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Music Producer's Handbook: Includes Online Resource 2nd edition [Pehme köide]

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  • Formaat: Paperback / softback, 304 pages, kõrgus x laius x paksus: 280x216x18 mm, kaal: 866 g
  • Sari: Technical Reference
  • Ilmumisaeg: 01-May-2016
  • Kirjastus: Hal Leonard Corporation
  • ISBN-10: 1495045226
  • ISBN-13: 9781495045226
Teised raamatud teemal:
Music Producer's Handbook: Includes Online Resource 2nd editionSuurem pilt
  • Formaat: Paperback / softback, 304 pages, kõrgus x laius x paksus: 280x216x18 mm, kaal: 866 g
  • Sari: Technical Reference
  • Ilmumisaeg: 01-May-2016
  • Kirjastus: Hal Leonard Corporation
  • ISBN-10: 1495045226
  • ISBN-13: 9781495045226
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781495045226.html
Märksõnad:
The Music Producer's Handbook, Second Edition reveals the secrets to becoming a music producer and producing just about any kind of project in any genre of music. Among the topics covered are the producer's multiple responsibilities and all the elements involved in a typical production, including budgeting, contracts, selecting the studio and engineer, hiring session musicians, and even getting paid. Unlike other books on production, The Music Producer's Handbook also covers the true mechanics of production, from analyzing, troubleshooting, and fixing a song that isn't working to getting the best performance and sound out of a band or vocalist. In addition, Bobby Owsinski tackles what may be the toughest part of being a producer being a diplomat, a confidant, and an amateur psychologist all at once.

This edition also includes new chapters on self-production, small studio production, and how the new songwriter-producer and engineer-producer hybrids make money in our new digital music world. It also features several new interviews with some of the best-selling producers from different musical genres, who offer advice on getting started, getting paid, and making hits.

Packed with inside information and including exclusive online media, The Music Producer's Handbook, Second Edition provides invaluable tools and advice that will help beginners and seasoned professionals alike.

Item includes online resource.
Introduction xiii
Meet the Producers
xvi
Bobby Owsinski Bibliography
xvii
Bobby Owsinski's Lynda.com Video Courses
xx
Bobby Owsinski's Online Coaching Courses
xxi
Bobby Owsinski's Social Media Connections
xxi
Part
1. Music Production		 1(214)
Chapter 1 The History Of Music Production
3(12)
The Early Label Era
3(1)
The Mature Music Era
4(1)
The Independent Era
4(1)
Game-Changing Producers
5(10)
The Pioneers
6(2)
The Trailblazers
8(2)
The Innovators
10(1)
The Trendsetters
10(2)
The Hybrids
12(3)
Chapter 2 What Is A Music Producer?
15(10)
Different Types of Music Production
17(1)
How to Become a Producer
18(4)
The Musician/Producer
18(2)
The Engineer/Producer
20(1)
The DJ/Producer
20(1)
And the Other Way
21(1)
You Still Need a Client
21(1)
What Are the Responsibilities?
22(1)
Who Do You Work for: Artist or Label?
23(2)
Chapter 3 The Duties Of A Music Producer
25(8)
Project Management
26(5)
Managing Time
26(2)
Managing Rentals
28(3)
Managing People
31(1)
Creative
31(1)
Financial
31(1)
Political
31(2)
Chapter 4 The Business Of Music Production
33(10)
What's My Deal?
