Table of Contents
Section 1 - Music Production?
1 Quantifying it
1.1 What is Production?
1.1.1 Introduction?
1.1.2 Today's Producer
1.1.3 Backdrop
1.1.4 The Current Climate
1.2 Understanding the Process
1.3 Understanding What Is Required
1.4 The Brief
1.5 Artiste & Repertoire?
2 Analysing it
2.1 Listening Skills
2.2 Listening Case Studies
2.2.1 eg. Amy Winehouse versus Michael Jackson
3 Your People?
3.1 Record Company
3.2 Artist
3.3 Your Engineer(s)
3.4 Agent or Manager?
3.5 Website Designer?
3.6 Others
Section 2 Prepping it
1 Project Management
1.1 Timescales
1.2 Financial considerations (linked to 2.2)
1.3 Personnel (linked again to 1.3)
1.4 Studios, Equipment & Session Musicians
1.5 Keeping on top of it all. "Music is still a business when all is said and done"
1.5.1 Personal Time Management Principles
1.5.2 Using that Computer - making it work for you.
2 Financial Management
2.1 Project Coffers
2.2 Making the finances fit
2.3 Paying Out
2.4 Your Pay?
2.5 Other Issues
3 The Reception What I mean by this is the listening to the Pre-Production, meeting the Artist and Label. To consider what to do with the material - what style and how and what?
3.1 The Artist
3.1.1 New Artist
3.1.1.1 The proposed market position
3.1.1.1.1 Style's Influence on the Music Production
3.1.1.1.1.1 Dress Sense & Image
3.1.1.1.1.2 Musical 'Style'
3.1.1.1.1.3 Artist Attitude and Presence
3.1.1.2 Their 'Stamp'
3.1.1.2.1 Do they have their own 'Stamp'?
3.1.1.2.2 Do you have to create one?
3.1.2 Established Artists
3.1.2.1 Their History
3.1.2.2 Their Market Position
3.1.2.3 Their New 'Stamp'?
3.1.2.3.1 Will this 'Stamp' Transcend Genres & Time?
3.1.2.3.2 Case Studies
3.1.2.3.2.1 David Bowie
3.1.2.3.2.2 Queen
3.1.2.3.2.3 Madonna
3.1.2.3.2.4 Others
3.2 The Record Company
3.2.1 Working with A&R
3.2.2 The Deal
3.2.3 The Brief
3.2.4 The Influence of the Record Company over the production
3.2.4.1 The Producer's Triangle of Influence
4 Pre-Production
4.1 What is Pre-Production?
4.1.1 Methods & Means
4.1.2 Rehearsals
4.1.3 Gigs/Shows
4.1.4 Meetings, Meals and Entertaining.
4.2 How To Prepare For Creativity
4.2.1 Perceived Production
4.2.2 Do we 'stamp' a style to the Artist.
4.2.3 Other methods
4.3 Musicians
4.3.1 Session Musicians
4.3.2 The Artists as Musicians
4.3.3 Orchestral Accompaniment
4.3.3.1 The Arranger
4.3.3.2 The Conductor
4.3.3.3 The Musicians
4.4 The Business of Pre-Production
the financial and legalities needed prior to going to session
4.5 The Desired Outcome
4.5.1 The Producers C.A.P. (Capture, Arrangement,Performance)
4.5.1.1 The Importance of C.A.P.
4.5.1.2 Arrangement
4.5.1.3 Performance
4.5.1.4 Capture
Section 3 - Doing it
1 The Session
1.1 Confident Creation
meaning confidence and believing in what you are doing. Also to exude that influence to A&R and musicians alike.
1.2 Your Role?
1.2.1 Creative
1.2.2 Creative & Technical?
1.2.2.1 Being Creative Against Adversity
1.2.3 Technical & Soundboard?
1.2.4 Other
1.3 The Process of the Session
1.4 Managing The Process
1.5 Recording the Recording
take sheets, track sheets, session information, file information, photographs and 'recordings' for future reference
2 The Mix
2.1 Making Some Distance from the Session
2.2 Choice of Engineer(s)
2.3 Your Influence on the Mix
2.4 Case Studies (Case studies have been chosen carefully - but always with the premise that there will be more online!)
2.4.1 "I Hung My Head"
2.4.1.1 Sting
2.4.1.2 Johnny Cash
2.4.2 "Before I'm Done" by Danny Cope
2.4.2.1 Introduction by Danny Cope
2.4.2.2 Scoring the Arrangement by Brian Morell
2.4.2.3 The Mix by the Authors
2.4.2.4 Mixes by Professional Engineers & Producers
2.4.2.4.1 Rob Orton
2.4.2.4.2 Tim 'Spag' Speight
2.4.2.4.3 Emre Ramazonoglu
2.4.2.4.4 Andy Barlow
2.4.2.5 Remix approaches by DJ Jon Da Silva
3 Post Production
3.1 Editing
3.2 Interview with Paul Baily, ex-Abbey Road
3.3 Mastering
3.4 Interview with Jon Blamire, Digital Audio Company & Bob Katz
Section 4 - Being it
1 Confidence 2 Client Management
2.1 Counsellor
3 Being a Business 4 Communication 5 The 4C's? Communication, Composure, Confidence, Can Do 6 Success/Or Failure
6.1 Hugh Padgham and Sheryl Crow
6.2 You're only as good as your last gig, or are you?
6.2.1 Promotion,
6.2.2 Recovery,
6.2.3 Redefinition/redesign
6.3 Keeping on top of developments
6.3.1 Musical
6.3.2 Professional
6.3.3 Technological
Section 5 - After it & Beyond
1 Royalties
1.1 Keeping a check
1.2 Maximise your financial potential
2 Future Security
2.1 The next gig
2.2 Whether to take the gig?
2.2.1 Can you improve on your last album with the same artist?
2.2.2 Can you improve on the last chap's production with an
artist? 3 Keeping In Touch?
3.1 ...with your artists
3.2 ...with personnel (engineers/fellow producers, studios, session
musicians) 4 Your wider business and opportunities
4.1 Professional Affiliations
4.2 Networks
