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Book
xxix, 167 pages : illustrations ; 24 cm
  • Introduction
  • Transformations in the recording industry. Recording industry in transition ; The expansion of consumption in the recording industry
  • The state in music. Copyright : a critical exploration ; Critical junctures
  • The recording industry and labor. Musician labor ; Victims, musicians and Metallica
  • Digital distribution and surveillance. Distribution then and now ; Watching music consumption.
  • Introduction
  • Transformations in the recording industry. Recording industry in transition ; The expansion of consumption in the recording industry
  • The state in music. Copyright : a critical exploration ; Critical junctures
  • The recording industry and labor. Musician labor ; Victims, musicians and Metallica
  • Digital distribution and surveillance. Distribution then and now ; Watching music consumption.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3790 .A76 2015 Unknown
Book
316 pages, 16 unnumbered pages of plates : illustrations ; 24 cm
  • Introduction. "Something new-built along the same lines"
  • Starting out : Independence, 1892-1919
  • Getting the music : Okeh, records, and roots, 1919-1926
  • To victor, on to Bristol, and the making of giants, 1926-1927
  • Reaching out from the roots : southern music, 1927-1933
  • Breaking loose, branching out, starting over, 1933-1940
  • Crossing borders : the war, Latin music, and the media, 1940-1945
  • Going global : expanding, 1946-1951
  • Locking a legacy, 1952-1960
  • The roots and pop aftermath
  • Appendix. key recordings and published songs of Ralph Peer, 1920-1960.
  • Introduction. "Something new-built along the same lines"
  • Starting out : Independence, 1892-1919
  • Getting the music : Okeh, records, and roots, 1919-1926
  • To victor, on to Bristol, and the making of giants, 1926-1927
  • Reaching out from the roots : southern music, 1927-1933
  • Breaking loose, branching out, starting over, 1933-1940
  • Crossing borders : the war, Latin music, and the media, 1940-1945
  • Going global : expanding, 1946-1951
  • Locking a legacy, 1952-1960
  • The roots and pop aftermath
  • Appendix. key recordings and published songs of Ralph Peer, 1920-1960.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML429 .P37 M39 2015 Unknown
Book
xxiii, 203 pages : illustrations ; 24 cm
  • Vinyl as record : several lives of the 'King Format'
  • Medium : handling and hearing
  • Thing : qualities and entanglements
  • Commodity : value and markets
  • Totem : scene-making in urban spaces
  • Epilogue : modern icon.
'"The last few years have seen not just a revival but a rebirth of the analogue record. Much more than merely a nostalgic craze, vinyl has become a cultural icon. While vinyl never ceased to be the key format for many music lovers and DJs, for two decades the recording industry perceived it as outdated, consigned to dusty domestic spaces and obscure record shops. Yet the seemingly obsolete vinyl has become the fastest growing medium in music sales. Using a cultural sociology framework combined with insights from material and visual culture studies, Dominik Bartmanski and Ian Woodward present vinyl as a multifaceted cultural object and explore the reasons for its persistence within technologically accelerated cultures. The book is informed by media analysis, urban ethnography and interviews with musicians, DJs, record store owners, boutique label chiefs and collectors within a range of urban centres renowned for thriving music scenes, including Melbourne, London, New York, Tokyo and Berlin"--Provided by publisher.
  • Vinyl as record : several lives of the 'King Format'
  • Medium : handling and hearing
  • Thing : qualities and entanglements
  • Commodity : value and markets
  • Totem : scene-making in urban spaces
  • Epilogue : modern icon.
