| Acknowledgments |
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xvi | |
| Preface to the Second Edition |
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xvii | |
| Preface to the First Edition (Revised) |
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xviii | |
| Introduction |
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1 | (18) |
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DIY.Independent.Electronic.Music.Producer |
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2 | (1) |
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What Is the Goal of This Book? |
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2 | (2) |
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How Is This Book Structured? |
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4 | (1) |
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5 | (1) |
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5 | (1) |
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Can I Get a Venn Diagram? |
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6 | (1) |
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7 | (1) |
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7 | (1) |
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8 | (1) |
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A Few Words on Major Labels and the Corporate Media Business |
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9 | (2) |
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Magic Might Make Machine Mechanism, Moegen Macht |
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11 | (1) |
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12 | (1) |
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13 | (1) |
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Faster, Smaller, Cheaper...Easier? |
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13 | (1) |
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From Musician to Producer: An Author's Version |
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14 | (2) |
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One Thing Leads to Another: Positive Chaos |
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16 | (3) |
| Chapter 1 Musica Universalis |
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19 | (42) |
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20 | (1) |
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21 | (1) |
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21 | (1) |
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22 | (1) |
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23 | (2) |
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25 | (1) |
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26 | (1) |
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27 | (4) |
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31 | (4) |
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Music's Evolution Is Chaotic |
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31 | (4) |
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Basic Dynamics of Genre Evolution |
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35 | (4) |
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38 | (1) |
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39 | (4) |
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"Nothing Sounds Quite Like an 808" |
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43 | (1) |
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Arthur Baker's Baker's Transformation |
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44 | (2) |
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A Very Brief Intro to the History of Electronic Music |
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46 | (6) |
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48 | (1) |
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Source 1: Sound Reproduction |
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48 | (1) |
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Source 2: Sound Synthesis |
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49 | (3) |
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Independent Label Pioneers |
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52 | (4) |
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Jamaica, U.K., and New York |
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53 | (1) |
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American Punk, Metal, and Aggressive or Alternative Rock Styles |
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54 | (1) |
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Various Styles of Adventurous Rock, Underground Metal, and Industrial-Related Genres From Germany, U.K., U.S., and Canada |
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54 | (1) |
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Electronic Music Labels From US, Canada, Germany, and U.K |
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55 | (1) |
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56 | (1) |
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57 | (4) |
| Chapter 2 Plot Point on the Space-Time Continuum |
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61 | (46) |
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Putting Things in Perspective |
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62 | (2) |
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Music Is More Than the Recording Industry |
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64 | (3) |
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Yo Ho Ho, and a Bottle of Rum |
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65 | (2) |
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67 | (1) |
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History... zzZzz ... What's in It for Mel |
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68 | (1) |
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A (Very Incomplete) Brief History of Everything |
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68 | (6) |
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68 | (1) |
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69 | (1) |
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Epoch 3: The 20th Century |
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70 | (1) |
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Epoch 4: The New Millennium |
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71 | (3) |
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74 | (4) |
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Era 1: Local and Exclusive (? to 1877) |
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75 | (1) |
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Era 2: Transmission and Storage (1888 to 2000) |
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75 | (1) |
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Era 3: Global Information Networks (2001 to 20291?]) |
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76 | (1) |
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Era 4: Biotechnology Network Integration? (20290 to ?) |
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77 | (1) |
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What Goes Around Comes Around |
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78 | (3) |
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Industry Expansion and Limited Access to Technology |
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78 | (2) |
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Industry Contraction and Expanded Access to Technology |
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80 | (1) |
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A Parallel Teachable Moment From Recent History |
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81 | (1) |
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Where Is the RIAA's Equivalent of Deep Blue? |
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82 | (2) |
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Gains From Complexification |
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83 | (1) |
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Losses From Complexification |
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83 | (1) |
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The Argument for the Industry |
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84 | (1) |
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84 | (1) |
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85 | (1) |
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The Industry's Weak Argument |
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85 | (3) |
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P2P and CD Sales (Correlation Does Not Imply Causation) |
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86 | (1) |
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87 | (1) |
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The Argument for Self-Destruction |
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88 | (3) |
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RIAA Failures + Apple Computer = Apple, Inc |
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91 | (4) |
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Emergence of the "Celestial Jukebox" |
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95 | (1) |
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96 | (6) |
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The Classic" Record Producer |
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98 | (1) |
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DIY/Independent Music/Producers |
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99 | (2) |
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Electronic Music Producer |
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101 | (1) |
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What Does "Professional" Mean? |
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102 | (2) |
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Aspiring Pro, Semi-Pro, or Serious Hobbyist |
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104 | (1) |
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105 | (2) |
| Chapter 3 What Is Your Plan? |
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107 | (40) |
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Did You Choose This, or Did It Choose You? |
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107 | (5) |
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108 | (2) |
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110 | (2) |
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112 | (3) |
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Luck, Talent, Preparation, Opportunity, and Success |
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113 | (2) |
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115 | (1) |
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115 | (4) |
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119 | (13) |
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Possible Pieces of the Planning Puzzle |
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121 | (1) |
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Are You Already a Pro or Skilled in Something? |
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122 | (2) |
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Are You Just Getting Started (or Starting Over)? |
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124 | (1) |
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124 | (3) |
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127 | (1) |
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128 | (1) |
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128 | (3) |
