make Millions? -- The Terms -- Do Producers Earn Their Percentage? -- Major versus Independent Labels -- How Will Producers Make Money in the Future? -- Can You Increase Your Chances of Success? -- Credits -- What Is the Secret to Longevity? -- Add Entrepreneur to Your Portfolio -- 11. Why Are There So Few Women Producers? -- What We Know -- Some Women Producers in History -- Women Producers Today -- Inconclusive Conclusion -- 12. Frequently Asked Questions -- How Much Is Learned; How Much Is Natural Ability? -- How Do You Pick the Right Project? -- Should You Share in Songwriting Royalties? -- New versus Established Artists? -- What Is Involved in Being an Independent or Freelance Producer? -- What About Being a Staff Producer? -- What Are the Best Moments? -- Can You Successfully Genre-Hop? -- How Stable Is a Producer's Career? -- How Does a Production Career End? -- Making Plans and When?</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">What Do Producers Do When Work Starts to Slow Down? -- Why Do People Want to Produce Records? -- Do You Know When You Have Produced a Hit? -- How Do Producers Feel about Mixers and Remixers? -- What's the Mixer's Viewpoint? -- What Is the "Sophomore Slump"? -- Digital versus Analog? -- 13. Working outside the Mainstream -- Classical -- Jazz -- Country -- Traditional, Folk, Roots, and World Music -- Children's Music -- Local and Regional Producers -- 14. Where Are We? How Did We Get Here? Where Are We Going? -- Will Mobile Modify the Internet that Crippled Cable but Vivified Video, which Killed the Radio Star? -- How Did We Get Here? -- The Revolution Continues -- What Does this Mean to the Professional Music Producer? -- Where Are We Going? -- Revenue Streams Are Multiplying -- Will We Even Need Labels in the Future? -- Charts -- Marketing -- Will Music Producers Survive the Revolution? -- 15. Conclusion: What If? -- The Final Cut.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Overview: The Art of Music Production is the first book to comprehensively analyze and describe the role of the music producer in creating successful music recordings. Now in its fourth edition, it is the definitive guide to the art and business of music production. Author and producer Richard James Burgess distills this complex field by defining the distinct roles of a music producer. The first part of the book outlines the underlying theory of the art of music production. The second focuses on the job's practical aspects, including training, getting into the business, and-most importantly-the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from successful music producers, ranging from the beginnings of recorded sound to today's chart-toppers and across genre lines. It features many revealing anecdotes, encompassing both the daily and overarching career-related challenges that a producer faces. Burgess addresses the changes in the nature of music production brought about by technology and, in particular, the millennial shift that has occurred with digital recording and distribution. His lifelong experience in the recording industry as a studio musician, artist, composer, producer, manager, and marketer, combined with his extensive academic research in the field, brings a unique breadth and depth of understanding to the topic.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Sound recordings</subfield><subfield code="x">Production and direction.</subfield><subfield code="0">http://id.loc.gov/authorities/subjects/sh88003431</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Sound recording industry</subfield><subfield code="x">Vocational guidance.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Enregistrements sonores</subfield><subfield code="x">Industrie</subfield><subfield code="x">Orientation professionnelle.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">MUSIC</subfield><subfield code="x">Instruction & Study</subfield><subfield code="x">Theory.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Sound recording industry</subfield><subfield code="x">Vocational guidance</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Sound recordings</subfield><subfield code="x">Production and direction</subfield><subfield code="2">fast</subfield></datafield><datafield tag="758" ind1=" " ind2=" "><subfield code="i">has work:</subfield><subfield code="a">Art of record production (Text)</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PCGqRmK49PbWqQYF9MVqvVy</subfield><subfield code="4">https://id.oclc.org/worldcat/ontology/hasWork</subfield></datafield><datafield tag="775" ind1="0" ind2="8"><subfield code="i">Revision of:</subfield><subfield code="a">Burgess, Richard James.</subfield><subfield code="t">Art of record production.</subfield><subfield code="d">London? : Omnibus, ©1997</subfield><subfield code="h">vii, 228 p. ; 25 cm.</subfield><subfield code="z">0711955522</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Print version:</subfield><subfield code="a">Burgess, Richard James.