Comprehensive List of Books Relating to Music Production and Creative Growth

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On Composition:

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Making Music: 74 Creative Strategies - Dennis DeSantis
Amazon Link
This is a fantastic book. Each page has a general idea on boosting creativity, workflow, and designing sounds and tracks.


Music Theory for Computer Musicians - Michael Hewitt
Amazon Link
Really easy to digest book on music theory, as it applies to your DAW. Each DAW is used in the examples, so it is not limited to a specific program. Highly recommend this for someone starting out with theory to improve their productions.


Secrets of Dance Music Production - David Felton
Amazon Link
This book I recently picked up and so far it's been quite good. It goes over all the different elements of what make's dance music, and get's quite detailed. More geared towards the beginner, but it was engaging nonetheless. It is the best 'EDM specific' production book I have read.


Ocean of Sound - David Troop
Amazon Link

Very well written and interesting book on ambient music. Not only does David go over the technical side and history of ambiance and musical atmospheres, he speaks very poetically about creating these soundscapes and how they relate to our interpersonal emotions.


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On Audio Engineering:

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Mixing Secrets for the Small Studio - Mike Senior
Amazon Link
In my opinion, this is the best mixing reference book for both beginners and intermediate producers. Very in-depth book that covers everything from how to set-up for accurate listening to the purpose of each mixing and mastering plug-in. Highly recommended.


Zen and the Art of Mixing - Mixerman
Amazon Link
Very interesting read in that it deals with the why's more than the how's. Mixerman, a professional audio engineer, goes in detail to talk about the mix engineer's mindset, how to approach projects, and how to make critical mixing decisions. Really fun read.


The Mixing Engineer's Handbook - Bobby Owinski
Amazon Link
This is a fantastic companion book to keep around. Not only does Owinski go into great technical detail, he includes interviews from various audio engineers that I personally found very helpful and inspiring.


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On the Industry:

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All You Need to Know About the Music Business - Donald S. Passman
Amazon Link
This book is simply a must read for anyone hoping to make a professional career out of music, anyone wanting to start their own record label, or anyone interested in how the industry works. It's a very informative book for any level of producer, and is kept up-to-date with the frequent revisions. Buy it.


Rick Rubin: In the Studio - Jake Brown
Amazon Link
Very interesting read that is a semi-biographical book on Rick Rubin. It is not so personal as it is talking about his life, experiences, and processes. It does get quite technical when referring to the recording process, but there are better books for technical info. This is a fun read on one of the most successful producers in history.


Behind the Glass - Howard Massey
Amazon Link
A collection of interviews from a diverse range of musicians who speak about creativity, workflows, and experiences in the music industry. Really light, easy to digest book.


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On Creativity:

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The War of Art - Steven Pressfield
Amazon Link
This is a must-read, in my opinion, for any creative individual. It is a very philosophical book on dealing with our own mental battles as an artist, and how to overcome them. Definitely pick this one up, all of you.


This is Your Brain on Music - Daniel S. Levitin
Amazon Link
A book written by a neurologist on the psychology of music and what makes us attached to it. It's a fairly scientific book but it is a very rewarding read with some great ideas.


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On Personal Growth and Development:

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How to Win Friends and Influence People - Dale Carnegie
Amazon Link
Although this seems like an odd book for a music producer, personally I think this is one of the most influential books I've ever read. Knowing how to be personable, effectively network, and form relationships is extremely important in our industry. Whether it be meeting and talking to labels, meeting other artists, or getting through to A&R, this book helps with all these areas and I suggest this book to all of you.


7 Habits of Highly Effective People - Stephen R. Covey
Amazon Link
Similar to the recommendation above, although not directly linked to music, I assure you reading this book will change your views on life. It is a very engaging and practical book, and gets you in the right mindset to be successful in your life and music career. Trust me on this one and give it a read.


Flow: The Psychology of Optimal Experience - Mihaly Csikszentmihalyi
Amazon Link
You know the feeling when you're really in the groove of jamming out and all worries tend to slip away for those moments? That is the 'Optimal Experience' according to the author. This book will teach you about that experience, and how to encourage and find it in your work. This is a very challenging, immersive, and enlightening read, which deals with the bigger picture and finding happiness in your work and life. Very inspiring book that puts you in a good mindset when you're doing creative work.


