The Producer as Composer: Shaping the Sounds of Popular Music

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 the 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 Reznor, Quincy Jones, and the Chemical Brothers etc. The anecdotes and analysis are on target.This is an incredibly well researched and well written book. If I have any complaint at all it is that he repeats his points a bit too often, but that is a minor nit.The analysis sections of various tracks are wonderful, by the way. I had no idea how much intricacy many of those tracks contained in terms of production. Moorefield's ear as a musician, experience and knowledge of theory make the entire thing a very enjoyable read.I only wish his analysis included some of the current performer/producers who have surfaced as one-man bands since the book's publication in 2005. They seem to the the culmination of the trend.

If you are an aspiring producer, audio engineer, or songwriter, this book is amazingly insightful. I used this as a resource for a final graduate level project in songwriting and producing. The look into how songwriters are using the studio as a writing tool is great. Don't skip this book, it is a short, easy read that is packed full of invaluable knowledge.

A great book for people wanting to understand the basics of record production and how it ties in with music composition.There has been a strong trend lately for the composer to be a musician, engineer, arranger, producer... of their music.This is a good book for music students or anyone who would like to understand modern music production.

It's very insightful and open your eyes to the studio magic that goes on behind closed doors. A must-read for all

Mr, (Dr.??) Moorefield has collected a lot of research and experience into the process of production. Aside from some editorial errors, it's a good, quick read that warrants re-reading.

Very useful for my essay on the changing role of the producer in the digital age. Moorefield doesn't cite very much which is a bit of a downfall if you are using this book as a starting point for research.

This book sheds light on the often mysterious role of the producer and its development over the last century or so. Very well written.

I got this book for my son for Christmas.I didn't read it myself but he said he enjoyed it. Very informative.

The book is structured in a wholly linear fashion and written according to academic convention. It is therefore somewhat dry, which is at odds with the lushness of the subject. Nevertheless, it is rich in facts, anecdote and analysis, which makes it an easy and entertaining read, although only those coming to the subject for the first time will not already be familiar with some of the material. The author's deep interest in and passion for the means of production of popular music is apparent. It perhaps comes over best in the minutely detailed analysis of Michael Jackson's Billie Jean. Although it is not particularly my favourite music, Moorefield's writing made me dig it out - vinyl, not MP3, mind you - so that I could verify his observations. Fascinating, but anoraks are mandatory.Although not published until 2005, the bulk of the book is given over to late Fifties to mid Nineties music. Because of this, it largely ignores the rise of cheap, computer-driven technology in popular music. The development of low cost but extremely powerful production technology, which allows anyone so inclined to become a musician/producer/whatever, in parallel with the huge reach of web-based distribution has created a situation where recorded music is in such profusion that its average price is rapidly tending to zero. The implications of this for popular music are fast becoming apparent, and it would have been very interesting to read Virgil Moorefield's thoughts on this topic. A sequel, perhaps?

I have read this book through my undergrad and postgrad many times, it's on many of the references for most of the modules and when you read it you know why. A bit of history and inspiration.

This is a truly excellent study of the role of the producer in pop music. The book works for me on two levels. First, I teach muisc in a college which has a music industry program where students learn to be recording engineers and producers, and I am a perfroming jazz drummer and vibraphonist.The main theme of the book is that what goes on in a recording studio has more to do with the producer than with the performers. The producer is responsible for the final product and so the producer and not the performer chooses how the recording will be made, what technology to use and how to use it and how to mix the final product.Different producers have different approaches and different styles. So when buying a record, if you are looking for a specific sound, do not look at the performer's name. Look for the producer's name.As a performer I always fight with producers and engineers since they want to change the sound of my drums to fit their technology. My standing line is: How do you make a $5 000 drum set sound like a $500 drum set? The answer is: Give it to a sound engineer or a producer. The reason for this is that engineers and producers do not necessarily understand music or how different instruments produce their sounds, so instead of using the appropriate technology, they alter the sound of the instrument.In summary, this book gives a clear picture of the role of the porducer and why the porducer has become so important.

un libro muy actual que explica los procesos relacionados con la producción musical, en boca de sus protagonistas