The Art of Producing: How to Create Great Audio Projects, 2nd Edition (Paperback) book cover

The Art of Producing

How to Create Great Audio Projects, 2nd Edition

By David Gibson, Maestro B Curtis

Routledge

234 pages

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Description

The Art of Producing is the first book to standardize a specific production process for creating a successful music project from start to finish. Learn how to develop a step-by-step process for critiquing all of the musical components that go into creating a highly refined production that works for all styles of music. The book provides a well-rounded perspective on everything that goes into producing, including vital information on how to creatively work with bands, groups and record companies, and offers insight into high level values and secrets that famous producers have developed through years of trial and error. The book covers detailed production techniques for working with today’s latest digital technologies including virtual recording, virtual instruments, and MIDI tracking. Take these concepts, adapt them to your own personal style and you will end up with a successful project of the highest attainable quality with the most potential to be become a hit – or just affect people really deeply.

Reviews

"I believe "The Art Of Producing" very rapidly, will become the aspiring Producers reference Bible. It is the most thorough book I've seen that goes in depth to the whole producers process of production techniques from start to finish". - Hubert Eaves III - Producer for Luther Vandross, Madonna, Whitney Houston, Aretha Franklin.

Table of Contents

TABLE OF CONTENTS

LIST OF VISUALS

ACKNOWLEDGMENTS

FOREWARD

INTRODUCTION

SECTION 1 - THE PRODUCER’S JOB

Chapter 1

• Types of Producers

• What it Takes and How to Get the Job

• Types of Projects

• The Producing Process

SECTION 2 - THE BUSINESS SIDE OF PRODUCTION

Chapter 2 - Finances, Organization and Politics

• Budgeting Scheduling and Organization

• Obtaining Financial Backing

• Dealing with Record Companies

• Establishing a Network Base

SECTION 3 - THE VIRTUAL MIXER CONCEPT

Chapter 3 - Visual Representations of Imaging as a Tool for Production

• Basics of Audio to Visual Mapping

SECTION 4 - MUSIC THEORY FOR RECORDING ENGINEERS AND PRODUCERS

Chapter 4 - Music Theory Primer

• Time

- Note Values

- Time Signatures

- Tempo

- Rhythmical Structures

• Pitch (Frequency)

- Key Signatures

- Intervals

- Scales

- Chords

- Chord Voicing

- Spreads

- Circle of fifths

• Volume

- Musician Dynamics

• Song Structures and Musical Charts

- Phrases

- Repeat Signs

- Shorthand Chord Charts

SECTION 5 - THE PRODUCTION PROCESS

Chapter 5 - The Pre-Production Process

• Setting up the Meeting and Doing your Homework

• People skills

- Deciding on Deciding

- Passion and Referees

- Producer Passion

- How Important is it?

- Consideration

- Time Constraints

Chapter 6 – Dynamic Flows

Chapter 7 - Structuring and Critiquing the 13 Aspects

• Concept

• Melody

• Rhythm

• Harmony

• Lyrics

• Density

• Instrumentation

• Song Structure

• Performance

• Mix

• Quality of the Equipment

Chapter 8 - Higher Level Concepts

• Creating a Style of Music

• Order of the Songs

• Concept Albums

Chapter 9 - Producing in the Studio

• Critiquing a Performance

- Critiquing the whole band at once

- Critiquing Individual Performances

• Focus and Concentration

• Other Contributing Factors

Chapter 10 - Overall Production Goals

• Combining the 13 Aspects to Create an Overall Major Production

• High Level Producer Values

• Overproducing

SECTION 6 - CREATIVITY

Chapter 11 - Tapping into the Source - Inspiring Creativity

Chapter 12 - Balancing Creativity and Mass Appeal (Industry Trends)

Chapter 13 - Moment-to-Moment Awareness

Chapter 14 - Songwriting

SECTION 7 - SELECTING A PRODUCER / BECOMING A PRODUCER

Chapter 15 - Choosing a Producer

• What to Look For in a Producer

• Finding a Producer

• How to Interview a Producer

• How to Present Yourself to a Producer

Chapter 16 - Selling Yourself as a Producer

• Getting the Job - Finding Bands

• Poop Sheets

• Rate Sheets

SECTION 8 - PROTECTING YOUR MUSIC

Chapter 17 - Protection

• Copyrights

• Record Deal Points and Percentages

• Negotiating Record Deals

ABOUT THE AUTHORS

APPENDICES

A. Checklist of all homework to be done before the Pre-Production meeting

B. Nomenclature and Monosyllables for Describing Musical and Rhythmical Patterns

C. Forms

D. Virtual Mixer Interface

GLOSSARY

INDEX

 

About the Authors

David Gibson has been teaching, engineering and producing groups in major 24 track studios since 1982 and is the founder of Globe Institute of Recording and Production. He has done recording for James Brown’s band, Bobby Whitlock (Derek and the Dominoes), The Atlanta Rhythm Sections, Hank Williams Jr.’s band, members of the Doobie Brothers, Lacy J. Dalton, and Herbie Hancock. Gibson is currently the #1 seller of Sound Healing music, also used in hospitals across the U.S, and he is the author of the best selling book, The Art of Mixing.

Maestro Curtis, MALS has produced countless artists, such as Hubert Eaves III (D-Train). He has also produced his own band, Xpression, on the Kalimba Records label with executive producer Maurice White of Earth, Wind and Fire. Curtis has performed with such artists as Peabo Bryson, The O’Jays, George Benson, Phyllis Hyman, and Lenny Williams. He has also played with the Count Basie Orchestra.

Subject Categories

BISAC Subject Codes/Headings:
TEC001000
TECHNOLOGY & ENGINEERING / Acoustics & Sound