00863nam0-2200253 --450 991085469680332120240530095347.020240530d1930----kmuy0itay5050 baitaIT 001yy<<La >>nuova legge sul fallimento concordato preventivo e piccoli fallimentiillustrata con i lavori preparatori a cura [di]. U. Cosentino e G. SchiròRomaTipografia della Camera dei Deputati ditta Carlo Colombo193060 p.21 cmCosentino,UbaldoSchirò,GiuseppeItalia070423419ITUNINAREICATUNIMARCBK9910854696803321DPR 1 107965DECDECNuova legge sul fallimento concordato preventivo e piccoli fallimenti4159348UNINA07883nam 22005771 450 991095546860332120251020151707.00-19-935932-60-19-992172-50-19-992173-3(CKB)2550000001118745(StDuBDS)AH25563572(Au-PeEL)EBL3055630(CaPaEBR)ebr10767062(CaONFJC)MIL519218(OCoLC)922972660(OCoLC)858861590(FINmELB)ELB163391(MiAaPQ)EBC3055630(EXLCZ)99255000000111874520130924d2013 uy 0engur|||||||||||rdacontentrdamediardacarrierThe art of music production the theory and practice /Richard James BurgessFourth edition.New York :Oxford University Press,2013.1 online resource (352 pages)Previous edition: 2005.0-19-992174-1 1-299-87967-5 Includes bibliographical references and index.Cover -- Contents -- Preface -- Introduction -- SECTION ONE: The Theory -- 1. Types of Music Producers -- Functional Typologies -- Subset Typologies -- In Summation -- Analogous Structures -- Leadership Styles -- SECTION TWO: The Practice -- 2. Becoming a Music Producer -- How Do You Become a Music Producer? -- Examples of Producers from Different Backgrounds -- Qualifications and Training -- 3. Being a Music Producer -- The Day-to-Day Responsibilities and Process -- Some Session Specifics -- Which Method Makes a Better Record-Live, Overdubbed, or Computer? -- What Are "They" Going to Expect of You? -- 4. What Are the Timeless Ingredients in a Hit? -- The Song (or Material) -- The Vocal -- The Arrangement -- The Performance -- The Engineering -- How Important Is the Mix? -- Timeliness -- The Heart -- Are There Exceptions to These Rules? -- 5. What Can You Expect from a Career as a Producer? -- How Is Your Health? -- Why Do A&amp -- R People Hire You? -- Branding, Marketing, and Sales -- 6. Managers -- What is the Definition of the Term "Manager"? -- What Does a Producer Manager Do? -- What Does a Manager Cost? -- Do They Earn Their Percentage? -- How Do You Make Sure You Receive All the Money Due to You? -- Could You Lose Work to Other Producers on the Manager's Roster? -- How Do You Define "Best Manager" for You? -- How Can You Find Such a Person? -- How Do You Persuade Them to Take You On? -- Business Managers -- 7. The Producer's Relationships -- With the Artist -- What about Drugs and Alcohol? -- What Do You Do When the Artist Becomes Difficult? -- What Do You Do When the Record Company Is Unhappy? -- What Do You Do When the Artist's Manager Is Difficult? -- 8. Lawyers -- What Are the Issues? -- What Can Be Done to Protect Producers? -- 9. Challenges and Controversies -- Differences of Opinion -- How Much Loyalty Can You Expect?.Final Word on Loyalty -- 10. Success and Money -- How Are Producers Paid? -- How Much Can a Producer Make? -- Where Can Income Come From? -- How Many Producers Make Millions? -- The Terms -- Do Producers Earn Their Percentage? -- Major versus Independent Labels -- How Will Producers Make Money in the Future? -- Can You Increase Your Chances of Success? -- Credits -- What Is the Secret to Longevity? -- Add Entrepreneur to Your Portfolio -- 11. Why Are There So Few Women Producers? -- What We Know -- Some Women Producers in History -- Women Producers Today -- Inconclusive Conclusion -- 12. Frequently Asked Questions -- How Much Is Learned -- How Much Is Natural Ability? -- How Do You Pick the Right Project? -- Should You Share in Songwriting Royalties? -- New versus Established Artists? -- What Is Involved in Being an Independent or Freelance Producer? -- What About Being a Staff Producer? -- What Are the Best Moments? -- Can You Successfully Genre-Hop? -- How Stable Is a Producer's Career? -- How Does a Production Career End? -- Making Plans and When? -- What Do Producers Do When Work Starts to Slow Down? -- Why Do People Want to Produce Records? -- Do You Know When You Have Produced a Hit? -- How Do Producers Feel about Mixers and Remixers? -- What's the Mixer's Viewpoint? -- What Is the "Sophomore Slump"? -- Digital versus Analog? -- 13. Working outside the Mainstream -- Classical -- Jazz -- Country -- Traditional, Folk, Roots, and World Music -- Children's Music -- Local and Regional Producers -- 14. Where Are We? How Did We Get Here? Where Are We Going? -- Will Mobile Modify the Internet that Crippled Cable but Vivified Video, which Killed the Radio Star? -- How Did We Get Here? -- The Revolution Continues -- What Does this Mean to the Professional Music Producer? -- Where Are We Going? -- Revenue Streams Are Multiplying.Will We Even Need Labels in the Future? -- Charts -- Marketing -- Will Music Producers Survive the Revolution? -- 15. Conclusion: What If? -- The Final Cut -- Notes -- Glossary -- Bibliography -- About the Author -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Z.This reference guide includes advice on getting started as a producer, dealing with artists, record companies and lawyers, and managing a career in the music business. It also looks at new technologies and techniques.Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer.Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published," Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. Thesecond part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The bookis packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shiftthat has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to thetopic.Sound recording industryVocational guidanceSound recordingsProduction and directionSound recording industryVocational guidance.Sound recordingsProduction and direction.781.49023Burgess Richard James1698915MiAaPQMiAaPQMiAaPQBOOK9910955468603321The art of music production4446008UNINA