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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.
- Sales Rank: #2981958 in eBooks
- Published on: 2012-11-12
- Released on: 2012-11-12
- Format: Kindle eBook
Review
Hepworth-Sawyers' What is Music Production excerpted on ProSoundWeb
From the Back Cover
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. What Is Music Production? is a 'guide to this guidance'. Formed from a blend of solid information extracted from detailed interviews, the book focuses on the process of music production, providing insight into the producer's work and activity. Whether you are a student or just starting your professional career, What is Music Production? explains what you need to know - from working with artists, songs, pre-production, mixing, and mastering to the finance and budgeting, to glean a professional result. Combining the "how to be" with online assets and interviews, this book arms you with a vital insight into the business of being a music producer.
About the Author
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.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Some useful suggestions
By Amazon Customer
This book contains some useful suggestions and reference materials for recorded music producers. Hepworth-Sawyer and Golding both teach courses in music production and freelance as music producers. In this book, they describe some of the roles that producers play and discuss some issues that producers routinely deal with. Topics taken up in the book include analytical listening, business practices, deals and contracts with record labels, stages in a recording project, roles in the recording studio, and mastering formats and codes. A list of recommended readings on music production is included in the appendix.
While the authors are clearly highly informed on their topic, I found the presentation of material in this book a bit frustrating. There is a lot of description of issues that successful, big-time producers must deal with, but very little practical information for interested people who are just starting out. Of the entire text, the short section on analytical listening was the most practical bit of information, but it was never made explicitly clear exactly how this skill would then be put to use for a music producer. In contrast, there is an extended section on general business practices, time management and accounting that isn't specifically relevant for music production. After reading this book, I felt more informed about the variety and level of complexity of skills required for established music producers, but I am still quite confused about what music production entails or how a person might get started in the field.
This book was written by British authors for British readers; while many specifically British references and vocabulary have been adjusted for North American readers, a few oddities remain, such as the term "collection agencies" referring to music licensing companies. In addition, copy editing is sloppy in a few places, such as on p. 110, where there is a bizarre out of context, impossible to understand paragraph "Time management sounds almost cult-like. To many people, they follow their system religiously. In fairness, this is how positive gains manifest themselves. Many producers might read this section and laugh out loud and consider it barmy!" Two pages later, the paragraph is repeated with slight editing and put a little more in the context it was intended, "This all might sound far-fetched. To many people, they follow their system [specific time management software packages just introduced in prior paragraphs] religiously. In fairness, this is how the results manifest themselves: by relying on their system. Given the many people who have adopted these systems, it clearly must work. Many producers might read this section and laugh out loud and consider it barmy." All in all, I found the book slightly informative, but not adequate as an introduction to the field.
2 of 2 people found the following review helpful.
Lots to Say, But Tough Going
By A reader
It took me a long time to write this review, because it took me an even longer time to read this book. It is what it says it is: a guide to music production. And it is comprehensive. If you have the patience to slog through the material, you will learn a lot, because the authors have an insider's view that encompasses both the business and interpersonal side of things. It's not very strong on the nuts-and-bolts of the artistic side, however.
The main problem is that the writing is so redundant and long-winded that it was incredibly difficult to read. It reads like a rambling conversation. Was it edited at all? In terms of information, everything that needed to be said could have been said in a book half its size.
1 of 1 people found the following review helpful.
making the best of the shotgun-wedding between music and business
By Stargrazer
While "What Is Music Production?" is a bit pedantic and textbook-like, this volume is a useful reference on a lot of the basics of the biz. Though I'd never consider it a bible, like Donald Passman's "All You Need to Know About the Music Business," or heck, a free subscription to TapeOp magazine, it does make a nice supplement to my music reference shelf.
Unfortunately, as any seasoned pro will tell you, experience is the greatest teacher -- so while this is a nice primer in "What Is," it is not in any way a definitive "How To." Does that make sense? It defines all the terms and provides some decent "strategies for success," but music is a real "learn by doing" prospect -- no amount of book knowledge is going to make something bad sound good. Yes, there is a degree of mysticism to it all -- but like billiards you can engage it only in its own language. The written word only really abstracts it, and there is no way to materially communicate how Radiohead got from raw demos to Kid A.
However, the authors do a credible job of presenting the subject and outlining the issues, and this would make a fine text for "Introduction To The Music Business"-style curriculums ...even though there is a degree of built-in fallacy to the conceit that music and business can ever truly reconcile into anything other than a very forced and uncomfortable symbiosis.
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