Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

What is Music Production?: a producers guide, the role, the people, the process Review

What is Music Production: a producers guide, the role, the people, the process
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This book contains some useful suggestions and reference materials for recorded music producers. Hepworth-Sawyer and Golding both teach courses in music production and freelance as music producers. In this book, they describe some of the roles that producers play and discuss some issues that producers routinely deal with. Topics taken up in the book include analytical listening, business practices, deals and contracts with record labels, stages in a recording project, roles in the recording studio, and mastering formats and codes. A list of recommended readings on music production is included in the appendix.
While the authors are clearly highly informed on their topic, I found the presentation of material in this book a bit frustrating. There is a lot of description of issues that successful, big-time producers must deal with, but very little practical information for interested people who are just starting out. Of the entire text, the short section on analytical listening was the most practical bit of information, but it was never made explicitly clear exactly how this skill would then be put to use for a music producer. In contrast, there is an extended section on general business practices, time management and accounting that isn't specifically relevant for music production. After reading this book, I felt more informed about the variety and level of complexity of skills required for established music producers, but I am still quite confused about what music production entails or how a person might get started in the field.
This book was written by British authors for British readers; while many specifically British references and vocabulary have been adjusted for North American readers, a few oddities remain, such as the term "collection agencies" referring to music licensing companies. In addition, copy editing is sloppy in a few places, such as on p. 110, where there is a bizarre out of context, impossible to understand paragraph "Time management sounds almost cult-like. To many people, they follow their system religiously. In fairness, this is how positive gains manifest themselves. Many producers might read this section and laugh out loud and consider it barmy!" Two pages later, the paragraph is repeated with slight editing and put a little more in the context it was intended, "This all might sound far-fetched. To many people, they follow their system [specific time management software packages just introduced in prior paragraphs] religiously. In fairness, this is how the results manifest themselves: by relying on their system. Given the many people who have adopted these systems, it clearly must work. Many producers might read this section and laugh out loud and consider it barmy." All in all, I found the book slightly informative, but not adequate as an introduction to the field.

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To complete an album, a producer needs to know what goes into capturing great music and teasing out inspirational performances from artists. As a producer, you are guiding not only the music, but also the business and the technical aspects of an album.What Is Music Production?is a 'guide to this guidance'.Formed from a blend of solid information extracted from detailed interviews, the book focuses on the process of music production, providing insight into the producer's work and activity.Whether you are a student or just starting your professional career,What is Music Production?explains what you need to know - from working with artists, songs, pre-production, mixing, and mastering to the finance and budgeting, to glean a professional result. Combining the "how to be" with online assets and interviews, this book arms you with a vital insight into the business of being a music producer.

* Unravels some of the mystery behind producing records from the producer's perspective * Learn about the changing role of the producer in the music industry, looking towards the future * Based on the practice of key producers and music production professionals


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Content: Selected Essays on Technology, Creativity, Copyright, and the Future of the Future Review

Content: Selected Essays on Technology, Creativity, Copyright, and the Future of the Future
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I've read or seen most of the material in this book online and am a big fan of Cory's work. I thought this would be a great resource to have instead of a bunch of print outs or bookmarks. Cory Doctorow has some of the best thought out arguments against DRM and for digital freedoms, pointing out tons of interesting historical examples along the way. Great read!

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Web Marketing for the Music Business Review

Web Marketing for the Music Business
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This is one of those few books about web marketing that doesn't require the Geek Squad to help you become a user of the essence of the book. It is extremely well-written and researched, and gives genuine no-nonsense guidance to those in the music business about how to use the web to promote their artistry in a business environment. I've adopted this book for my use in the college classroom because it's an excellent guide for my students, but it's also a valuable tool for the music professional who wants to use the Internet as a way to compete for the ears of music consumers.

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Interested in promoting, selling and distributing music online, got the website but not sure what to do next? is Web Marketing for the Music Business designed to help develop the essential internet presence they want and need. Looking at how the web has developed, providing instructions on how to set up a web site as well as how to use the Internet to promote the artist and the web site. The book includes information on maximizing web sites to increase traffic, online grassroots marketing tactics that will advance an artists career and social networking sites such as MySpace. There is also a dedicated website with online resources for web support to give the information needed to confidently market music online.* Provides instruction on promoting both music and the artist in the internet, showing how to develop maximum online exposure* Offers guidance in web site development, to save money by getting the right site up and running first time* Understand how the Internet is used by experts in the music business, benefit from their experience to make the internet work for you.