'"The last few years have seen not just a revival but a rebirth of the analogue record. Much more than merely a nostalgic craze, vinyl has become a cultural icon. While vinyl never ceased to be the key format for many music lovers and DJs, for two decades the recording industry perceived it as outdated, consigned to dusty domestic spaces and obscure record shops. Yet the seemingly obsolete vinyl has become the fastest growing medium in music sales. Using a cultural sociology framework combined with insights from material and visual culture studies, Dominik Bartmanski and Ian Woodward present vinyl as a multifaceted cultural object and explore the reasons for its persistence within technologically accelerated cultures. The book is informed by media analysis, urban ethnography and interviews with musicians, DJs, record store owners, boutique label chiefs and collectors within a range of urban centres renowned for thriving music scenes, including Melbourne, London, New York, Tokyo and Berlin"--Provided by publisher.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML1055 .B19 2015 Unknown
Book
399 p. : ill. (chiefly col.) ; 29 cm
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference (non-circulating)
ML3506 .H38 2014 In-library use In process
Book
xiii, 382 pages, 8 unnumbered pages of plates : illustrations ; 25 cm
  • Talking machines
  • Judgments
  • His master's voice
  • Exodus
  • The invisible wave
  • Survivors
  • Dead Sea crossing
  • Homesick medicine
  • Sunrise
  • Lucky children
  • Numbers
  • The invasion
  • Acts
  • A slow eclipse
  • Terra nova
  • On black canvas
  • Forbidden fruit
  • Taurus
  • Kings
  • Psalms
  • The island
  • High tide
  • Sources
  • Sodom & Gomorrah
  • Shadows
  • Cyclops
  • Legends
  • Romans
  • Lamentations
  • Bubblegum forest
  • Revelations.
Cowboys and Indies is the definitive record business bible, chronicling the pioneers who set the stylus on the most important labels and musical discoveries of the last century. The narrative follows all the musical trends and developments, from the phonograph to the internet age, as it delves behind the big business of corporate hit machines and the diligent industry of small, curated labels. Drawing from memoirs, archives, and over one hundred exclusive interviews with the legends of the record industry including the founders and CEOs of Virgin Records, United Artists, Atlantic Records, and A&M, this book reveals the secrets behind the hit making craft. Cowboys and Indies focuses on the game changers - the indie founders, talent scouts, the legendary A&R men - believers who understood the music business was two distinct parts; first music, then business. An industry insider himself, Gareth Murphy culls numerous behind-the-scenes anecdotes to bring together a clear genealogical map of the record industry's international 130 year history. Among its revelations, Cowboys and Indies highlights the remarkable similarities between the industry crash in the 1920s and 30s and the recent CD crash. Witty and evocative, Cowboys and Indies offers a fresh panoramic view of the cycles and grooves of pop music and is sure to top the charts with music industry classics like Hitmaker and The Mansion on the Hill.
(source: Nielsen Book Data)
  • Talking machines
  • Judgments
  • His master's voice
  • Exodus
  • The invisible wave
  • Survivors
  • Dead Sea crossing
  • Homesick medicine
  • Sunrise
  • Lucky children
  • Numbers
  • The invasion
  • Acts
  • A slow eclipse
  • Terra nova
  • On black canvas
  • Forbidden fruit
  • Taurus
  • Kings
  • Psalms
  • The island
  • High tide
  • Sources
  • Sodom & Gomorrah
  • Shadows
  • Cyclops
  • Legends
  • Romans
  • Lamentations
  • Bubblegum forest
  • Revelations.
