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Behind the Glass: Top Record Producers Tell How They Craft the Hits (Englisch) Taschenbuch – 28. September 2000


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Produktinformation

  • Taschenbuch: 330 Seiten
  • Verlag: Backbeat Books (28. September 2000)
  • Sprache: Englisch
  • ISBN-10: 0879306149
  • ISBN-13: 978-0879306144
  • Größe und/oder Gewicht: 18,5 x 2 x 23,4 cm
  • Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen  Alle Rezensionen anzeigen (2 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 45.043 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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Produktbeschreibungen

Synopsis

Veteran journalist and record producer/engineer Massey provides inside stories packed with trade secrets from recording masters. He takes the reader into the studio with about 30 top producers who have worked with the most famous major artists. They share tips and techniques on such topics as selecting and placing mikes, choosing the right key for

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In diesem Buch (Mehr dazu)
Einleitungssatz
Get five producers in one room you'll get five different approaches to making records. Lesen Sie die erste Seite
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9 von 9 Kunden fanden die folgende Rezension hilfreich Von Michael Schmidt am 26. Mai 2003
Format: Taschenbuch
Ein Buch für Profis und Amateure gleichermaßen. Hier wird nicht mit Technischen Ausdrücken um sich geworfen und nicht gefachsimpelt, Die Interviews geben einen Einblick in die Arbeitsweise der Profis, die so den ein oder anderen Trick Preisgeben. Von der Mikrofonierung bis zum Mixdown enthält das Buch immer wieder Anregungen, verschiedene Techniken einmal auszuprobieren. Leicht verständliches Englisch und für den Studio Interessierten wirklich spannend. Mal ein anderes Buch, ohne Formeln, Gleichungen und Diagramme.
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8 von 10 Kunden fanden die folgende Rezension hilfreich Von Ein Kunde am 19. Juli 2004
Format: Taschenbuch Verifizierter Kauf
Eine Reihe erfolgreicher Produzenten lässt Gemeinplätze zu ihrer Arbeitsweise vom Stapel. Keine neuen Erkenntnisse für jemand, der professionell damit zu tun hat, aber zuweilen interessant wenn man die betreffenden Produktionen im Ohr hat, und interessant ist auch, wie gegensätzlich verschieden die Audioprominenz die Fragen der Produktionstechnik sieht. (analog vs. digital / EQ vs. Mikrofonierung etc...)
Wer sich davon eine Vielzahl geheimer Tips und Tricks verspricht, mit der das Buch beworben wird, der liegt eher daneben: was für den Studioalltag rüberkommt ist mau.
Dazu stören mich der schlechte Stil des Autors und der, am Inhalt gemessen, hohe Preis.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)

