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Producer as Composer

Producer as Composer In the s 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 art

  • Title: Producer as Composer
  • Author: Virgil Moorefield
  • ISBN: 9780262514057
  • Page: 159
  • Format: Paperback
  • 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 eclecticism of George Martin s recordings of the Beatles did not resemble live performances in the Albert Hall or elsewhere but instead created aIn 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 eclecticism 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 Virgil Moorefield in The Producer as Composer, was evolving from that of organizer to auteur band members became actors in what Frank Zappa called a movie for your ears In rock and pop, in the absence of a notated score, the recorded version of a song created by the producer in collaboration with the musicians became the definitive version.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 What began when rock and pop producers reinvented themselves in the 1960s has continued Moorefield describes the importance of disco, hip hop, remixing, and other forms of electronic music production in shaping the sound of contemporary pop He discusses the making of Pet Sounds and the production of tracks by Public Enemy with equal discernment, drawing on his own years of studio experience Much has been written about rock and pop in the last 35 years, but hardly any of it deals with what is actually heard in a given pop song The Producer as Composer tries to unravel the mystery of good pop why does it sound the way it does

    • Best Read [Virgil Moorefield] ↠ Producer as Composer || [Fantasy Book] PDF ✓
      159 Virgil Moorefield
    • thumbnail Title: Best Read [Virgil Moorefield] ↠ Producer as Composer || [Fantasy Book] PDF ✓
      Posted by:Virgil Moorefield
      Published :2018-05-16T02:20:54+00:00

    1 thought on “Producer as Composer

    1. I first heard of Virgil Moorefield through his music. He had a CD out called 'Distractions On The Way To The King's Party' back in the early 2000s. A while back, I saw a reference to this book and I decided to give it a read. I'm glad I did.The thesis of the book is that as recording technology has progressed, producers have become artists in a very literal sense. He walks through the history of recording and makes note of some greats along the way: Berry Gordy, Brian Eno, Bill Laswell, Trent Re [...]

    2. A short history of the evolution of the role of music producer in popular music. The author takes a look at successful music producers and their evolving techniques since the 50's, and especially how new technologies have driven a shift in the role of producer in the studio, culminating in the current state of the art where the job of studio engineer, composer, producer, and performer are sometimes rolled all into one person. There are interesting case studies presented here of some well known s [...]

    3. Short essay on what modern listeners knew intuitively for years: that recorded music for the last half-century has always been an elaborate sonic construction, not just a musical composition or performance per se. More to come at konichiwa witches, home.earthlink/~cumulo-nim

    4. A really informative look at exactly what a producer does in the studio. Takes a brief tour through the history of rock music (the usual suspects: Phil Spector, Brian Wilson, George Martin, Frank Zappa, even Trent Reznor) and takes apart a key, representative track for each. Recommended for the geeks!

    5. Wish there was more of a philosophical investigation into what it means for the producer to be a composer, but as it is, this is still a very good monograph.

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