Cowboys and Indies is the definitive record business bible, chronicling the pioneers who set the stylus on the most important labels and musical discoveries of the last century. The narrative follows all the musical trends and developments, from the phonograph to the internet age, as it delves behind the big business of corporate hit machines and the diligent industry of small, curated labels. Drawing from memoirs, archives, and over one hundred exclusive interviews with the legends of the record industry including the founders and CEOs of Virgin Records, United Artists, Atlantic Records, and A&M, this book reveals the secrets behind the hit making craft. Cowboys and Indies focuses on the game changers - the indie founders, talent scouts, the legendary A&R men - believers who understood the music business was two distinct parts; first music, then business. An industry insider himself, Gareth Murphy culls numerous behind-the-scenes anecdotes to bring together a clear genealogical map of the record industry's international 130 year history. Among its revelations, Cowboys and Indies highlights the remarkable similarities between the industry crash in the 1920s and 30s and the recent CD crash. Witty and evocative, Cowboys and Indies offers a fresh panoramic view of the cycles and grooves of pop music and is sure to top the charts with music industry classics like Hitmaker and The Mansion on the Hill.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Reference (non-circulating)
ML3790 .M665 2014 In-library use
Book
336 p. ; 23 cm.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML3535.5 .T32 2014 Unavailable At bindery Request
Book
427 pages : illustrations (some color) ; 22 cm
  • Vorwort
  • Einleitung
  • Einführung : das Label
  • Definition
  • Aufgaben eines Labels
  • Struktur eines Labels
  • Unterschiede Indie vs. Majors : Spezialisten vs. Allrounder
  • Über die Notwendigkeit von Labels
  • Die Musikindustrie
  • Die Entstehung und Entwicklung der Musikindustrie
  • Der Musikmarkt in Deutschland
  • Orientierungsinstrumente der Musikindustrie
  • Das Konzept Genre
  • Die Marke
  • Genres und Marken in der Musikindustrie
  • Zwischenbilanz : die Beziehungen zwischen Genres und Marken in der Musik
  • Die Bedeutung des Medienumbruchs für die Musikb6ranche
  • Die Time-Konvergenz
  • Das Tsunami-Modell
  • Merkmale und Eigenschaften der Neuen Medien
  • Auswirkungen auf die Musikbranche
  • Genres und Marken in der digitalen Musikwelt
  • Orientierungsinstrumente in der heutigen Musikindustrie
  • Das Konzept Genre bei Labels in der Praxis
  • Markenführungsansätze bei Labels in der Praxis
  • Labels und die Orientierungsinstrumente Genre und Marke
  • Ausblick
  • Quellen und Literatur.
  • Vorwort
  • Einleitung
  • Einführung : das Label
  • Definition
  • Aufgaben eines Labels
  • Struktur eines Labels
  • Unterschiede Indie vs. Majors : Spezialisten vs. Allrounder
  • Über die Notwendigkeit von Labels
  • Die Musikindustrie
  • Die Entstehung und Entwicklung der Musikindustrie
  • Der Musikmarkt in Deutschland
  • Orientierungsinstrumente der Musikindustrie
  • Das Konzept Genre
  • Die Marke
  • Genres und Marken in der Musikindustrie
  • Zwischenbilanz : die Beziehungen zwischen Genres und Marken in der Musik
  • Die Bedeutung des Medienumbruchs für die Musikb6ranche
  • Die Time-Konvergenz
  • Das Tsunami-Modell
  • Merkmale und Eigenschaften der Neuen Medien
  • Auswirkungen auf die Musikbranche
  • Genres und Marken in der digitalen Musikwelt
  • Orientierungsinstrumente in der heutigen Musikindustrie
  • Das Konzept Genre bei Labels in der Praxis
  • Markenführungsansätze bei Labels in der Praxis
  • Labels und die Orientierungsinstrumente Genre und Marke
  • Ausblick
  • Quellen und Literatur.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .S561 2014 Unknown
Book
xiv, 245 pages : illustrations ; 24 cm
  • Beginnings
  • The acoustic period
  • The electric period
  • Economic and societal overlay
  • The studio is interactive
  • The post World War II reconstruction of the recording industry
  • Mobile music
  • Expanding the palette
  • Some key producers
  • The sixties and seventies
  • Toward the digital age
  • The nineties
  • Periods of standards and stability
  • Deconstructing the studio
  • Random access recording technology
  • Transformative/disruptive technologies and the value of music
  • Post-millennial business models
  • The unfinished work.
