To complete an album, a producer needs to know what goes into capturing great music and teasing out inspirational performances from artists. As a producer, you are guiding not only the music, but also the business and the technical aspects of an album. This book focuses on the process of music production.
To complete an album, a producer needs to know what goes into capturing great music and teasing out inspirational performances from artists. As a producer, you are guiding not only the music, but also the business and the technical aspects of an album. This book focuses on the process of music production.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Russ Hepworth-Sawyer is a sound engineer and producer with extensive experience in all things audio. He is a member of the Association of Professional Recording Services and the Audio Engineering Society; a Fellow of the Institute For Learning (U.K.); and a board member of the Music Producer's Guild. Through MOTTOsound (www.mottosound.co.uk), Russ works freelance in the industry as a mastering engineer, a producer, writer, and consultant. Russ currently lectures part-time for York St John University and Barnsley College Online and has taught extensively in higher education at British institutions including Leeds College of Music, London College of Music, and Rose Bruford College. He currently writes for Pro Sound News Europe, has contributed to Sound On Sound magazine, and has written many titles for Focal Press. Craig Golding is currently Course Leader for the BA (Hons) Music Production degree program at Leeds College of Music in the U.K. Craig lectures in production, sound recording techniques, studio production, and song production and leads a team that is responsible for the delivery and development of one of the most popular music production courses in the U.K. Craig also has an active freelance career in sound engineering and production with over a decade's experience working in the industry. Under the banner of CMG Sound Craig has worked as an FOH engineer at many large venues in the U.K. including The Sage Gateshead; The Bridgewater Hall, Manchester; and Queen Elizabeth Hall, London. Craig continues to work with a variety of artists and ensembles both in live and studio contexts.
Inhaltsangabe
Section 1 - Music Production?1 Quantifying it 1.1 What is Production? 1.1.1 Introduction? 1.1.2 Today's Producer 1.1.3 Backdrop 1.1.4 The Current Climate 1.2 Understanding the Process 1.3 Understanding What Is Required 1.4 The Brief 1.5 Artiste & Repertoire? 2 Analysing it 2.1 Listening Skills 2.2 Listening Case Studies 2.2.1 eg. Amy Winehouse versus Michael Jackson 3 Your People? 3.1 Record Company 3.2 Artist 3.3 Your Engineer(s) 3.4 Agent or Manager? 3.5 Website Designer? 3.6 Others Section 2 Prepping it1 Project Management 1.1 Timescales 1.2 Financial considerations (linked to 2.2) 1.3 Personnel (linked again to 1.3) 1.4 Studios, Equipment & Session Musicians 1.5 Keeping on top of it all. Music is still a business when all is said and done 1.5.1 Personal Time Management Principles 1.5.2 Using that Computer - making it work for you. 2 Financial Management 2.1 Project Coffers 2.2 Making the finances fit 2.3 Paying Out 2.4 Your Pay? 2.5 Other Issues 3 The Reception What I mean by this is the listening to the Pre-Production, meeting the Artist and Label. To consider what to do with the material - what style and how and what? 3.1 The Artist 3.1.1 New Artist 3.1.1.1 The proposed market position 3.1.1.1.1 Style's In¿uence on the Music Production 3.1.1.1.1.1 Dress Sense & Image 3.1.1.1.1.2 Musical 'Style' 3.1.1.1.1.3 Artist Attit
Section A: What is Music Production A-1 Quantifying It A-2 Analyzing It
Section B: Being It B-1 Being a Producer B-2 Your People B-3 Being a Business
Section C: Prepping It C-1 What's the Deal C-2 Pre-Production C-3 Project Management C-4 The Desired Outcome: Strategies for Success
Section D: Doing It D-1 The Session D-2 The Mix D-3 The Mastering Session
Section E: The Future E-1 The Changing Face of Music Production
Section F F-1 Appendix 1: The Tape Store F-2 Appendix 2: Glossary
Section 1 - Music Production?1 Quantifying it 1.1 What is Production? 1.1.1 Introduction? 1.1.2 Today's Producer 1.1.3 Backdrop 1.1.4 The Current Climate 1.2 Understanding the Process 1.3 Understanding What Is Required 1.4 The Brief 1.5 Artiste & Repertoire? 2 Analysing it 2.1 Listening Skills 2.2 Listening Case Studies 2.2.1 eg. Amy Winehouse versus Michael Jackson 3 Your People? 3.1 Record Company 3.2 Artist 3.3 Your Engineer(s) 3.4 Agent or Manager? 3.5 Website Designer? 3.6 Others Section 2 Prepping it1 Project Management 1.1 Timescales 1.2 Financial considerations (linked to 2.2) 1.3 Personnel (linked again to 1.3) 1.4 Studios, Equipment & Session Musicians 1.5 Keeping on top of it all. Music is still a business when all is said and done 1.5.1 Personal Time Management Principles 1.5.2 Using that Computer - making it work for you. 2 Financial Management 2.1 Project Coffers 2.2 Making the finances fit 2.3 Paying Out 2.4 Your Pay? 2.5 Other Issues 3 The Reception What I mean by this is the listening to the Pre-Production, meeting the Artist and Label. To consider what to do with the material - what style and how and what? 3.1 The Artist 3.1.1 New Artist 3.1.1.1 The proposed market position 3.1.1.1.1 Style's In¿uence on the Music Production 3.1.1.1.1.1 Dress Sense & Image 3.1.1.1.1.2 Musical 'Style' 3.1.1.1.1.3 Artist Attit
Section A: What is Music Production A-1 Quantifying It A-2 Analyzing It
Section B: Being It B-1 Being a Producer B-2 Your People B-3 Being a Business
Section C: Prepping It C-1 What's the Deal C-2 Pre-Production C-3 Project Management C-4 The Desired Outcome: Strategies for Success
Section D: Doing It D-1 The Session D-2 The Mix D-3 The Mastering Session
Section E: The Future E-1 The Changing Face of Music Production
Section F F-1 Appendix 1: The Tape Store F-2 Appendix 2: Glossary
Rezensionen
Hepworth-Sawyers' What is Music Production excerpted on ProSoundWeb
"Authors Russ Hepworth-Sawyer and Craig Golding tackle a seemingly nebulous and elusive target for the subject of this 277 page book from Focal Press. I liked that they first define and quantify music production in the first section sections and then go on to describe what kind of people gravitate toward this profession, what being a music producer really means, and how to make a living/business out of it.. I found What is Music Production? An excellent read and well worth adding to your library."--Music Connection
"This book isn't a 'Bible' for every producer (could there be such a thing?), but as a go-to guide on a variety of topics and an enlightening insight into parts of the industry we don't always know enough about, it's a fascinating read and highly recommended."--Review in Recording Magazine
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