</subfield><subfield code="s">Art of record production.</subfield><subfield code="t">Art of music production.</subfield><subfield code="b">Fourth edition</subfield><subfield code="z">9780199921720</subfield><subfield code="w">(DLC) 2013000203</subfield><subfield code="w">(OCoLC)824088283</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="l">FWS01</subfield><subfield code="p">ZDB-4-EBU</subfield><subfield code="q">FWS_PDA_EBU</subfield><subfield code="u">https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=642156</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Askews and Holts Library Services</subfield><subfield code="b">ASKH</subfield><subfield code="n">AH25565951</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Askews and Holts Library Services</subfield><subfield code="b">ASKH</subfield><subfield code="n">AH25563572</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Coutts Information Services</subfield><subfield code="b">COUT</subfield><subfield code="n">26201331</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">ProQuest Ebook Central</subfield><subfield code="b">EBLB</subfield><subfield code="n">EBL3055630</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">EBSCOhost</subfield><subfield code="b">EBSC</subfield><subfield code="n">642156</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">ProQuest MyiLibrary Digital eBook Collection</subfield><subfield code="b">IDEB</subfield><subfield code="n">cis26201331</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">YBP Library Services</subfield><subfield code="b">YANK</subfield><subfield code="n">11157393</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Internet Archive</subfield><subfield code="b">INAR</subfield><subfield code="n">artofmusicproduc0000burg_4thed</subfield></datafield><datafield tag="994" ind1=" " ind2=" "><subfield code="a">92</subfield><subfield code="b">GEBAY</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-4-EBU</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-863</subfield></datafield></record></collection> |
| id | ZDB-4-EBU-ocn858861590 |
| illustrated | Illustrated |
| indexdate | 2024-07-16T15:03:57Z |
| institution | BVB |
| isbn | 9780199921737 0199921733 |
| language | English |
| oclc_num | 858861590 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (xii, 329 pages) : illustration |
| psigel | ZDB-4-EBU |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Oxford University Press, |
| record_format | marc |
| spelling | Burgess, Richard James, author. Art of record production The art of music production : the theory and practice / Richard James Burgess. Fourth edition. New York : Oxford University Press, [2013] 1 online resource (xii, 329 pages) : illustration text txt rdacontent computer c rdamedia online resource cr rdacarrier data file Includes bibliographical references and index. Print version record. Section One The Theory -- 1. Types of Music Producers -- Functional Typologies -- Subset Typologies -- In Summation -- Analogous Structures -- Leadership Styles -- Section Two The Practice -- 2. Becoming a Music Producer -- How Do You Become a Music Producer? -- Examples of Producers from Different Backgrounds -- Qualifications and Training -- 3. Being a Music Producer -- The Day-to-Day Responsibilities and Process -- Some Session Specifics -- Which Method Makes a Better Record-Live, Overdubbed, or Computer? -- What Are "They" Going to Expect of You? -- 4. What Are the Timeless Ingredients in a Hit? -- The Song (or Material) -- The Vocal -- The Arrangement -- The Performance -- The Engineering -- How Important Is the Mix? -- Timeliness -- The Heart -- Are There Exceptions to These Rules? -- 5. What Can You Expect from a Career as a Producer? -- How Is Your Health? -- Why Do A & R People Hire You? -- Branding, Marketing, and Sales -- 6. Managers. What is the Definition of the Term "Manager"? -- What Does a Producer Manager Do? -- What Does a Manager Cost? -- Do They Earn Their Percentage? -- How Do You Make Sure You Receive All the Money Due to You? -- Could You Lose Work to Other Producers on the Manager's Roster? -- How Do You Define "Best Manager" for You? -- How Can You Find Such a Person? -- How Do You Persuade Them to Take You On? -- Business Managers -- 7. The Producer's Relationships -- With the Artist -- What about Drugs and Alcohol? -- What Do You Do When the Artist Becomes Difficult? -- What Do You Do When the Record Company Is Unhappy? -- What Do You Do When the Artist's Manager Is Difficult? -- 8. Lawyers -- What Are the Issues? -- What Can Be Done to Protect Producers? -- 9. Challenges and Controversies -- Differences of Opinion -- How Much Loyalty Can You Expect? -- Final Word on Loyalty -- 10. Success and Money -- How Are Producers Paid? -- How Much Can a Producer Make? Where Can Income Come From? -- How Many Producers Make Millions? -- The Terms -- Do Producers Earn Their Percentage? -- Major