  • Beginnings
  • The acoustic period
  • The electric period
  • Economic and societal overlay
  • The studio is interactive
  • The post World War II reconstruction of the recording industry
  • Mobile music
  • Expanding the palette
  • Some key producers
  • The sixties and seventies
  • Toward the digital age
  • The nineties
  • Periods of standards and stability
  • Deconstructing the studio
  • Random access recording technology
  • Transformative/disruptive technologies and the value of music
  • Post-millennial business models
  • The unfinished work.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference (non-circulating)
ML3790 .B842 2014 In-library use
Book
158 pages : illustrations ; 23 cm
  • The sound of Muscle Shoals
  • Becoming famous
  • The Swampers
  • The singing river
  • A slow start
  • The Rolling Stones
  • Time to kill
  • Lynyrd Skynyrd
  • The Staple Singers
  • Where black and white meet
  • The hit parade
  • Continued success
  • Alabama Avenue
  • Noel Webster
  • The Black Keys
  • A memorial to music
  • Documenting the sound
  • Marching to a new beat
  • Onward.
  • The sound of Muscle Shoals
  • Becoming famous
  • The Swampers
  • The singing river
  • A slow start
  • The Rolling Stones
  • Time to kill
  • Lynyrd Skynyrd
  • The Staple Singers
  • Where black and white meet
  • The hit parade
  • Continued success
  • Alabama Avenue
  • Noel Webster
  • The Black Keys
  • A memorial to music
  • Documenting the sound
  • Marching to a new beat
  • Onward.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .W495 2014 Unknown
Book
306 pages : illustrations (some color) ; 24 cm.
  • Musikwirtschaft 2.0. Bestandsaufnahmen und Perspektiven : eine Einführung / Steffen Höhne und Wolf-Georg Zaddach
  • Musikpolitik : Voraussetzungen, Aufgaben und Ziele der öffentlichen Musikförderung / Martin Pfleiderer
  • Wandel vor der Digitalisierung : die Schallplatte als Perspektive für die Musikwirtschaft der 1950er und 1960er Jahre / Christian A. Müller
  • The British music industry : challenges and adaption in the Twenty-first century / Stuart Moss
  • Der deutsche Klassikmarkt : eine wirtschaftliche Betrachtung / Martin Lücke
  • Unbestimmtheiten der Musikindustrie 2.0 : eine Prozessperspektive / Matthias Maier und Nancy Richter
  • Perspektive Kreativunternehmer? Rollenbilder und -modelle zwischen künsderischem Anspruch und Realität, zwischen Zuschreibung und Erwartung / Steffen Höhne
  • Erfolgreiche Handlungskompetenz : Musiker zwischen Kreativität und Entrepreneurship / Elmar D. Konrad
  • Die Rolle des Konsumenten, neue Erlösmodelle und Property-Rights-Ausgestaltung in der digitalen Musikindustrie / Jutta Emes und Christin Friedemann
  • Musik & Recht im digitalen Zeitalter : zwischen Ohnmacht und Aufbruch / Pascal Charles Amann
  • "Music is an enginge of the digitale world" : Musik und Musikwirtschaft im Zeitalter des Social Web / Wolf-Georg Zaddach
  • #Fusionfestival : Tribal-Tagging bei Twitter am Beispiel des Fusion Festivals in Lärz 2013 / Ekkehard Knopke und Carsten Wernicke
  • Automatic retrieval of rhythmic patterns for the global music database, a joint-project between musicologists and audio engineers / Nina Graeff, Philip Küppers, Felix Pfeifer und Tiago de Oliveira Pinto
  • Charakterisierung des Konsumenten von Musik im Internet / Ian Pascal Volz
  • Zukunftsperspektive Musikfestival? Musikfestivals im Wandel / Uwe Wagner
  • Freiberuflich als Komponist / Ludger Vollmer
  • Autoren.
