| Description |
xix, 143 pages ; 24 cm |
| Note |
Originally published: 2005. |
| Bibliography |
Includes discography (pages 119-123) and bibliographical references (pages 125-129) and index. |
| Summary |
"In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate electicism of George Martin's recordings of the Beatles did not resemble live performances--in the Albert Hall or elsewhere--but instead created a new sonic world. The role of the record producer, writes [the author in this book]...was evolving from that of organizer to auteur. Moorefield, a musician and producer himself, traces this evolution with detailed discussions of works by producers and producer-musicians including Spector and Martin, Brian Eno, Bill Laswell, Trent Reznor, Quincy Jones, and the Chemical Brothers. Underlying the transformation, Moorefield writes, is technological development: new techniques--tape editing, overdubbing, compression--and, in the last ten years, inexpensive digital recording equipment that allows artists to become their own producers.... [This book] tries to unravel the mystery of good pop: why does it sound the way it does?"--From publisher description. |
| Contents |
From mirror to beacon -- The studio as musical instrument -- The producer takes center stage. |
| Subject |
Popular music -- Production and direction -- History.
|
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Popular music -- Production and direction. |
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History. |
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Popular music. |
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Popular music -- Analysis, appreciation.
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Popular music -- Analysis, appreciation. |
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Sound recordings -- Production and direction -- History.
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Sound recordings -- Production and direction. |
| Other Form: |
Online version: Moorefield, Virgil, 1956- Producer as composer. Cambridge, Mass. : MIT Press, c2005 (OCoLC)654368854 |
| ISBN |
0262134578 hardcover alkaline paper |
|
9780262134576 hardcover alkaline paper |
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