The Art of Work - Jeff Goins
Amazon Link
A very fascinating book that looks at taking your passion (music in our case) and making the most of it. It guides you on how to be successful and turn your passion into your career. Some very interesting sections touching on dealing with failure, disappointment, and criticism, yet listening to your intuition and following your passion. Inspiring and uplifting book to say the least.


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Happy reading!

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The golden days of tone. 2" Studers, Neve's, Neumann's, Pultec's, Teletronix and UREI's. Serious dudes using serious gear like scientists. Still going on today minus the tape to a great degree.

You might like this:

https://www.amazon.com/Behind-Glass-Record-Producers-Craft/dp/0879306149

Well, I'll give you an extended answer.

The benefit to waiting to add effects is obvious, you can add them with more control later. There is a certain appeal in certain projects to lend to this thinking. However, one should not avoid committing to an idea, and certainly shouldn't limit the scope to effects that can be applied this way.

Listen to records from Britian. Listen to What's the Story Morning Glory from Oasis. Man, those guys would commit! If you like the absurd amount of verb on the vox, you printed that shit! American engineers historically haven't used that kind of style as a rule.

The answer is that there is no answer. But my personal experience is this: If It sounds good, track it. If some weird delay on a guitar sounds awesome, print it. Ever use a Dan Echo from Danelectro? To my ear, no other delay sounds like it. Not on a rack, not in a pedal, not in a plugin. So, if you like it, grow a pair and risk making a mistake. I've made a few, but I've had plenty more successes by feeling free to experiment.

I'm going to recommend a reading for you:

https://www.amazon.com/Behind-Glass-Record-Producers-Softcover/dp/0879306149/ref=sr_1_1?ie=UTF8&qid=1465499150&sr=8-1&keywords=Behind+the+Glass

There is also a 2nd edition. This is interviews from some of the top producers and engineers. This dude went and scored interviews with some of the most famous people to ever grace our ears with their work. That having been said, times have indeed changed. But this is certainly a starting point.

Mics- 414s are fantastic mics no doubt. But there are many,many other more affordable options out there that are competitive in quality. I'd suggest checking out some higher end MXLs, they are super versatile and pretty too.

don't worry about thunderbolt. people were recording low latency drums and etc....long before thunderbolt came out.

monitors...well, the NS10s are pretty standard. if you can make a mix sound good on those it will sound good on anything.every major studio but one (studio a in dearborn) I've been in has them. If you are really burning for something new I'd suggest some genelic 1030a there the older model but they were used on pretty much every hit song in the early 2000s. Everybodys got them. I know the speakers and trust thier response. and they're affordable.

preamp- This is where I personally invest the most money... there are as many preamps as snowflakes. I like the Focusrites ISAs, Rupert Neve designs, go high end... but honestly I have been fooled by the stock original MBOX pres. You're not a true engineer till you have fiddled with a non functioning micpre and thought "that sounds better" lol.

compressers- plug in compressors are great. which is why i suggest spending the money on the preamp. however it never hurts to have a hardware tube compressor/limiter handy. I recommend the ART VLA II.

plugins- trident EQ, fairchild 660, old timer, PSP vintage warmer, 1176, LA2A, smack!, MC77, there are a TON of good plug ins to choose from.

headphone monitoring? Not to sure about that one, Headphones are for performing only. I have the 80 dollar sonys for clients. ,they come with a nice bag to store them in. I don't mix with headphones( thats a whole can of worms dealing with psychoacoustics)

drum mics- shure makes good durable kits, I see them in use all over the place. CAD aren't to bad either. don't go cheap..but don't go overboard either. Approach it like preamps, go with a trusted brand name, they're selling a set of mics specifically for drums, kinda hard to fuck that up right? (IMO its more important to have a good room.)
this kind of reminds me of a joke.

how many drummers does it take to change a lightbulb?
none. they have machines for that now. just throwing it out there.

computer and software- I say go protools. but thats all i know, i was certified in 2002 and havent had a need for anything else. I have never been in a studio that wasnt using it, there are a couple in nashvile that use sonar...well, that was a few years ago.

I am not here to shit on mac. but i have used both in the industry throuought the years and they both perform fine. The last studio I was at used a quadcore w 4 gigs on XP with PT8 and never had so much as a hiccup, recording 24 tracks at once @ 24/96. I take the policy of if it isnt broken, don't fix it. I also have a person issue with avid, I refuse to upgrade to 9 or 10 because they allow any interface to be used...except there older ones. bullshit.