Amazon.com: 33 Rezensionen
27 von 29 Kunden fanden die folgende Rezension hilfreich
Massey brings legends to your living room 6. November 2000
Von Ron Simpson - Veröffentlicht auf Amazon.com
Format: Taschenbuch
When I first saw BEHIND THE GLASS, by Howard Massey, I began turning its pages immediately. Publisher Miller-Freeman, it seems to me, has sort of seized the initiative in releasing great new music-industry titles that appeal to the targeted up-and-coming musician as well as veteran industry observers, teachers, and researchers. Author Howard Massey presents his material in interview format, sometimes with individual U.S. and British engineers and producers, and sometimes in a group setting (East coast panel, West coast panel, for example). He obviously has both great access to and an easygoing credibility with hit-making engineers and producers, because the questions are good, the answers are candid, complete, and casual. (If I sound vague about Massey, it's because I haven't bumped into him and the book contains no "about the author" blurb, a disappointing omission.) The book is being marketed briskly to college and trade-school recording programs, so--will this book teach you recording? No, you must still learn the basics from a good class setting, or a mentor, or in a self-directed experience with a different class of book than this (Runstein, Wadhams, and Woram are among the classic recording-text authors). But don't think I'm diminishing the value of this new book: it reads fast, and Massey brings all these legendary names into your living room, making them acquaintances, colleagues, friends--sharing shoptalk, suggesting both general methods and personal trade-mark techniques. Here's a bit of detail I gleaned from Behind the Glass: I bought James Taylor's Hourglass CD in Cape Town, South Africa a couple of years ago on a day when I needed to hear some mellow American music, and found myself entranced with the recording quality. I made a mental note to associate those great rich sounds with engineer Frank Filipetti. Later that same year Hourglass won a grammy as best recorded album-no surprise to me-but I honestly had no idea, until reading Massey's interview of Filipetti, that Hourglass was essentially recorded on hastily-assembled project studio gear on Martha's Vineyard. My respect for Filipetti went from huge to immense. Behind the Glass is excellent for prospective engineers or producers, for teachers of recording, or anyone with technical insight who is involved or interested in the recent history of pop music production. Ron Simpson, School of Music, Brigham Young University. Author of MASTERING THE MUSIC BUSINESS.
31 von 34 Kunden fanden die folgende Rezension hilfreich
Great resource, but how does it rate for up-and-comings...? 5. Januar 2001
Von Scott Woods - Veröffentlicht auf Amazon.com
Format: Taschenbuch
The other really good reviews tell you what you want to know about the logistics of the book. I want to talk about whether or not an up-and-coming musician/producer/composer can use the book in their daily work and professional lives to any useful extent.
My quick answer is absolutely. It's chockful of great interviews with unquestionable legends in the field. We always hear about the artists and get these clunky, chopped up interviews in magazines with them about what it took to make the record ("I had a dream", "My contract was about up", "It's an homage to field mice", etc.), but we rarely get such an in-depth look at who REALLY makes these artists SOUND they way they do. There's a ton of stuff about the gear they use, how they use it and why they use it.
The slant of the book is a little high-end, which is understandable, considering the professional level of the producers we're talking about here, so the average joe in their bedroom or basement studio may find the discussions about $10,000 microphones a bit overwhelming and useless, but the theories about how they're used and what environments (an aspect of recording SADLY bypassed by big and small name studios alike) they're striving to create are invaluable, and can be applied everywhere.
If you're an aspiring artist, get it because it will tell you where the lines are in your working relationships with these people, and help you help yourself instead of looking at the studio clock with 6 more tracks you'd like to lay. If you're a session musician, you'll probably find it useful when the discussions turn to getting good sounds out of your instruments in various environments. And if you're an aspiring producer, you HAVE to get it. It's your guide through ego, business and the nature of what you wish to do.
13 von 14 Kunden fanden die folgende Rezension hilfreich
Learning From The Masters 15. Oktober 2000
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format: Taschenbuch
If you're a musician, an aspiring engineer/producer or are into any aspect of audio, you'll find this book absolutely fascinating. The author obviously knows his stuff (he's a producer and engineer himself, and a well-known writer in EQ magazine), and by asking probing and detailed questions, Massey has managed to get the world's top record producers to spill the beans about every aspect of how they make hit records, and he's also successfully captured the essence of their personalities. Each of the big names in the business -- George Martin, Brian Wilson, Alan Parsons, Phil Ramone, Arif Mardin, George Massenburg, even the usually reticent Geoff Emerick (who engineered Revolver, Sgt. Pepper and Abbey Road) get a full chapter, and there are two absolutely hilarious panel discussions as well. Equal time is given to top American and English producers, and I especially liked the section called "Young Guns," in which younger, up-and-coming producers (like Walter Afanasieff, Chuck Ainlay, Danny Saber and Sylvia Massy) get a chance to present their views. All in all, this is a truly exceptional, eminently readable book. If you've got a son, daughter, nephew or niece who's into music, this will make the perfect stocking stuffer.
6 von 6 Kunden fanden die folgende Rezension hilfreich
"BIG LEAGUE CHATS" 19. März 2001
Von CARLOS RUIZ DE MENDOZA - Veröffentlicht auf Amazon.com
Format: Taschenbuch
Definitely this book will guide you through numerous interviews with some of the big names in production, from the producer/arranger to the producer/engineer to the producer/musician. You'll get an idea of how this monsters of the industry work and some of them will reveal some of their techniques. There is no secret formula in this book that will allow you hit success after been read, but it will definitely give you an average idea of how things can be achived."Behind the glass" will make you travel from the 60's to the 90's, with artists like The Beatles, Led Zeppelin, Alanis Morisette, David Bowie and lots more. Some of the technical stuff could be a none-sense for beginners, on the other hand there is a lot of good tips for the home studio musician. This is a book to have on your bookshelves it will make worth your money.
5 von 5 Kunden fanden die folgende Rezension hilfreich
Great resource for wanna be Producers & Engineers 8. März 2007
Von MusicMaven - Veröffentlicht auf Amazon.com
Format: Taschenbuch Verifizierter Kauf
This book is a collection of interviews by some of the best engineers and producers in the business. The content within the interviews reflect the personality of the person being interviewed, which makes for a great balance between those that love techspeak and those that need to understand the soft skills involved in capturing killer performances by artists. Topics covered include the differences between US based engineers and producers vs. their UK counterparts (the latter prefers to print effects to tape directly if things are working.) Another set of questions the interviewer regularly asks are related to project/home studios and the comparisons between the those environments vs high end studios. The responses are candid and enlightening.

If I could sum up best info in the book is that ALL of the interviewees restate the same thing- there are tons of variables but critical to great recording results falls mostly to good mics and the use of dedicated mic pre amps.

Other takeaways:

- Rooms obviously color the flavor of the recording

- Mic placement varies as much as the choices of mics

- Digital vs. analog debate still continues, but good recordings fundamentally result from choosing technologies that you believe are the magic sauce to laying good tracks and understanding their weaknesses to compensate accordingly

- Capturing a great performance is far more important than technically perfect recordings

This is another book that provides more fuel for your gas tank!
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