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Good Vibrations: History of Record Production (Sanctuary Music Library)
 
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Good Vibrations: History of Record Production (Sanctuary Music Library) (Paperback)

by Alan Parsons (Foreword), Brian Eno (Foreword), Mark Cunningham (Author)
3.0 out of 5 stars See all reviews (2 customer reviews)

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Product details

  • Paperback: 440 pages
  • Publisher: Sanctuary Publishing Ltd; 2nd Revised edition edition (15 Mar 1999)
  • Language English
  • ISBN-10: 1860742424
  • ISBN-13: 978-1860742422
  • Product Dimensions: 21.1 x 14.7 x 2.7 cm
  • Average Customer Review: 3.0 out of 5 stars See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 312,844 in Books (See Bestsellers in Books)

    Popular in this category:

    #69 in  Books > Music, Stage & Screen > Music > History of Music

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Customer Reviews

2 Reviews
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3 of 3 people found the following review helpful:
3.0 out of 5 stars Not bad vibrations, 8 Jul 2006
By Harold Demure (Alicante, Spain) - See all my reviews
This review is from: Good Vibrations: History of Record Production (Paperback)
Although not a musician, I have a keen interest in music. Sometimes I like a song because of the way that it produced and not necessarily because it is a good song. I hoped that this book would go more in depth about the equipment used and how it was developed. Little mention was made of artists like Kraftwerk and Jean Michel Jarre who, in my opinion, made great leaps in music production. I wanted to understand how certain artists created their sound. The book is a very good overview of the subject but doesn't quite satisfy the needs of the amateur enthusist. I still don't understand how tracks are bounced on analogue tape and I have no idea whether the effects on a finished product were done live to the tape machine or added afterwards on the master. I feel that little time was given to explaining the interaction between recording hardware.
Not wanting to end on a negative, it's still a good read.
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15 of 19 people found the following review helpful:
3.0 out of 5 stars Inaccurate title, but interesting enough..., 13 Aug 1999
By A Customer
Blame Mr. Cunningham's editors. It's hard to say who Cunningham's intended audience was. If it was (rock) music fans, this book will either be interesting, boring, or redundant, depending on how much you've read. It spends inordinate amounts of time on overblown groups like Yes and several thoroughly unimportant 80's groups. You get the idea that these are buddies of the author. It follows Sir George Martin's career all the way up to the present, though his most important work was with the Beatles, and he has his own book about his career! If you are at all interested in classical or jazz, skip it--though both genres don't really involve much of what we now call production. Now, if the audience was recording enthusiasts, well, again, it's all right, but doesn't get into nearly enough technical info other than detailing the hugely expensive consoles and who bought them and how they got moved around. What about the microphones? What about the experimentation, the techniques? The signal processing? This book claims to be a history, yet it begins in the 50s and doesn't touch on the previous decades of recording. Yes, Les Paul is the daddy of multitracking and delay, but he is not the first to cut a record! This book never comes into focus. Yet, if you fall somewhat between the two categories listed above, you may find this book an interesting compendium of anecdotes and ephemera about your favorite classic rock groups. I enjoyed it. While his editors could have done a much better job of focusing this book, I do not regret buying it!
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