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Backup Plans Versus Alternate Paths |
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131 | (1) |
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132 | (2) |
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Some Considerations, Strategies, and Options |
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134 | (4) |
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Technology and the Internet |
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135 | (1) |
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Before Skills Pay the Bills |
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135 | (1) |
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Paying the Bills With Your Skills |
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136 | (2) |
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138 | (3) |
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138 | (2) |
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140 | (1) |
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Residual Income Is Awesome |
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140 | (1) |
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141 | (1) |
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142 | (1) |
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Thoughts on Partnerships and Collaborations |
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143 | (1) |
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Planning Your Artistic Musical Identity |
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144 | (1) |
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144 | (3) |
| Chapter 4 Master Your Craft |
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147 | (26) |
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Multiple Intelligences and So-Called "Styles" of Learning |
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148 | (1) |
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149 | (3) |
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Developing and Integrating Specializations |
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152 | (1) |
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The Big Four Production Holons |
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153 | (6) |
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154 | (1) |
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154 | (1) |
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155 | (1) |
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156 | (3) |
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Skills Does Not a Skill Set Make |
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159 | (2) |
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Workflow: Putting It All Together |
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161 | (6) |
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The Concretization of Potential |
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161 | (1) |
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162 | (5) |
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167 | (2) |
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167 | (1) |
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168 | (1) |
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168 | (1) |
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169 | (4) |
| Chapter 5 The Social Scene |
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173 | (18) |
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175 | (2) |
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177 | (1) |
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178 | (4) |
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180 | (1) |
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180 | (1) |
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181 | (1) |
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Vampires, Werewolves, and Zombies |
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182 | (5) |
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183 | (1) |
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184 | (1) |
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184 | (1) |
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185 | (2) |
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Final Thoughts, Tips, and Strategies |
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187 | (2) |
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Scarcity Is Often an Illusion, Especially in the Realms of Cultural Currency |
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188 | (1) |
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Respect Others Dedicated to Their Craft Especially Veterans and Even Has-Beens |
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188 | (1) |
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What If You Really Don't Like Networking but You Know You Need to Do It? |
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188 | (1) |
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Tips for Newbies on Interacting With Successful Artists |
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189 | (1) |
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189 | (2) |
| Chapter 6 Producer Tips |
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191 | (48) |
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192 | (2) |
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192 | (1) |
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193 | (1) |
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194 | (5) |
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196 | (2) |
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Keep Things Moving Forward |
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198 | (1) |
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199 | (4) |
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200 | (3) |
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203 | (1) |
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204 | (1) |
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Presets: Data Mining or Time-Saving Sound Designing? |
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205 | (11) |
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The Yamaha DX7, Suspect Zero |
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209 | (2) |
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Presets, Complexification, and Proliferation |
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211 | (2) |
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Presets: Synths and Sample-Based Instruments |
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213 | (3) |
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Good File Management = Saved From Destruction |
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216 | (5) |
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Saving, Backing Up, and Archiving |
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221 | (5) |
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222 | (1) |
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Saving, Exporting, Rendering, Bouncing, Printing |
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222 | (1) |
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223 | (2) |
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225 | (1) |
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225 | (1) |
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226 | (5) |
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Never Upgrade in the Middle of a Project! |
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227 | (1) |
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Synths, Samplers, and Sound Modules/ROMplers |
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228 | (3) |
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231 | (5) |
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231 | (1) |
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Avoid Distractions When Working |
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231 | (1) |
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232 | (1) |
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232 | (1) |
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233 | (1) |
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Sound Selection and Voicing |
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233 | (1) |
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234 | (1) |
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235 | (1) |
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Tips and Tricks on the Internet |
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235 | (1) |
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Regular Practice and Maintenance |
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235 | (1) |
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236 | (3) |
| Chapter 7 Creative Process |
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239 | (52) |
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There Is Nothing That Is Not Creative |
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240 | (3) |
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Unlimited Creativity, Limited Relevance |
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241 | (1) |
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Integration of Art and Science |
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242 | (1) |
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243 | (3) |
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Gravity, Stars, Supernovae, and Black Holes |
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245 | (1) |
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246 | (5) |
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Influences and Originality |
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248 | (3) |
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Stages of Creative Process |
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251 | (1) |
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Defining Boundaries and Priorities |
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251 | (4) |
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253 | (2) |
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Methods, Practices, and Techniques |
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255 | (2) |
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Let Your Subconscious Do the Work |
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255 | (2) |
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Isolation, Quiet, Focus, Clarity |
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257 | (3) |
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257 | (2) |
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259 | (1) |
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Non-Ordinary States of Consciousness (NOSC) |
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260 | (4) |
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261 | (1) |
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262 | (2) |
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264 | (9) |
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266 | (1) |
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Surrealism and the Unconscious |
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267 | (1) |
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268 | (1) |
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269 | (1) |
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269 | (1) |
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270 | (2) |
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272 | (1) |
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273 | (8) |
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274 | (1) |
