Richard James Burgess

The Art of Music Production

The Theory and Practice

• Broschiertes Buch

Produktbeschreibung

In this book, veteran music producer Richard James Burgess gives readers the tools they need to understand the complex field of music production. He defines the many roles that fall to the music producer by focusing first on the underlying theory of music production, before offering a second section of practical aspects of the job.

Produktdetails

• Verlag: Oxford University Press, USA
• 4th edition
• Seitenzahl: 352
• Erscheinungstermin: 2. September 2013
• Englisch
• Abmessung: 233mm x 157mm x 25mm
• Gewicht: 538g
• ISBN-13: 9780199921744
• ISBN-10: 0199921741
• Artikelnr.: 39338772

Autorenporträt

Richard James Burgess is Director of Marketing and Sales for Smithsonian Folkways Recordings and Smithsonian Global Sound and Director of Resource Development for the Smithsonian Center for Folklife and Cultural Heritage. He also runs his own artist management company, Burgess Worldco. Prior to coming to Smithsonian Folkways, Burgess managed major label artists with top ten chart hits and international touring schedules, including Spandau Ballet, King, Colonel Abrams, Five Star, Living In A Box, Shriekback, and New Edition.

Inhaltsangabe

CONTENTS
SECTION ONE: THE THEORY
CHAPTER ONE
Types of Music Producers
Functional Typologies
Artist
Auteur
Facilitative
Collaborative:
Enablative
Consultative
In Summation
Subset Typologies
Analogous Structures
Leadership Styles
SECTION TWO: THE PRACTICE
CHAPTER TWO
Becoming a Music Producer
How Do You Become a Music Producer?
The Musician or Artist
The Audio Engineer
The Songwriter
The DJ
DIY
Discoverer
Entrepreneur
Multipath
Examples of producers from these backgrounds:
Examples: musician
Examples: engineer
Examples: Songwriters
Example: DJ
Example: DIY
Examples: Discoverer
Examples: Entrepreneur
Examples: Multipath
Qualifications and Training
Are Qualifications Necessary?
What Is Helpful?
How Much Technical Knowledge Do You Need?
How Much Musical Knowledge Do You Need?
What If You Have Neither Musical Nor Technical Skills?
Making the Transition to Music Producer:
The Door Is Open, Your Foot Is In, Now What?
CHAPTER THREE
Being a Music Producer
The Day-to-Day Responsibilities and Process:
The First Meeting:
Administration
Preproduction
The Production Phase
The Mix
Other Perspectives
Some Session Specifics:
Recording Musicians Live In The Studio
Recording an Orchestra or Big Band
Overdubbing Live Musicians
The Programmed Session
Vocal Sessions
Which Method Makes a Better Record-Live, Overdubbed or Computer?
What Are 'They' Going To Expect Of You?
The Artist?
The Record Company?
The Artist's Manager?
CHAPTER FOUR
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 Really?
Timeliness
The Heart
Are These Rules To Which There Are Exceptions?
CHAPTER FIVE
What Can You Expect From a Career As A Producer?
How Is Your Health?
Why Do AandR People Hire You?
If You're Hot?
If You're Not Quite There Yet?
If You Were Recently Hot?
When The Night's Closing In?
What Prevents Them From Coming Back To You?
What Is The Best Way To Get Work?
Branding, Marketing and Sales?
Branding
Marketing
Sales
The Practicalities of Branding, Marketing and Sales
CHAPTER SIX
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 Avoid Getting Ripped Off By Your Manager?
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
CHAPTER SEVEN
The Producer's Relationships
With the artist?
Best Friends?
Able To Fit In?
Hang After Hours?
Professional or Aloof?
How Do You Tell Them Something Is Not Working?
Where Does Your Responsibility Lie?
To The Artist
To The Record Company
To Yourself
To The Project
What About Drugs and Alcohol?
In the Studio?
Outside of Working Hours?
What if the Artist Does and You Do Not?
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
CHAPTER EIGHT
Lawyers
What Changed to Make Hiring Attorney Less Viable For Producers
How Much Will They Cost You?
How Much Do You Really Need Them?
How Much Should You Depend On Them?
What Happens When They Get It Wrong?
What Other Kinds of Things Can Go Wrong?
What is a Typical Legal Process Leading Up to the Production?
What Can Be Done To Protect Producers?
CHAPTER NINE
Challenges and Controversies
Differences of Opinion
The Endless Album
Lack of Vision
Micro-Vision
The Singer Is Not Performing Well
The Musicians Are Not Performing Well
One of the Musicians Is Messing Up Every Take
What Is Demo-itis or Rough Mix-itis?
Near the End of the Album, Suddenly the Artist is Having Doubts
The AandR Person Does Not Like the Record
What Makes It Seem Like Hard Work?
How Much Loyalty Can You Expect Within The Business?
From The Artist
First Girlfriend Syndrome
From The AandR Person
Final Word on Loyalty
CHAPTER TEN
Success And Money
How Are Producers Paid?
How Much Can a Producer Make?
How Are Producer Royalties Calculated?
Recoupment
Payment From Record One
Where does the money come from?
Digital Download Royalties
Sound Recording Performance Royalties
Producers Who Also Write the Songs
Summation
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
Executive Producer
Album Producer
Producer
Co-producer
Associate Producer
Additional Production By
Multiple Producer Credits
Vocal Production or Vocals Produced By
Compilation Soundtrack Album Producer
Strings (or any other instrument) Produced By
What Is The Secret To Longevity?
Add entrepreneur to your portfolio
CHAPTER ELEVEN
Why Are There So Few Women Producers?
What we know
Women Producers Today
Some Women Producers in History
Inconclusive Conclusion
CHAPTER TWELVE
Frequently Asked Questions
How Much Is Learned; How Much Is Natural Ability?
How Do You Pick The Right Project?
Should You Share in Song Writing 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?
Advantages And Disadvantages
Who Has Done It?
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?
Why Do People Want To Make Records At All?
Do You Know When You Have Produced A Hit?
How Do Producers Feel About Remixers?
What's The Remixer's Point Of View?
How do AandR People View Remixes?
What Is The 'Sophomore Slump'?
Digital versus Analog
CHAPTER THIRTEEN
Working Outside The Mainstream?
Classical
Jazz
Country
Traditional, Folk, Roots And World Music
Children's Music
Regional Producers
CHAPTER FOURTEEN
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?
CHAPTER FIFTEEN
Conclusion
What If
The Final Cut
Glossary
Index
About the Author
Notes
Bibliography