33(3)
The Basic Deal
33(1)
The Deal of the Past
34(1)
Who's Paying
35(1)
The New Music Economy
36(4)
Payments from Digital Music
37(2)
The Producer's Piece Gets Smaller
39(1)
When a Label Isn't Involved
40(3)
Chapter 5 Assembling The Budget
43(16)
When a Label Is Involved
43(6)
Typical Label Budgets
45(1)
A Label Budget Example
45(4)
An Indie Band Budget
49(3)
Using Union Musicians
52(3)
Additional Fees
53(1)
Hiring Union Musicians
54(1)
Union Versus Non-Union Players
55(1)
The Recording Fund
55(2)
A Final Word on Budget
57(2)
Chapter 6 It's All In The Song
59(14)
Let's Discuss Your Songs
59(5)
Dynamics on Records
63(1)
Arrangements Are the Key
64(7)
Arrangement Elements
64(5)
Sonic Arrangements
69(1)
Clash of the Guitar Players
69(2)
Rules for Arrangements
71(2)
Chapter 7 Music Mechanics
73(14)
Dynamics
73(4)
How to Learn to Play Dynamically
75(1)
Don't Confuse Volume Level with Intensity
76(1)
Builds
77(1)
Play Together and Listen to Each Other
77(1)
Timing Is Everything
78(4)
Song Starts and Stops
78(1)
Accents
79(1)
The Groove and the Pocket
79(1)
How to Find the Pocket
80(1)
Attacks and Releases
81(1)
Turnarounds
82(1)
Tempo
82(2)
Faster Does Not Create More Excitement
83(1)
A Click Can Help
83(1)
Play in Tune
84(2)
Developing Studio Ears and Eyes
86(1)
Studio Eyes
86(1)
Chapter 8 Preproduction: The Most Important Step
87(8)
Getting to Know You
87(1)
Selecting the Songs
88(1)
Preproduction Rehearsals
89(1)
You Gotta Hear Yourself
89(1)
Practice in the Round
90(1)
A Few Rehearsal Tips
90(1)
Preproduction Demos
90(1)
How Long Should Preproduction Take?
91(2)
It's the Little Things That Count
93(2)
Chapter 9 Preparing For The Session
95(8)
Initial Decisions
95(4)
Selecting a Studio
99(4)
The Assistant Engineer
101(2)
Chapter 10 Basic Tracks: Where The Magic Is Made
103(26)
What Are Basic Tracks?
104(1)
Setup Day
105(1)
How Long Are the Sessions?
105(1)
Getting Sounds
106(10)
Choose the Best Instruments
106(2)
Different Gear for Different Jobs
108(1)
Well-Maintained Equipment Required
108(1)
Is Vintage Gear Necessary?
109(7)
Recording the Drums: The Song's Heartbeat
116(2)
The Keys to a Great-Sounding Drum Kit
117(1)
Drum Tuning Tips
117(1)
The Headphone Mix
118(2)
Personal Headphone Mixes
118(1)
Recording Without Headphones
119(1)
To Click or Not to Click
120(2)
Making the Click Cut Through the Mix
120(1)
Preventing Click Bleed
121(1)
When a Click Won't Work
122(1)
Leakage Is Your Friend
122(1)
The Scratch Vocal
123(1)
Don't Forget to Record a Tuning Note
124(1)
Don't Forget to Record a Count-Off
124(1)
Whether to Use Session Musicians or the Band
125(1)
Listening to Playbacks
125(1)
Session Breaks
126(1)
Dinner Breaks
126(1)
How Do You Know When You're Finished Recording?