  • Musikwirtschaft 2.0. Bestandsaufnahmen und Perspektiven : eine Einführung / Steffen Höhne und Wolf-Georg Zaddach
  • Musikpolitik : Voraussetzungen, Aufgaben und Ziele der öffentlichen Musikförderung / Martin Pfleiderer
  • Wandel vor der Digitalisierung : die Schallplatte als Perspektive für die Musikwirtschaft der 1950er und 1960er Jahre / Christian A. Müller
  • The British music industry : challenges and adaption in the Twenty-first century / Stuart Moss
  • Der deutsche Klassikmarkt : eine wirtschaftliche Betrachtung / Martin Lücke
  • Unbestimmtheiten der Musikindustrie 2.0 : eine Prozessperspektive / Matthias Maier und Nancy Richter
  • Perspektive Kreativunternehmer? Rollenbilder und -modelle zwischen künsderischem Anspruch und Realität, zwischen Zuschreibung und Erwartung / Steffen Höhne
  • Erfolgreiche Handlungskompetenz : Musiker zwischen Kreativität und Entrepreneurship / Elmar D. Konrad
  • Die Rolle des Konsumenten, neue Erlösmodelle und Property-Rights-Ausgestaltung in der digitalen Musikindustrie / Jutta Emes und Christin Friedemann
  • Musik & Recht im digitalen Zeitalter : zwischen Ohnmacht und Aufbruch / Pascal Charles Amann
  • "Music is an enginge of the digitale world" : Musik und Musikwirtschaft im Zeitalter des Social Web / Wolf-Georg Zaddach
  • #Fusionfestival : Tribal-Tagging bei Twitter am Beispiel des Fusion Festivals in Lärz 2013 / Ekkehard Knopke und Carsten Wernicke
  • Automatic retrieval of rhythmic patterns for the global music database, a joint-project between musicologists and audio engineers / Nina Graeff, Philip Küppers, Felix Pfeifer und Tiago de Oliveira Pinto
  • Charakterisierung des Konsumenten von Musik im Internet / Ian Pascal Volz
  • Zukunftsperspektive Musikfestival? Musikfestivals im Wandel / Uwe Wagner
  • Freiberuflich als Komponist / Ludger Vollmer
  • Autoren.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
ML3790 .M865 2014 Available
Book
xiii, 197 pages : illustrations ; 23 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML429 .S57 A3 2014 Unknown
Book
140 pages : illustrations ; 23 cm.
SAL1&2 (on-campus shelving)
Status of items at SAL1&2 (on-campus shelving)
SAL1&2 (on-campus shelving) Status
Stacks Request
TK7881.4 .A73 2014 Unknown
Book
121 pages : illustrations ; 23 cm
"Discover the history of Austin's Sonobeat Records and the important role the studio played in the development of Austin music during the '60s"-- Provided by publisher.
"Discover the history of Austin's Sonobeat Records and the important role the studio played in the development of Austin music during the '60s"-- Provided by publisher.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3792 .S68 S74 2014 Unknown
Book
1 volume (unpaged) : illustrations (some color) ; 31 cm
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference (non-circulating)
ML3792 .M6 U73 2014 F In-library use
Book
xii, 329 pages ; 24 cm
  • 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 A&R 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 A&R 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 A&R 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 A&R 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.
  • (source: Nielsen Book Data)
Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer. Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published, " Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.
(source: Nielsen Book Data)
  • 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 A&R 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 A&R 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 A&R 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 A&R 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.
  • (source: Nielsen Book Data)
Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer. Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published, " Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3790 .B84 2013 Unknown
Book
283 pages : illustrations ; 24 cm
East Asia Library
Status of items at East Asia Library
East Asia Library Status
Chinese Collection
ML410 .Z513 B36 2013 Unknown
Book
x, 292 pages, 16 unnumbered pages of plates : illustrations ; 24 cm.
In Chasing Sound, Susan Schmidt Horning traces the cultural and technological evolution of recording studios in the United States from the first practical devices to the modern multi-track studios of the analog era. Charting the technical development of studio equipment, the professionalization of recording engineers, and the growing collaboration between artists and technicians, she shows how the earliest efforts to capture the sound of live performances eventually resulted in a trend toward studio creations that extended beyond live shows, ultimately reversing the historic relationship between live and recorded sound. A former performer herself, Schmidt Horning draws from a wealth of original oral interviews with major labels and independent recording engineers, producers, arrangers, and musicians, as well as memoirs, technical journals, popular accounts, and sound recordings. Recording engineers and producers, she finds, influenced technological and musical change as they sought to improve the sound of records. By investigating the complex relationship between sound engineering and popular music, she reveals the increasing reliance on technological intervention in the creation as well as in the reception of music. The recording studio, she argues, is at the center of musical culture in the twentieth century.