versus Independent Labels -- How Will Producers Make Money in the Future? -- Can You Increase Your Chances of Success? -- Credits -- What Is the Secret to Longevity? -- Add Entrepreneur to Your Portfolio -- 11. Why Are There So Few Women Producers? -- What We Know -- Some Women Producers in History -- Women Producers Today -- Inconclusive Conclusion -- 12. Frequently Asked Questions -- How Much Is Learned; How Much Is Natural Ability? -- How Do You Pick the Right Project? -- Should You Share in Songwriting Royalties? -- New versus Established Artists? -- What Is Involved in Being an Independent or Freelance Producer? -- What About Being a Staff Producer? -- What Are the Best Moments? -- Can You Successfully Genre-Hop? -- How Stable Is a Producer's Career? -- How Does a Production Career End? -- Making Plans and When? What Do Producers Do When Work Starts to Slow Down? -- Why Do People Want to Produce Records? -- Do You Know When You Have Produced a Hit? -- How Do Producers Feel about Mixers and Remixers? -- What's the Mixer's Viewpoint? -- What Is the "Sophomore Slump"? -- Digital versus Analog? -- 13. Working outside the Mainstream -- Classical -- Jazz -- Country -- Traditional, Folk, Roots, and World Music -- Children's Music -- Local and Regional Producers -- 14. Where Are We? How Did We Get Here? Where Are We Going? -- Will Mobile Modify the Internet that Crippled Cable but Vivified Video, which Killed the Radio Star? -- How Did We Get Here? -- The Revolution Continues -- What Does this Mean to the Professional Music Producer? -- Where Are We Going? -- Revenue Streams Are Multiplying -- Will We Even Need Labels in the Future? -- Charts -- Marketing -- Will Music Producers Survive the Revolution? -- 15. Conclusion: What If? -- The Final Cut. Overview: The Art of Music Production is the first book to comprehensively analyze and describe the role of the music producer in creating successful music recordings. Now in its fourth edition, it is the definitive guide to the art and business of music production. Author and producer Richard James Burgess distills this complex field by defining the distinct roles of a music producer. The first part of the book outlines the underlying theory of the art of music production. The second focuses on the job's practical aspects, including training, getting into the business, and-most importantly-the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from successful music producers, ranging from the beginnings of recorded sound to today's chart-toppers and across genre lines. It features many revealing anecdotes, encompassing both the daily and overarching career-related challenges that a producer faces. Burgess addresses the changes in the nature of music production brought about by technology and, in particular, the millennial shift that has occurred with digital recording and distribution. His lifelong experience in the recording industry as a studio musician, artist, composer, producer, manager, and marketer, combined with his extensive academic research in the field, brings a unique breadth and depth of understanding to the topic. Sound recordings Production and direction. http://id.loc.gov/authorities/subjects/sh88003431 Sound recording industry Vocational guidance. Enregistrements sonores Industrie Orientation professionnelle. MUSIC Instruction & Study Theory. bisacsh Sound recording industry Vocational guidance fast Sound recordings Production and direction fast has work: Art of record production (Text) https://id.oclc.org/worldcat/entity/E39PCGqRmK49PbWqQYF9MVqvVy https://id.oclc.org/worldcat/ontology/hasWork Revision of: Burgess, Richard James. Art of record production. London? : Omnibus, ©1997 vii, 228 p. ; 25 cm. 0711955522 Print version: Burgess, Richard James. Art of record production. Art of music production. Fourth edition 9780199921720 (DLC) 2013000203 (OCoLC)824088283 FWS01 ZDB-4-EBU FWS_PDA_EBU https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=642156 Volltext |
| spellingShingle | Burgess, Richard James The art of music production : the theory and practice / Section One The Theory -- 1. Types of Music Producers -- Functional Typologies -- Subset Typologies -- In Summation -- Analogous Structures -- Leadership Styles -- Section Two The Practice -- 2. Becoming a Music Producer -- How Do You Become a Music Producer? -- Examples of Producers from Different Backgrounds -- Qualifications and Training -- 3. Being a Music Producer -- The Day-to-Day Responsibilities and Process -- Some Session Specifics -- Which Method Makes a Better Record-Live, Overdubbed, or Computer? -- What Are "They" Going to Expect of You? -- 4. What Are the Timeless Ingredients in a Hit? -- The Song (or Material) -- The Vocal -- The Arrangement -- The Performance -- The Engineering -- How Important Is the Mix? -- Timeliness -- The Heart -- Are There Exceptions to These Rules? -- 5. What Can You Expect from a Career as a Producer? -- How Is Your