Atjaunināt sīkdatņu piekrišanu

Writer. Producer. Engineer.: A Handbook for Creating Contemporary Commercial Music [Grāmata]

4.57/5 (14 ratings by Goodreads)
  • Formāts: Book, 227 pages
  • Izdošanas datums: 01-Jan-2007
  • Izdevniecība: Berklee Press Publications
  • ISBN-10: 087639053X
  • ISBN-13: 9780876390535
Citas grāmatas par šo tēmu:
Writer. Producer. Engineer.: A Handbook for Creating Contemporary Commercial MusicPalielināt
  • Formāts: Book, 227 pages
  • Izdošanas datums: 01-Jan-2007
  • Izdevniecība: Berklee Press Publications
  • ISBN-10: 087639053X
  • ISBN-13: 9780876390535
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780876390535.html
Keywords:
Writers of commercial music are more in demand than ever before. The rules have changed in the past decade, and the contemporary writer needs a multifaceted skillset in order to succeed in business. This book will help you master the three roles of the new job: writer, producer, and engineer. You will learn to set up a profitable business model for creating commercial music, providing your clients with music that fits their needs and budget, at today's quality standards. Whether your interest is in producing music for jingles, film scores, videogames, corporate presentations, or other commercial areas, this book will reveal how to set up shop, find work, and create music at today's demanding professional standards.
Acknowledgments ix
Introduction: Writer, Producer, and Engineer xi
PART I BUSINESS AND PROCESS 1
Chapter
1. Business Strategy for Writers
3
Components of an Effective Strategy
5
1. Schedule
5
2. Research
8
3. Mission Statement
10
4. Location
11
5. Budget
12
Formal Business Plans
15
Elements of a Business Plan
16
Conclusion
20
Chapter
2. Opportunities for Writing Music
21
Commercials
21
Film
23
Television Programs
24
Recordings
24
Multimedia
25
Sound Design and Other Special Applications
26
Commercial Music Libraries
26
Conclusion
27
Chapter
3. Finding Work
29
Your Identity
29
Contacts
31
Creating a Promo Kit
31
More About Demos
33
Marketing Collaborators
36
Agents
36
Lawyers
37
Communicating with Clients
38
Five Steps to Good Client Relationships
38
Conclusion
40
Chapter
4. Getting Paid
41
Negotiating Payment
42
Budgeting for Jobs
44
Creating Contracts
45
Getting and Protecting Your Copyrights
47
Registering Your Copyrights
48
Royalties: Getting Your Share
49
Double Your Money: Become Your Own Publisher
50
Protecting Your Rights: Performance Rights Organizations (PROs)
51
Conclusion
55
Chapter
5. Being Your Own Producer
57
Producing the "Perfect" Track
59
Ensuring Perfect Tracks through People Skills
60
Preparing for the Recording Session
63
Maintaining Control as the Producer
65
Conclusion
66
Chapter
6. Working with Musicians
69
Preparing for Live Musicians at the Session
70
Working with the Unions
73
AFTRA, SAG Artists
74
Effective Communication During the Session
75
Setup and Rehearsal
75
During the Session
76
When Things Go Wrong
77
Producing the Vocal Track
78
Soloists
79
Calling It Quits
79
Conclusion
81
Chapter
7. Anatomy of a Writing Gig
83
1. Groundwork
83
2. Call for Demos
84
3. Negotiating a Contract
85
4. Delivery/Revision
85
5. Collecting Payment
86
Case Study: Dog Food Commercial
86
Writing for the Client
89
Step
1. Define the Client's Goal for the Project
90
Step
2. Plan Your Composition
92
Step
3. Orchestration: Live Instruments vs. MIDI
94
Honing Your Compositional Skills
95
Versatility
96
Conclusion
97
PART II TECHNOLOGY 99
Chapter
8. Recording Studios
101
The Recording Process
102
Studio Spaces
104
Professional Studios
105
Home Studios
107
Sound Isolation
109
Conclusion
111
Chapter
9. Tracking and Microphone Technique
113
Setup
113
Engineering Checklist
114
Microphone Techniques
116
Avoiding Phase Cancellation
117
Close Miking or Distance Miking
117
Miking Individual Instruments
119
General Microphone Tips
122
Getting Sounds
123
The Recording Phase
126
Punching In and Out
127
Conclusion
130
Chapter
10. Composing with MIDI
131
Using MIDI
132
Combining MIDI/Audio and Live Instruments
134
Composition Methods
134
MIDI Quantizing
136
MIDI Editing
137
Conclusion
140
Chapter
11. Mixing
143
Overview
144
Balance and Panning
146
Types of Sound Modifiers
147
Automation
147
Process
149
Reference Recordings
150
Engineering Your Soundscape: Hearing in Three Dimensions
151
Fine-Tuning
152
Fader Placement
153
Case Study: Approaching a Mix
153
Ambience in the Mix
155
Monitoring the Mix
156
Delivering the Final Product
156
Ten Mixing Tips
157
Conclusion
159
Chapter
12. Sound Processing
161
Sound-Processing Equipment: Hardware and Software
162
Ambient Effects
163
Reverb and Echo
163
Reverb Tips
169
Digital Delay (Echo)
170
Dynamic Effects
174
Compressors and Limiters
174
De-essers
178
Expanders
179
Duckers
179
Noise Gates
179
Uses of Noise Gates
182
Equalization (EQ)
182
Types of EQ
185
Psychoacoustic Effects
188
Aphex Aural Exciter
188
BBE Sonic Maximizer
189
Pitch-Based Effects
189
Conclusion
191
Chapter
13. Selecting Equipment
193
Is Hardware Dead?
194
Recording Devices: Multitracking
195
Digital Multitrack Recorders
195
Analog/Digital Converters
196
2-Track Machines
196
Amplifiers and Loudspeakers
197
Amplifiers
197
Loudspeakers
199
Microphones
201
Types of Microphones
202
Microphone Directional Response
204
Headphones, Direct Boxes, Cables, Splitter Boxes, Video Monitors
208
Headphones
208
Direct Boxes
208
Cables
209
Video Monitor
210
Splitter Box
210
Conclusion
211
Afterword The Drive to Create Music 213
Appendix Resources 215
About the Author 217
Index 218