(source: Nielsen Book Data)
In Chasing Sound, Susan Schmidt Horning traces the cultural and technological evolution of recording studios in the United States from the first practical devices to the modern multi-track studios of the analog era. Charting the technical development of studio equipment, the professionalization of recording engineers, and the growing collaboration between artists and technicians, she shows how the earliest efforts to capture the sound of live performances eventually resulted in a trend toward studio creations that extended beyond live shows, ultimately reversing the historic relationship between live and recorded sound. A former performer herself, Schmidt Horning draws from a wealth of original oral interviews with major labels and independent recording engineers, producers, arrangers, and musicians, as well as memoirs, technical journals, popular accounts, and sound recordings. Recording engineers and producers, she finds, influenced technological and musical change as they sought to improve the sound of records. By investigating the complex relationship between sound engineering and popular music, she reveals the increasing reliance on technological intervention in the creation as well as in the reception of music. The recording studio, she argues, is at the center of musical culture in the twentieth century.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML3790 .S346 2013 Unknown
Book
361 pages : color illustrations ; 21 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
HD9697 .P563 E263 2013 Available
Book
xv, 650 pages, 16 unnumbered pages of plates : illustrations (some color) ; 24 cm
The first official account of the iconic record label. An NME Book of the Year 2013 * A Rough Trade Book of the Year 2013 * A Times Literary Supplement Book of the Year 2013 This Mortal Coil, Birthday Party, Bauhaus, Cocteau Twins, Pixies, Throwing Muses, Breeders, Dead Can Dance, Lisa Germano, Kristin Hersh, Belly, Red House Painters. Just a handful of the bands and artists who started out recording for 4AD, a record label founded by Ivo Watts-Russell and Peter Kent in 1979, a label which went on to be one of the most influential of the modern era. Combining the unique tastes of Watts-Russell and the striking design aesthetic of Vaughan Oliver, 4AD records were recognisable by their look as much their sound. In this comprehensive account concentrating on the label's first two decades (up to the point that Watts-Russell left), music journalist Martin Aston explores the fascinating story with unique access to all the key players and pretty much every artist who released a record on 4AD during that time, and to its notoriously reclusive founder. With a cover designed by Vaughan Oliver this is an essential book for all 4AD fans and anyone who loved the music of that time.
(source: Nielsen Book Data)
The first official account of the iconic record label. An NME Book of the Year 2013 * A Rough Trade Book of the Year 2013 * A Times Literary Supplement Book of the Year 2013 This Mortal Coil, Birthday Party, Bauhaus, Cocteau Twins, Pixies, Throwing Muses, Breeders, Dead Can Dance, Lisa Germano, Kristin Hersh, Belly, Red House Painters. Just a handful of the bands and artists who started out recording for 4AD, a record label founded by Ivo Watts-Russell and Peter Kent in 1979, a label which went on to be one of the most influential of the modern era. Combining the unique tastes of Watts-Russell and the striking design aesthetic of Vaughan Oliver, 4AD records were recognisable by their look as much their sound. In this comprehensive account concentrating on the label's first two decades (up to the point that Watts-Russell left), music journalist Martin Aston explores the fascinating story with unique access to all the key players and pretty much every artist who released a record on 4AD during that time, and to its notoriously reclusive founder. With a cover designed by Vaughan Oliver this is an essential book for all 4AD fans and anyone who loved the music of that time.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3792 .A14 A88 2013 Unknown
Book
xxix, 539 p. : ill. ; 24 cm
  • Mischpulte basierend auf der Röhrentechnik
  • Die Geschichte der Elektronenröhre
  • Von der Röhrendiode zur Röhrentriode
  • Röhren mit weiteren Elektroden
  • Niederfrequenz-Röhrenverstärker ab den 1920er-Jahren
  • Knotenpunktbildung mit Spannungs- und Leistungsanpassung
  • Die ersten Mischapparaturen
  • Rundfunksender der Radio Corporation of America
  • Sender Königs Wusterhausen und Vox-Haus Berlin
  • British Broadcasting Corporation : Savoy Hill
  • Tonfilme mit dem Vitaphone-System
  • Beispiele für Mischpulte in den 1930er- und 1940er-Jahren
  • Beispiele für Mischpulte in den 1950er- und 1960er-Jahren
  • Toningenieure im weißen Kittel?