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274 | (1) |
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275 | (1) |
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275 | (1) |
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276 | (1) |
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276 | (1) |
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Granular Synthesis and Resynthesis |
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277 | (2) |
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279 | (2) |
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281 | (4) |
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281 | (1) |
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282 | (1) |
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282 | (1) |
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282 | (2) |
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284 | (1) |
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Time Limits, Deadlines, Pressure |
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285 | (1) |
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285 | (2) |
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When the Thrill Is Gone: Completing Ideas |
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287 | (1) |
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288 | (3) |
| Chapter 8 Selecting Your Tools |
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291 | (50) |
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292 | (1) |
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293 | (1) |
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294 | (1) |
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Users Influencing Designers That Influence Users That |
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295 | (2) |
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295 | (1) |
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296 | (1) |
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297 | (1) |
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Analog and Digital, Hardware and Software |
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298 | (2) |
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300 | (19) |
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300 | (4) |
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304 | (1) |
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305 | (1) |
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306 | (3) |
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309 | (1) |
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309 | (1) |
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Preamps, Channel Strips, and Other Outboard Gear |
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310 | (1) |
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Mixer, Monitoring, Control Room |
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311 | (5) |
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316 | (1) |
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317 | (2) |
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319 | (1) |
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The Digital Audio Workstation |
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319 | (3) |
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321 | (1) |
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321 | (1) |
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322 | (3) |
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322 | (1) |
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323 | (1) |
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324 | (1) |
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A Few Other Considerations |
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325 | (1) |
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Subjective Terms and Hype Words |
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325 | (2) |
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Listening Decisions and A/B Comparisons |
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327 | (1) |
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328 | (3) |
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Using Software Without a License |
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331 | (6) |
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333 | (1) |
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333 | (1) |
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Why You Should Care Even If You Are Broke |
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334 | (1) |
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Early in Your Career and Implications for Later On |
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335 | (2) |
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Ways to Legally Get Your Software Cheap or Free |
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337 | (1) |
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338 | (3) |
| Chapter 9 Lifestyle Tips |
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341 | (44) |
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Trust Me: I'm an Engineer |
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342 | (1) |
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A Fish Doesn't Know It Is Wet |
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343 | (1) |
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Vital Holons Versus Sex, Drugs, Rock N' Roll |
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344 | (4) |
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346 | (1) |
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346 | (1) |
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Not Unlike a House of Cards |
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347 | (1) |
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348 | (8) |
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349 | (5) |
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Earplugs: Get to Know Them Well |
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354 | (1) |
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355 | (1) |
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356 | (2) |
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357 | (1) |
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358 | (2) |
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Ergonomics and Good Posture |
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359 | (1) |
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360 | (1) |
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Follow The Four Pillars of Health |
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360 | (3) |
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The Four Pillars of Health |
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361 | (1) |
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361 | (1) |
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The Ambient Temperature of Your Mood |
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362 | (1) |
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363 | (5) |
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365 | (1) |
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What to Minimize: A Short List |
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366 | (1) |
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What to Maximize: A Short List |
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367 | (1) |
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368 | (2) |
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369 | (1) |
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370 | (1) |
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370 | (1) |
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Whole Body Vibration (WBV) |
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370 | (1) |
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370 | (3) |
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371 | (1) |
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372 | (1) |
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Positive Mental Attitude (PMA) |
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373 | (1) |
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374 | (2) |
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Pick Your Friends With Care |
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376 | (1) |
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Why Is Good Music So Often in Shady Places? |
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377 | (2) |
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The Leading Edge of Gentrification |
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377 | (2) |
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379 | (3) |
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382 | (3) |
| Chapter 10 Denouement |
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385 | (8) |
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386 | (3) |
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386 | (1) |
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387 | (2) |
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389 | (2) |
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391 | (2) |
| Chapter 11 Interviews |
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393 | (62) |
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Motivations and Perspectives |
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393 | (1) |
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394 | (17) |
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396 | (15) |
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Hillary Johnson (Earthlight Room, Avatar Studios) |
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411 | (4) |
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411 | (4) |
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415 | (8) |
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416 | (7) |
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Laura Escude (Alluxe/Electronic Creatives) |
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423 | (11) |
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424 | (10) |
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Stanley Jungleib (Seer Systems, Sequential Circuits) |
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434 | (10) |
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435 | (9) |
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Eric Hoegemeyer (Rust Belt/Tree Laboratory) |
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444 | (6) |
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445 | (5) |
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Jason Drummond (DJ Spun/Rong Music) |
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450 | (5) |
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450 | (5) |
| Appendix A: Chaos Theory and Complexity Studies Primer |
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455 | (10) |
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455 | (1) |
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455 | (1) |
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456 | (1) |
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456 | (1) |
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457 | (1) |
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458 | (1) |
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458 | (1) |
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459 | (1) |
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460 | (1) |
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460 | (2) |
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462 | (3) |
| Index |
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465 | |
