![]() It’s not an exhaustive guide, nor is it overburdened with audio science. In the current age, when just about every musician has access to multitrack recording and editing, Anderson’s book is sure to help point neophytes in the right direction. So I’m a musician-producer who wrote the book from a musician-producer point of view,” Anderson concludes. ![]() So as a musician, you’ve been on a session with five guys trying to get a basic track, you’ve been in overdub mode, you’ve been in rehearsal mode, you’ve been in preproduction mode. That’s the guy who did sessions and spent a lifetime out on the floor while guys talked about him behind the glass. “Then there’s the musician-producer, which is what I am. “The second one is an engineer-producer, who is someone that has engineering skills and has some musical skills and usually becomes aligned with a band member who has a bunch of musical skills and is a writer. He could sit down and talk to Benny Goodman, and he could play music from all eras, and he could talk about certain things that were going on. He was a record collector, so he could talk – educated – with musicians about records, because he listened to all the genres. ![]() John Hammond Sr., who signed Bessie Smith, Bob Dylan, Bruce Springsteen, blah, blah, blah, he’s got the greatest batting average of any producer / A and R guy in the history of music. “There are three types of producers,” he explains, “One is a musicologist. Speaking from his home base in Los Angeles, Anderson answers the question previously posed. ![]()
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