  • Einschub : Einführung in die Akteur-Netzwerk-Theorie
  • Die ersten Tonfilmstudios
  • Die ersten Musiktonstudios mit elektroakustischer Aufnahmetechnik
  • Fallbeispiel : Orchesteraufnahmen
  • Fallbeispiel : Rock'n'Roll-Sound
  • Wegweisende Innovationen in der Tonstudiotechnik
  • Magnetbandtechnik
  • Stereoaufnahmetechnik
  • Multitrack und Overdubs
  • Nachhall und Echo
  • Equalizer und Regelverstärker
  • Mischpulte in Transistorschaltung
  • Die Geschichte des Transistors
  • Die ersten Transistoren
  • Gedruckte Schaltungen
  • Fet und Mosfet
  • Niederfrequenz-Transistorverstärker
  • Knotenpunktbildung mit Stromanpassung und frühe transistorisierte Pulte
  • Modulare Mischpulte
  • Kassettentechnik
  • Streifenbauweise
  • Split- und Inline-Pulte
  • Mischpultautomation
  • Spezielle Beschallungspulte
  • Mikrofonhersteller auf Abwegen
  • Musiker und Produzenten / Musiker als Produzenten
  • Vom Aufnahmeraum in die Tonregie
  • Die Tonstudiotechnik im musikalischen Kontext
  • Einschub : Technikhistorische Analyse nach der Social Construction of Technology
  • Elektronische Musik
  • Digitale Mischpulte
  • Die Digitaltechnik in der Retrospektive
  • Entwicklung integrierter Schaltkreise
  • Die ersten Mikroprozessoren
  • Halbleiter-Datenspeicher
  • Der Personalcomputer (PC)
  • Analog-digitale Hybridpulte
  • Volldigitale Mischpulte
  • Digitale Studiopulte
  • Digitale Beschallungspulte
  • Audionetzwerke
  • Die Digitaltechnik als Basisinnovation
  • Hits aus dem Computer
  • Professionelle Musikproduktionen mit digitalen Audioworkstations
  • Das Studiosterben
  • Wandel des Berufsbildes der Toningenieure
  • Einschub : System- und netzwerktheoretischer Ansatz
  • Schlussbetrachtungen
  • Geschichtliche Phasen der Tonstudiotechnik
  • Wandel der medialen Produktionsverfahren
  • Persönliches Resümee zur vorliegenden Abhandlung
  • Anhang
  • "Modes of collaboration on popular music productions" gemäß Kealy (in Auszügen)
  • Die Wissenschaft der Akustik
  • Verortung der Elektroakustik zwischen den wissenschaftlichen Disziplinen
  • Tonmeister und Toningenieure
  • Metrologische Aspekte in der Elektroakustik
  • Fotos : Pultmontage bei LAWO in den 1980er-Jahren
  • Prinzipschaltbild : Mischpult des Siemens-Studios für elektronische Musik
  • Timeline : Digital Audio
  • Abbildung : die Evolution des Tonmischpults und Kealys Modes of Collaboration (erweitert nach Smyrek)
  • Index der Hörbeispiele
  • Literatur und Quellen
  • Sachregister
  • Personenregister
  • Firmenregister
  • Kurzfassung
  • Abstract
  • Vita.