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All the Rave: The Rise and Fall of Shawn Fanning's Napster Review

All the Rave: The Rise and Fall of Shawn Fanning's Napster
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Let me start by saying that I'm very curious about the anonymous Bay Area reviews that say the book is wildly inaccurate. I'm writing a dissertation chapter on Napster (not the company, more the system), and although I didn't comparing every date and name, it seemed accurate. There are also two completely contradictory reviews by people who supposedly worked at Napster, but who knows if they did.
I feel this book is better than two other Napster books, "Sonic Boom" and "Irresistible Forces". Menn seems to have done a really good investigative job - he is a reporter after all - and includes people, perspectives, and histories that the other books don't mention at all. For instance, it turns out I've met someone who is mentioned in Menn's book but isn't in the other books. Menn interviews people who didn't invest in Napster, not just those who did. In other Napster stories, John Fanning is a father figure, and it ends there. Menn actually researches John Fanning's history, and it is ugly, complete with lawsuits and a police record. Other sources annoying tease us with hints of who Shawn Fanning's father is, and say he is a famous Boston-area musician. Menn tells us who he is - I'm from Boston, and I have never heard of the guy (Joe Rando).
Having read books, business press, law reviews, computer press, mainstream press, and other sources about Napster, I do think Menn does a very good job. Since I was not involved in Napster, I cannot say which versions, which stories, are true. Menn's work, however, gives a much richer picture of the company and the dealings within and around it than other sources I have read.

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Invent Your Own Computer Games with Python, 2nd Edition Review

Invent Your Own Computer Games with Python, 2nd Edition
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This book is totally appropriate for someone who has never programmed before. Everything is explained, right from the ground up, in a lively, interesting style which doesn't dumb things down.
In terms of the language Python, not all aspects of the language are described - only the parts that are absolutely necessary to know to create games. A reader who wants to learn more about programming should definitely start off with this book first, and then supplementing that with other books specifically about Python (or other programming ideas) if they find they have an interest in that direction.
Topics covered
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The first ten chapters do a brilliant job of leading the reader through the creation of many small games in the text console, which cumulatively cover all the basics of programming: variables, datatypes, expressions, strings and their methods, booleans and if statements, loops, functions, variable scope, lists, dictionaries, string formatting, ASCII. You will use these to create text games such as hangman and choose your own adventure.
Chapter 11 explains Cartesian co-ordinates and some arithmetic that will be used later on.
Chapter 12 to 15 then create one new game per chapter, using the techniques learned so far, adding a great description of how to create simple but effective artificial intelligence.
Chapters 16 to 18 then break out of the text console, using the pygame library to display a window with coloured rectangles, polygons, circles and bitmaps. It then covers methods of animating these images, reading the keyboard, basic 2D collision detection, reading the mouse, bitmaps and scaled sprites, and creating music.
The final chapter caps the whole thing off with a final big game that incorporates all the techniques discussed, with music and the works.
Overall, I can wholeheartedly recommend this book for it's target market: Kids who want to learn to program, specifically so they can create their own games. Adults who have never programmed before will also find it very useful, although there may be a couple of chapters they can skim over.
Inspirational and brilliant.

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"Invent Your Own Computer Games with Python" teaches you computer programming in the Python programming language. Each chapter gives you the complete source code for a new game and teaches the programming concepts from these examples.The book is available under a Creative Commons license and can be downloaded in full for free from http://inventwithpython.com"Invent with Python" was written to be understandable by kids as young as 10 to 12 years old, although it is great for anyone of any age who has never programmed before.This second edition has revised and expanded content, including using the Pygame library to make games with graphics, animation, and sound.

