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How to Get the Sound You Want
 
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How to Get the Sound You Want (Paperback)

by Michael Prochak (Author)
2.7 out of 5 stars  See all reviews (3 customer reviews)
Price: £11.95 & this item Delivered FREE in the UK with Super Saver Delivery. See details and conditions
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Product details

  • Paperback: 250 pages
  • Publisher: Sanctuary Publishing Ltd (26 Sep 2001)
  • Language English
  • ISBN-10: 186074348X
  • ISBN-13: 978-1860743481
  • Product Dimensions: 26.9 x 21.1 x 1 cm
  • Average Customer Review: 2.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon.co.uk Sales Rank: 64,301 in Books (See Bestsellers in Books)

    Popular in these categories:

    #18 in  Books > Science & Nature > Physics > Applied Physics > Sound & Waves
    #52 in  Books > Music, Stage & Screen > Music > Digital Music > Recording Music

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Product Description

Synopsis

More musical styles are current and popular today than ever before. And each one has an 'authentic' sound. In fact the success of new releases depends on this authenticity. But what is the secret behind each sound: what do producers tweak in the mix? Which effects do they use, in what combination? How (and where) do they record? And can it all be achieved on computer? From drum & bass, jungle, disco, hip-hop, big beat, ambient, electronica, techno, grunge, nu-metal and dance, to rock, folk, country, classical and 'drums and strings', author Michael Prochak presents the technique to capturing the authentic sound of each genre. Thorough and clear, this is the first book to offer such a practical comparison of sound production techniques.

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Customer Reviews

3 Reviews
5 star:
 (1)
4 star:    (0)
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2 star:
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Average Customer Review
2.7 out of 5 stars (3 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

 
24 of 26 people found the following review helpful:
1.0 out of 5 stars Truely Dreadful - not what it says on the cover at all !, 18 Feb 2002
By A Customer
Its not what it says on the cover at all.

It turns out to be a very broad brushed and rather shallow discussion of musical genres and styles from a historical and social perspective which tries to explain how the different styles relate. Hoplessly wide of the title's claim.

I found it terribly irritating to read as well full of all sorts of psuedo philosophical observations that have nothing to do with audio engineering.

In fact this book was so lacking that I had to desperately search through all of it to find anything worthwhile at all. The only thing of value is the rather long glossary which takes up the last third of the book.. It certainly seemed like a rehash but perhaps I am mistaken. Anyone who has such a glossary already certainly wont want to pay 12 quid for another version of much the same thing.

The book fails to focus in depth on anything and subsequently gives the impresion of a very wishy washy discussion that attempts too much and consequently brings little of value to the reader.

I got the distinct impression reading this book that it was someones University thesis rehashed with a few screen dumps from Cubase. And I do mean only a few.

Its certainly not a holy grail of information and I honestly think its very poorly written and lacks depth and information of value.

It lacks the validity of books such as 'Behind the Glass' by Howard Massey and the technical focus and value of the Sound on Sound series by Paul White.

I was terribly dissapointed by this book and really feel I have wasted my money.

If I was a 12 year old and was looking for a first book on the history of pop music styles and the relationships between them it might have been worthwhile but as someone interested in compression, recording techniques, balancing sounds and musical pre and post production I found this book almost a complete waste of time.

I dont like to trash other peoples work but seriously this book should never have been published in its currect form without much closer scrutiny by the publishers.

I really feel had..Its the sort of book athat a 30 second flick through would make you put it back on the shelf.

The title of the book is completely misleading and as a source of technical detail and technique it fails miserably.

I only wish I had it with me now to qoute some of the rubbish in it and you would see exactly what I mean.

There are better primers for those just starting out in home recording and project studios than this shallow description of what the authors call 'genre theory'.

Very dissapointing.

So dissapointing in fact I was motivated to write this review in the hopes that other people dont get mislead by the title like I did.

Look for good technical advice, production skills and tips elsewhere because this book is largely a waste of paper and you will learn almost nothing of value from it.

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9 of 12 people found the following review helpful:
5.0 out of 5 stars Entertaining and erudite how to manual for home recording., 3 Dec 2001
By A Customer
Most books about (home) recording are -- it would appear -- either written by engineers for techies, or written by hack journalists for idiots. This book is something completely different. On the surface of it it's a how-to guide to different styles of music. And, in that, it succeeds quite nicely, covering various styles of dance music, folk, rock, blues and jazz. But, on a different level, it's a post-modern introduction to and critique of genre theory. And on a third level, it's someone you would probably enjoy talking to at a party sounding off about what's wrong with music, pop culture, and the world in general.
I have to say that I've never read a book like this, that succeeds on so many levels and does so many things.
The other thing about it: it's actually up to date, as of this year: in an area of music which has radically reinvented itself in the last eight months, this book talks about kit you can actually go and buy in the shops now. Most other books of this genre are revisions of guides to the recording systems of five years ago. Which is a long time in music.
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1 of 2 people found the following review helpful:
2.0 out of 5 stars Is for programmers not for sound engineers, 12 Oct 2003
By PICCIAFUOCHI ALESSANDRO "RAINBOX" (Italy, Toscana, Siena) - See all my reviews
(REAL NAME)   
Is a book for programmers not for sound engineers, and too much pages are owned by the Glossary
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