Health? -- Why Do A & R People Hire You? -- Branding, Marketing, and Sales -- 6. Managers. What is the Definition of the Term "Manager"? -- What Does a Producer Manager Do? -- What Does a Manager Cost? -- Do They Earn Their Percentage? -- How Do You Make Sure You Receive All the Money Due to You? -- Could You Lose Work to Other Producers on the Manager's Roster? -- How Do You Define "Best Manager" for You? -- How Can You Find Such a Person? -- How Do You Persuade Them to Take You On? -- Business Managers -- 7. The Producer's Relationships -- With the Artist -- What about Drugs and Alcohol? -- What Do You Do When the Artist Becomes Difficult? -- What Do You Do When the Record Company Is Unhappy? -- What Do You Do When the Artist's Manager Is Difficult? -- 8. Lawyers -- What Are the Issues? -- What Can Be Done to Protect Producers? -- 9. Challenges and Controversies -- Differences of Opinion -- How Much Loyalty Can You Expect? -- Final Word on Loyalty -- 10. Success and Money -- How Are Producers Paid? -- How Much Can a Producer Make? Where Can Income Come From? -- How Many Producers Make Millions? -- The Terms -- Do Producers Earn Their Percentage? -- Major versus Independent Labels -- How Will Producers Make Money in the Future? -- Can You Increase Your Chances of Success? -- Credits -- What Is the Secret to Longevity? -- Add Entrepreneur to Your Portfolio -- 11. Why Are There So Few Women Producers? -- What We Know -- Some Women Producers in History -- Women Producers Today -- Inconclusive Conclusion -- 12. Frequently Asked Questions -- How Much Is Learned; How Much Is Natural Ability? -- How Do You Pick the Right Project? -- Should You Share in Songwriting Royalties? -- New versus Established Artists? -- What Is Involved in Being an Independent or Freelance Producer? -- What About Being a Staff Producer? -- What Are the Best Moments? -- Can You Successfully Genre-Hop? -- How Stable Is a Producer's Career? -- How Does a Production Career End? -- Making Plans and When? What Do Producers Do When Work Starts to Slow Down? -- Why Do People Want to Produce Records? -- Do You Know When You Have Produced a Hit? -- How Do Producers Feel about Mixers and Remixers? -- What's the Mixer's Viewpoint? -- What Is the "Sophomore Slump"? -- Digital versus Analog? -- 13. Working outside the Mainstream -- Classical -- Jazz -- Country -- Traditional, Folk, Roots, and World Music -- Children's Music -- Local and Regional Producers -- 14. Where Are We? How Did We Get Here? Where Are We Going? -- Will Mobile Modify the Internet that Crippled Cable but Vivified Video, which Killed the Radio Star? -- How Did We Get Here? -- The Revolution Continues -- What Does this Mean to the Professional Music Producer? -- Where Are We Going? -- Revenue Streams Are Multiplying -- Will We Even Need Labels in the Future? -- Charts -- Marketing -- Will Music Producers Survive the Revolution? -- 15. Conclusion: What If? -- The Final Cut. Sound recordings Production and direction. http://id.loc.gov/authorities/subjects/sh88003431 Sound recording industry Vocational guidance. Enregistrements sonores Industrie Orientation professionnelle. MUSIC Instruction & Study Theory. bisacsh Sound recording industry Vocational guidance fast Sound recordings Production and direction fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh88003431 |
| title | The art of music production : the theory and practice / |
| title_alt | Art of record production |
| title_auth | The art of music production : the theory and practice / |
| title_exact_search | The art of music production : the theory and practice / |
| title_full | The art of music production : the theory and practice / Richard James Burgess. |
| title_fullStr | The art of music production : the theory and practice / Richard James Burgess. |
| title_full_unstemmed | The art of music production : the theory and practice / Richard James Burgess. |
| title_short | The art of music production : |
| title_sort | art of music production the theory and practice |
| title_sub | the theory and practice / |
| topic | Sound recordings Production and direction. http://id.loc.gov/authorities/subjects/sh88003431 Sound recording industry Vocational guidance. Enregistrements sonores Industrie Orientation professionnelle. MUSIC Instruction & Study Theory. bisacsh Sound recording industry Vocational guidance fast Sound recordings Production and direction fast |
| topic_facet | Sound recordings Production and direction. Sound recording industry Vocational guidance. Enregistrements sonores Industrie Orientation professionnelle. MUSIC Instruction & Study Theory. Sound recording industry Vocational guidance Sound recordings Production and direction |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=642156 |
| work_keys_str_mv | AT burgessrichardjames artofrecordproduction AT burgessrichardjames theartofmusicproductionthetheoryandpractice AT burgessrichardjames artofmusicproductionthetheoryandpractice |