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Entertainment Law in a Nutshell (Nutshell Series) Review

Entertainment Law in a Nutshell (Nutshell Series)
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Sorry, I can't agree with the previous rave review.
The book focuses mainly on the movie, TV and music industries. Sports, theater, and, for the most part publishing and electronic gaming are ignored (though of course some focus is to be expected in such a short book). The point of view tends to be that of an attorney representing talent, rather than representing a producer, a studio, an investor, etc.
Prof. Burr's choice of emphasis is odd in many places. For example, she spends 10 pages discussing the privileges and perils of celebrity. Aside from mentioning that Kobe Bryant, Robert Blake and others have been involved in criminal cases, there isn't any mention of legal issues; it's more like a rather tame piece of tabloid journalism. As a result, it seems as if chunks of her book are intended for a popular audience, rather than the typical Nutshell audience of law students or practicing attorneys.
The legal content is very haphazard. If you weren't aware of guild agreements or music performance rights societies, you can learn about them in this book. Prof. Burr introduces some collateral topics such as bankruptcy and trusts and estates law when discussing how entertainers squander their wealth (though to be accurate, she discusses celebrity bankruptcies, rather than bankruptcy law).
On the other hand, entertainment finance and the related securities and corporate law issues never are mentioned. Yet movie lawyers, at least in L.A., actually tend to be quite sophisticated about these topics. Completion bonds aren't discussed at all. TV syndication is mentioned only in passing.
The rights of publicity and privacy are discussed only in the context of celebrities - though they apply to ordinary folks too. If you're buying someone's "life rights", or want to shoot a documentary or publish an interview, you might not know from this text that you need to worry about these subjects.
(In addition, the description of the Eastwood v. Superior Court case (Calif. Court of Appeal 1983) concerning the "right of publicity" is slightly misleading. This right is characterized as a "property interest ... grounded in state staututes, common law, and the federal unfair competition act" (p. 288). In California, the common law right is a component of the right of privacy and is definitely NOT a property interest. Nor is the original California statutory right (Civil Code Sec. 3344) a property right, as the heirs of Bela Lugosi found in a famous case. After that decision, the California legislature passed Civil Code Sec. 3344.1, relating to knowing violations of the right of publicity of a deceased person; it is only this stautory right that is a property right.)
The chapter on entertainment contracts is especially scattered. The movie section has a good discussion of case law concerning "pay or play" provisions, but then jumps around. There's a long discussion of publishing contracts, though the publishing industry isn't mentioned anywhere else in the book. The concept of "turnaround" - one of the great IP inventions of entertainment lawyers - is mentioned only tangentially (as a writer's right of reacquisition) and in a different part of the book; you'll never find it in the scanty index. Generally, contracts are discussed in terms of case law, rather than in terms of the documentation customary in typical deals. This point of view may be helpful for litigators, but definitely isn't a deal lawyer perspective.
A last chapter on globalization mentions piracy in Thailand ca. 1992, but has nary a mention of China (book was written in 2004). Localization, local content requirements and international distribution issues aren't addressed at all.
The book is also marred by bad proofreading and bad editing, with chunks of text being repeated verbatim within a few pages of each other (e.g., compare p. 227 with p. 244, and p. 246 with p. 247). In lieu of this book, I'd recommend you consult a "legal issues for laypeople" type of book that focuses on the particular industry you're interested in, such as Mark Litwak's books or Erickson et al. for the movie business.

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A basic but comprehensive survey of entertainment law, this Nutshell gives a big picture overview of the intellectual property, contract, publicity, estate planning, and First Amendment issues that contribute to the field. Professor Burr also addresses specific legal issues that arise in the film, music, and television industries, including discussion of the rise of reality television. This Nutshell can be assigned as a secondary text to accompany any entertainment law casebook, as the primary text for a seminar, or as background information for someone requiring an overview.

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The Complete Idiot's Guide to the Music Business Review

The Complete Idiot's Guide to the Music Business
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I have a youngster who is very interested in a career in music. He is still in high school and is currently in a band locally. None of the group in the band seem to have any idea of how to get it organized, or what they need to do to succeed. I read this book and it explains everything someone totally naive would need to know about the music business. It gives you more information than you can imagine, and it certainly let me help him see how complicated trying to become successful in a band can be. I found the book very easy to read, and lots of information.

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Instrumental in turning musicians into moneymakers. The Complete Idiot's Guide(r) to the Music Business is written for every musician who needs to learn the business of music, as well as for all businesspeople entering the music industry. Author Michael Miller covers all the key business topics and reveals the wealth of job opportunities in the music industry from a business perspective. •Covers finding an agent, negotiating contracts, publishing songs, collecting royalties, and promotion strategies •Also covers such nonmusician industry careers as artist management, concert promotion, music production, and radio •Features essential information on the new frontiers of electronic and online music

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