소장자료

This highly entertaining book is packed with insights from the most successful music producers and full of revealing anecdotes about the business and the stars. now in its third edition and used as a teaching tool in major colleges, it has become the definitive guide to the art - and the business - of music and record production.

TABLE OF 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 6
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
b) Who Takes Care Of The Administration And Paperwork? 68
c) Managing The Session From Day To Day 69
i Pre-production 69
ii Recording The Live Band 72
iii Recording An Orchestra Or Big Band 75
iv Overdubbing Live Musicians 76
v The Computer-Based Session 77
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? 86
ii The Record Company? 89
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 96
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? 100
vii What's The Best Way To Handle The Show Reel/Resume/CV Tap Dance? 100
5 Producer Managers 103
a) To Have A Manager Or Not To Have A Manager? 103
b) Do They Earn Their Percentage? 105
i Is She Just Fielding Calls Or Is She Out There Pitching For You? 105
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? 107
d) How Do You Define 'Best Manager' For You? 113
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
b) Serious Differences Of Opinion 143
c) The Endless Album 144
d) Lack Of Vision 144
e) Micro-Vision 145
f) Panic Stations 146
i The Singer Can't Sing In Tune/Time 146
ii The Band Can't Play In Tune/Time 147
iii One Of The Musicians Is Screwing Up Every Take 150
iv You're Calmly Cruising Up To The End Of The Album, Bang On Budget, And The Artist Decides Half Of It Is Crap 152
v The A&R Person Hates The Mixes: Stay Calm And Survive 153
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? 158
iii Final Word On Loyalty 159
i) First Girlfriend Syndrome 160
9 Success And Money 162
a) How Much Can You Make? 162
b) Where Else Does The Money Come From? 165
c) Do Producers Earn Their Percentage? 168
d) How Can You Increase Your Chances Of Success? 173
e) What Is The Secret Of Longevity? 174
f) Hitting The Jackpot 175
10 What Are The Timeless Ingredients In A Hit Record? 180
a) The Label 180
b) The Song 181
c) The Vocal 182
d) The Arrangement 182
e) The Performance 185
f) The Engineering 186
g) How Important Is The Mix Really? 187
h) Timeliness 187
i) The Heart 187
j) Are These Rules To Which There Are Exceptions? 189
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
iii 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
ii 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
l) 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
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