126(3)
Chapter 11 Overdubs
129(14)
The Recording Plan
129(1)
Make It Better, Not Different
130(1)
Time to Experiment
131(1)
When Artistic Block Hits
131(2)
Limit the Attendees
133(1)
Recording in the Control Room
133(1)
Vocals in the Control Room
134(1)
Overdubbing Techniques
134(5)
Use the Big Part of the Studio
134(1)
Vocal Doubling
135(1)
Vocal Stacking
136(1)
Instrument Doubling or Stacking
136(1)
Vocal Comping
136(1)
Tips for Comping
137(2)
Track Editing
139(4)
Timing Mistakes
139(1)
Editing Time
140(3)
Chapter 12 Working With Your Team
143(14)
Be a Professional
143(2)
The Importance of Diplomacy
145(1)
Steps in Resolving a Conflict
145(1)
Getting the Best out of Musicians
146(2)
Getting the Best out of Singers
148(3)
The Three Ps: Pitch, Pocket, and Passion
149(2)
Background Vocals Need Attention Too
151(2)
Harmony Vocals Take More Time
152(1)
Working with the Engineer
153(1)
Working with the Artist
154(3)
Chapter 13 Self-Production
157(10)
Overcoming the Self-Production Blues
157(4)
Two Key Production Concepts
158(3)
Small Studio Production
161(3)
Pros and Cons of Mixing on Headphones
164(3)
Chapter 14 Mixing: Where It's Make It Or Break It
167(14)
The Mechanics of Mixing
167(4)
Hearing the Final Product
168(1)
Tall, Deep, and Wide
168(3)
The Keys to a Great Mix
171(2)
Find the Direction of the Song
171(1)
Develop the Groove and Build It Like a House
172(1)
Find the Most Important Element and Emphasize It
172(1)
The Master Mix
173(1)
Competitive Level
173(1)
Mixing with Mastering in Mind
174(2)
Mixing in the Box
176(1)
The Mixing Engineer's Style
176(1)
How Much Should Mixing Cost?
177(1)
How Long Should Mixing Take?
177(2)
Alternative Mixes
179(2)
Chapter 15 Mastering: The Finishing Touch
181(16)
What Is Mastering?
181(1)
Why Is Mastering So Important?
182(3)
The Reason Why a Pro Makes It Sound So Good
183(1)
Experience Is the Key
184(1)
The Mastering Engineer's Sound
184(1)
The Mastering Engineer as a Security Blanket
185(1)
How Long Should Mastering Take?
185(1)
How Much Should Mastering Cost?
185(1)
Preparation for Mastering
186(2)
Competitive Level, Take Two
188(1)
Hypercompression: Don't Go There!
188(2)
Should You Use a Pro or Master at Home?
190(1)
Mastering for Different Delivery Formats
191(1)
The Source File
191(1)
Creating Files for Streaming Services
192(2)
Submitting to Online Stores and Services
193(1)
Exporting for iTunes
194(3)
Submitting to the iTunes Store
194(1)
The "Mastered for iTunes" Format
195(2)
Chapter 16 EDM, Pop, And Hip-Hop Production
197(8)
How EDM Is Changing Music
197(4)
Coming from a Different Place
199(1)
A Look at the New Song Structure
199(1)
The Modern Pop Formula
200(1)
Fifteen Tips for Developing Your Own Sound
201(4)
Chapter 17 Production Checklists
205(10)
Producer Checklist
205(2)
Getting Paid
205(1)
Assembling the Budget
206(1)
Preproduction
207(2)
Questions for the Artist or Band
207(1)
Song Analysis
207(1)
Song Arrangements
207(1)
Rehearsal Guide
208(1)
Preparing for the Session
208(1)
Selecting a Studio
208(1)
Production
209(6)
Basic Tracks
209(1)
Music Troubleshooting
210(1)
Overdubs
211(1)
Vocal Recordings
212(1)
Mixing
213(1)
Mastering
214(1)
Part
2. Interviews		 215(56)
Mark Bright
217(10)
Joe Chiccarelli
227(8)
Richard Feldman
235(8)
Gareth Jones
243(8)
Mark Plati
251(6)
Carmen Rizzo
257(8)
StoneBridge
265(6)
Glossary 271(4)
Index 275
Bobby Owsinski (Los Angeles, CA) is a producer, an engineer, and one of the best-selling authors in the music industry, with 24 books that are staples in audio recording, music, and music business programs in colleges worldwide. He writes for Forbes on the new music business, his popular blogs have been visited more than 6 million times, and he's appeared on CNN and ABC News as a music branding and audio expert. Visit his music production blog at bobbyowsinski.blogspot.com, his Music 3.0 music industry blog at music3point0.blogspot.com, his Forbes blog at forbes.com/sites/bobbyowsinski, his podcast at bobbyoinnercircle.com, and his website at bobbyowsinski.com.