Hepworth-Sawyer / Golding What is Music Production?

Professional techniques to make a good recording great
Erscheinungsjahr 2012
ISBN: 978-1-136-12198-2
Verlag: Taylor & Francis
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 320 Seiten

To produce a Grammy award winning album you need to know what goes into creating great music- both the business and the technical. What is Music Production takes a look at the process, looking at the art of producing and providing insight into the producer's lifestyle. Packed with information the book gives a step by step guide and insight into the process of music production. Whether you're are a professional or just starting out ?What is Music Production? will tell you everything you need to know from choosing the artist, songs, pre production, mixing, mastering to finance and budgeting. Combining the ?how to? with case studies, online assets and interviews the book arms you with the tools, techniques and knowledge to be a top producer.

Zielgruppe

The primary audience of this book would be those interested in the recording and production side of the music industry ? those just curious to those who are professionals who are looking to expand their knowledge in the field. This could also be directed as a textbook to educational programs focusing on audio recording and production.<BR id="CRLF"><BR id="CRLF">Music Industry ? Record Producer, Recording Engineer, Studio Owner, Studio Owner, Musician or Artist and Student<BR id="CRLF">

Autoren/Hrsg.

Hepworth-Sawyer, Russ

Golding, Craig

Fachgebiete

• Technische Wissenschaften Sonstige Technologien | Angewandte Technik Akustik, Tontechnik

Inhaltsverzeichnis

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 Attitude and Presence 3.1.1.2 Their 'Stamp' 3.1.1.2.1 Do they have their own 'Stamp'? 3.1.1.2.2 Do you have to create one? 3.1.2 Established Artists 3.1.2.1 Their History 3.1.2.2 Their Market Position 3.1.2.3 Their New 'Stamp'? 3.1.2.3.1 Will this 'Stamp' Transcend Genres & Time? 3.1.2.3.2 Case Studies 3.1.2.3.2.1 David Bowie 3.1.2.3.2.2 Queen 3.1.2.3.2.3 Madonna 3.1.2.3.2.4 Others 3.2 The Record Company 3.2.1 Working with A&R 3.2.2 The Deal 3.2.3 The Brief 3.2.4 The In?uence of the Record Company over the production 3.2.4.1 The Producer's Triangle of Influence 4 Pre-Production 4.1 What is Pre-Production? 4.1.1 Methods & Means 4.1.2 Rehearsals 4.1.3 Gigs/Shows 4.1.4 Meetings, Meals and Entertaining. 4.2 How To Prepare For Creativity 4.2.1 Perceived Production 4.2.2 Do we 'stamp' a style to the Artist. 4.2.3 Other methods 4.3 Musicians 4.3.1 Session Musicians 4.3.2 The Artists as Musicians 4.3.3 Orchestral Accompaniment 4.3.3.1 The Arranger 4.3.3.2 The Conductor 4.3.3.3 The Musicians 4.4 The Business of Pre-Production the financial and legalities needed prior to going to session 4.5 The Desired Outcome 4.5.1 The Producers C.A.P. (Capture, Arrangement,Performance) 4.5.1.1 The Importance of C.A.P. 4.5.1.2 Arrangement 4.5.1.3 Performance 4.5.1.4 Capture Section 3 - Doing it1 The Session 1.1 Confident Creation meaning confidence and believing in what you are doing. Also to exude that influence to A&R and musicians alike. 1.2 Your Role? 1.2.1 Creative 1.2.2 Creative & Technical? 1.2.2.1 Being Creative Against Adversity 1.2.3 Technical & Soundboard? 1.2.4 Other 1.3 The Process of the Session 1.4 Managing The Process 1.5 Recording the Recording take sheets, track sheets, session information, file information, photographs and 'recordings' for future reference 2 The Mix 2.1 Making Some Distance from the Session 2.2 Choice of Engineer(s) 2.3 Your In?uence on the Mix 2.4 Case Studies (Case studies have been chosen carefully - but always with the premise that there will be more online!) 2.4.1 "I Hung My Head" 2.4.1.1 Sting 2.4.1.2 Johnny Cash 2.4.2 "Before I'm Done" by Danny Cope 2.4.2.1 Introduction by Danny Cope 2.4.2.2 Scoring the Arrangement by Brian Morell 2.4.2.3 The Mix by the Authors 2.4.2.4 Mixes by Professional Engineers & Producers 2.4.2.4.1 Rob Orton 2.4.2.4.2 Tim 'Spag' Speight 2.4.2.4.3 Emre Ramazonoglu 2.4.2.4.4 Andy Barlow 2.4.2.5 Remix approaches by DJ Jon Da Silva 3 Post Production 3.1 Editing 3.2 Interview with Paul Baily, ex-Abbey Road 3.3 Mastering 3.4 Interview with Jon Blamire, Digital Audio Company & Bob Katz Section 4 - Being it1 Confidence 2 Client Management 2.1 Counsellor 3 Being a Business 4 Communication 5 The 4C's? Communication, Composure, Con?dence, Can Do 6 Success/Or Failure 6.1 Hugh Padgham and Sheryl Crow 6.2 You're only as good as your last gig, or are you? 6.2.1 Promotion, 6.2.2 Recovery, 6.2.3 Rede?nition/redesign 6.3 Keeping on top of developments 6.3.1 Musical 6.3.2 Professional 6.3.3 Technological Section 5 - After it & Beyond1 Royalties 1.1 Keeping a check 1.2 Maximise your financial potential 2 Future Security 2.1 The next gig 2.2 Whether to take the gig? 2.2.1 Can you improve on your last album with the same artist? 2.2.2 Can you improve on the last chap's production with anartist? 3 Keeping In Touch? 3.1.with your artists 3.2.with personnel (engineers/fellow producers, studios, sessionmusicians) 4 Your wider business and opportunities 4.1 Professional Affiliations 4.2 Networks

Über Autor(innen)

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.