Trust me on this one...the client isnt going to give a shit what OS you are using until it your computer crashes. if you load up your computer with tons of cracked plugins and have poor organization and maintenance, its gonna take a shit on you.

further reading- this is probably the most important advice i can give you. read a little bit and get a total understanding on what everything does, because there is a lot of bullshit in this field.

http://www.amazon.com/Mixing-Engineers-Handbook-Audio-Series/dp/0872887235

http://www.amazon.com/Sound-Reinforcement-Handbook-Gary-Davis/dp/0881889008/ref=pd_sim_b_10

http://www.amazon.com/Master-Handbook-Acoustics-Alton-Everest/dp/0071603328/ref=sr_1_1?s=books&ie=UTF8&qid=1348852030&sr=1-1&keywords=room+acoustic+music

http://www.amazon.com/Behind-Glass-Record-Producers-Softcover/dp/0879306149/ref=pd_sim_b_24

good luck

[Do Not Sell At Any Price: The Wild, Obsessive Hunt for the World's Rarest 78rpm Records] (http://www.amazon.com/Not-Sell-Any-Price-Obsessive/dp/1451667051/ref=sr_1_1?ie=UTF8&qid=1419696428&sr=8-1&keywords=do+not+sell+at+any+price)

Behind the Glass: Top Record Producers Tell How They Craft the Hits

Hit Men: Power Brokers and Fast Money Inside the Music Business

Chronicles: Volume One

Waging Heavy Peace: A Hippie Dream

Hitman: Forty Years Making Music, Topping the Charts, and Winning Grammys

How Music Works

Hey. There is nothing anyone can tell you that will turn you into a producer in a day. As people have said, its mainly practice, experimentation, and research.

Read the manuals for your hardware.

Play around in Logic. If there are options/tools/effects/instruments you dont know how to use, do some reading. The DAW/studio is an instrument in itself. Like any other instrument, its going to take alot of study and practice to produce a great sound. Well worth the effort though.

Get this book: (http://www.amazon.co.uk/gp/product/0879306149?*Version*=1&*entries*=0)

Its great

I really enjoyed the book Behind the Glass. Have not read the second one yet, but here's a link to the first:

http://www.amazon.com/Behind-Glass-Record-Producers-Softcover/dp/0879306149/ref=sr_1_1?ie=UTF8&qid=1368636606&sr=8-1&keywords=behind+the+glass

Wouldn't hurt to give producing a shot. Having good studio vibe is important for engineers or anyone who works any job in a studio setting. Producing other people's music is a fast track to learning that. Not to mention building a good network. You could get a crack at mixing the artists track to which is great practice.

If I remember correctly the books that head the most impact for me were:

http://www.amazon.com/Critical-Listening-Skills-Audio-Professionals/dp/1598630237

http://www.amazon.com/Mixing-Audio-2e-Roey-Izhaki/dp/0240522222

http://www.amazon.com/Behind-Glass-Record-Producers-Softcover/dp/0879306149

The Behind the Glass series isn't exactly centered on mixing/recording but offers some detailed perspectives from some notable producers. I'm reading through the first one and they talk a good deal about their mixing philosophies, mic placement, and how to get the best take possible from their artists. Pretty good stuff so far.

http://www.amazon.com/Behind-Glass-Record-Producers-Softcover/dp/0879306149/ref=sr_1_1?ie=UTF8&qid=1420423311&sr=8-1&keywords=behind+the+glass

Tons of bands have been working and touring for years not worrying about record labels. There's only a select few that go that route. You make your money on the door and the merch table.

As for recording, if you have a great song and perform it well, a so-so recording won't matter. Most indie albums these days sound like crap. So did early punk stuff. So what.

I have good vintage gear mixed with modern digital stuff and the only limit is me. It's 2010. Anyone can make a good sounding album if the right people help you mix and master.

He's great, he's got tons of cred, but some of his opinions reflect a different era. The Neumann comment is stupid.

I don't get anything out of his criticisms. I get a lot from reading interviews with the great engineers/producers.

1. song
   
2. performance
   
3. recording
   
   This book was extremely helpful to me. I read it as I was learning.
   
   http://www.amazon.com/Behind-Glass-Record-Producers-Softcover/dp/0879306149
   
   
   

Thank yuou! https://www.amazon.com/Behind-Glass-Record-Producers-Craft/dp/0879306149