  • Mischpulte basierend auf der Röhrentechnik
  • Die Geschichte der Elektronenröhre
  • Von der Röhrendiode zur Röhrentriode
  • Röhren mit weiteren Elektroden
  • Niederfrequenz-Röhrenverstärker ab den 1920er-Jahren
  • Knotenpunktbildung mit Spannungs- und Leistungsanpassung
  • Die ersten Mischapparaturen
  • Rundfunksender der Radio Corporation of America
  • Sender Königs Wusterhausen und Vox-Haus Berlin
  • British Broadcasting Corporation : Savoy Hill
  • Tonfilme mit dem Vitaphone-System
  • Beispiele für Mischpulte in den 1930er- und 1940er-Jahren
  • Beispiele für Mischpulte in den 1950er- und 1960er-Jahren
  • Toningenieure im weißen Kittel?
  • Einschub : Einführung in die Akteur-Netzwerk-Theorie
  • Die ersten Tonfilmstudios
  • Die ersten Musiktonstudios mit elektroakustischer Aufnahmetechnik
  • Fallbeispiel : Orchesteraufnahmen
  • Fallbeispiel : Rock'n'Roll-Sound
  • Wegweisende Innovationen in der Tonstudiotechnik
  • Magnetbandtechnik
  • Stereoaufnahmetechnik
  • Multitrack und Overdubs
  • Nachhall und Echo
  • Equalizer und Regelverstärker
  • Mischpulte in Transistorschaltung
  • Die Geschichte des Transistors
  • Die ersten Transistoren
  • Gedruckte Schaltungen
  • Fet und Mosfet
  • Niederfrequenz-Transistorverstärker
  • Knotenpunktbildung mit Stromanpassung und frühe transistorisierte Pulte
  • Modulare Mischpulte
  • Kassettentechnik
  • Streifenbauweise
  • Split- und Inline-Pulte
  • Mischpultautomation
  • Spezielle Beschallungspulte
  • Mikrofonhersteller auf Abwegen
  • Musiker und Produzenten / Musiker als Produzenten
  • Vom Aufnahmeraum in die Tonregie
  • Die Tonstudiotechnik im musikalischen Kontext
  • Einschub : Technikhistorische Analyse nach der Social Construction of Technology
  • Elektronische Musik
  • Digitale Mischpulte
  • Die Digitaltechnik in der Retrospektive
  • Entwicklung integrierter Schaltkreise
  • Die ersten Mikroprozessoren
  • Halbleiter-Datenspeicher
  • Der Personalcomputer (PC)
  • Analog-digitale Hybridpulte
  • Volldigitale Mischpulte
  • Digitale Studiopulte
  • Digitale Beschallungspulte
  • Audionetzwerke
  • Die Digitaltechnik als Basisinnovation
  • Hits aus dem Computer
  • Professionelle Musikproduktionen mit digitalen Audioworkstations
  • Das Studiosterben
  • Wandel des Berufsbildes der Toningenieure
  • Einschub : System- und netzwerktheoretischer Ansatz
  • Schlussbetrachtungen
  • Geschichtliche Phasen der Tonstudiotechnik
  • Wandel der medialen Produktionsverfahren
  • Persönliches Resümee zur vorliegenden Abhandlung
  • Anhang
  • "Modes of collaboration on popular music productions" gemäß Kealy (in Auszügen)
  • Die Wissenschaft der Akustik
  • Verortung der Elektroakustik zwischen den wissenschaftlichen Disziplinen
  • Tonmeister und Toningenieure
  • Metrologische Aspekte in der Elektroakustik
  • Fotos : Pultmontage bei LAWO in den 1980er-Jahren
  • Prinzipschaltbild : Mischpult des Siemens-Studios für elektronische Musik
  • Timeline : Digital Audio
  • Abbildung : die Evolution des Tonmischpults und Kealys Modes of Collaboration (erweitert nach Smyrek)
  • Index der Hörbeispiele
  • Literatur und Quellen
  • Sachregister
  • Personenregister
  • Firmenregister
  • Kurzfassung
  • Abstract
  • Vita.
Music Library
Status of items at Music Library
Music Library Status
Stacks
TK7881.4 .S69 2013 Unknown

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