| Acknowledgements |
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xiii | |
| About the Author |
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xv | |
| Introduction |
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1 | (1) |
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What's an indie rock band? |
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1 | (1) |
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Who this book is for and what it will give you |
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1 | (1) |
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2 | (5) |
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Develop and trust your own ears, tastes, and instincts |
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2 | (1) |
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You don't need to spend a lot of money to make music |
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2 | (1) |
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3 | (4) |
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7 | (8) |
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How to find good band members |
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7 | (5) |
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Post ads online, hang flyers |
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7 | (2) |
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9 | (1) |
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10 | (1) |
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11 | (1) |
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Every team needs a captain |
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12 | (1) |
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12 | (3) |
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12 | (1) |
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13 | (2) |
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15 | (6) |
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Decide on a practice location |
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15 | (2) |
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Practice as a band regularly |
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17 | (1) |
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``Jamming'' versus ``practice'' |
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17 | (1) |
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18 | (3) |
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21 | (10) |
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Group interpretations of songs |
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22 | (1) |
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23 | (1) |
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24 | (1) |
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Avoid puns, cliches, and stock phrases |
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25 | (1) |
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25 | (1) |
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26 | (1) |
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26 | (5) |
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Pre-production considerations |
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31 | (12) |
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Common recording approaches |
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31 | (2) |
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33 | (1) |
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34 | (5) |
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35 | (1) |
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36 | (1) |
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37 | (2) |
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39 | (1) |
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40 | (3) |
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43 | (14) |
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43 | (1) |
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Hooking up: the signal path |
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44 | (2) |
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Gear list and how it works together |
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46 | (11) |
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46 | (1) |
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46 | (1) |
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47 | (1) |
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47 | (1) |
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48 | (1) |
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49 | (1) |
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49 | (1) |
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50 | (1) |
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51 | (2) |
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53 | (1) |
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54 | (3) |
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57 | (8) |
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57 | (1) |
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58 | (1) |
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59 | (5) |
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59 | (3) |
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62 | (1) |
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63 | (1) |
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64 | (1) |
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64 | (1) |
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64 | (1) |
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65 | (16) |
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66 | (5) |
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66 | (1) |
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66 | (1) |
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67 | (2) |
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69 | (2) |
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71 | (4) |
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72 | (1) |
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72 | (1) |
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73 | (1) |
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74 | (1) |
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74 | (1) |
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Commonly used audio effects and plug-ins and their application |
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75 | (3) |
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76 | (1) |
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76 | (1) |
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77 | (1) |
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77 | (1) |
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77 | (1) |
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78 | (3) |
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78 | (1) |
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78 | (1) |
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Every action has a reaction |
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78 | (1) |
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78 | (3) |
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81 | (8) |
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81 | (1) |
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What does mastering entail? |
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82 | (2) |
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82 | (1) |
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83 | (1) |
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Adjusting the frequency spectrum [ EQ] |
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83 | (1) |
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83 | (1) |
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Adjusting the stereo image |
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84 | (1) |
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Should I pay a pro or do it myself? |
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84 | (1) |
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Are your mixes worth paying someone else to master? |
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84 | (1) |
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Who's the audience for your masters? |
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84 | (1) |
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85 | (1) |
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Preparing your MP3s for digital distribution |
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85 | (4) |
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PART 3 Promoting Your Band |
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Making your record cover: Graphic design fundamentals and best practices |
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89 | (4) |
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90 | (1) |
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90 | (1) |
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Make sure it evokes your band and music |
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90 | (1) |
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91 | (1) |
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91 | (2) |
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93 | (6) |
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94 | (1) |
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94 | (1) |
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94 | (1) |
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Synopsis/sounds like/influences |
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94 | (1) |
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95 | (1) |
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95 | (1) |
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96 | (1) |
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96 | (3) |
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Sharing, socializing, and selling your music online |
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99 | (8) |
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Manufacturing and selling CDs |
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104 | (3) |
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107 | (10) |
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108 | (1) |
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109 | (2) |
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Things to keep in mind before and at your first show |
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111 | (6) |
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111 | (1) |
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111 | (1) |
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111 | (1) |
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111 | (1) |
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112 | (1) |
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Promote yourself during the show |
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113 | (1) |
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Videotape and audio-record yourself |
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113 | (1) |
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113 | (4) |
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117 | (8) |
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118 | (1) |
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118 | (1) |
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118 | (1) |
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118 | (1) |
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Mis en scene [ and miscellaneous] |
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119 | (1) |
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119 | (2) |
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119 | (1) |
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120 | (1) |
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Make a list, check it twice |
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120 | (1) |
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121 | (1) |
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Guerilla filmmaking tips (for the director) |
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121 | (1) |
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122 | (3) |
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Editing transtitions: the ``tap'' exercise |
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124 | (1) |
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125 | (10) |
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Do it for the right reasons |
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125 | (1) |
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Know when to take time off |
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125 | (1) |
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126 | (1) |
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Appendix A Audio production magazines |
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127 | (2) |
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Appendix B Glossary of audio terminology |
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129 | (2) |
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Appendix C Recording process and gear list |
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131 | (4) |
| Index |
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135 | |
