Creative Sequencing Techniques for Music Production: A Practical Guide to Pro Tools, Logic, Digital Performer, and Cubase By Andrea Pejrolo


Creative Sequencing Techniques for Music Production shows readers how to get the most out of four of the leading audio sequencers Apple's Logic Pro, Avid's Pro Tools, MOTU's Digital Performer, and Steinberg's Cubase, and is the book for readers looking to build their skills in composition, orchestration, and mixing using software tools. With a focus on essential tools now part of the everyday creative process in a digital production environment, author Andrea Pejrolo also covers the most recent and cutting edge techniques, including swipe comping, time stretching, and pitch correction. First published in 2011. Routledge is an imprint of Taylor & Francis, an informa company. Creative Sequencing Techniques for Music Production: A Practical Guide to Pro Tools, Logic, Digital Performer, and Cubase

Wish the authors could update this. Lots has changed in the time since published.This is an intermediate level book.helpful to those who have used DAWs already. 336 pages Il libro si avverte da subito, che è scritto con passione. La professionalità c'è pure. Però, non appare idoneo (a modesto parere.) ad essere ricompreso nel novero dei manuali tutorial veramente efficaci nel campo della formazione dei discenti. Non ci sono esempi passo passp (ste by step) ad esempio nel mastering finale, non spiega nei dettagli quali sono le dinamiche audio e soprattutto di effetti che interagiscono nel rendering finale di una produzione audio. Do 3 stelle perchè il prezzo appare sovradimensionato rispetto alla maestranza dimostrata e a quella spiegata nel manuale. 336 pages This was a gift, and the fellow I got it for (a professional musician and producer who composes music for soundtracks and has a discography that would make you think I was lying) was extremely happy with it. 336 pages Creative Sequencing Techniques for Music Production is a detailed and thorough book for how to arrange your studio space, select your DAW equipment and software, to building simple to advanced sequences. The best thing I can say about this book is that I think it truly is a complete tome of knowledge about how to record in the digital age.I consider myself to be in the beginner intermediate range for music production, but I'm entirely self taught. I've mostly done all of my recording on early stand alone recording Roland workstations from the late 90's to my current ZOOM/Cubase set up on a Windows 7 machine now. For me, the first two chapters on how to build a studio, definitions of sequencing, and how to set up a metronome were not all that exciting. However, if you are a beginner looking to start a serious digital recording production, the knowledge in those first two chapters is remarkably up to date. Outside of reading a dozen current magazine articles, you'd be hard pressed to find a better place than this book to start making decisions on what software and equipment to buy. By the end of chapter 2, there are a few practical exercises to try for beginners setting up new templates.By chapter 3, I was learning all new material that I didn't know existed, or was able to use settings that I didn't fully appreciate, such as swing quantization for songs that don't fit in a rigid 4/4 timing. While there wasn't always a lot of practically applied knowledge in chapter 5, it was probably the chapter that I enjoyed the most. It describes the challenges and nuances for recording/synth ing with different orchestral instruments classic rock instruments, strings, woodwinds, brass, percussion, etc. These groupings have individual specific subchapters for flutes and clarinets and trombones and so on.The other strength of this text is that if usually addresses topics and exercises by describing the appropriate steps for Pro Tools, Cubase, Digital Performer, and Logic at the end of the section. Each piece of software gets it's own brief paragraph with the matching logo next to it. A dedicated Cubase book might have been slightly better for me to refine the skills I need to run my purchased piece of software, but reading this book provides a better overview of each topic and allowed me to read the instructions for how I would accomplish the same task using the other software options. Again, if you're interested in digital recording and sequencing, but are unsure witch software to buy, this book is definitely the way to go.The only minor comment I have is that the book isn't the best reference material. It has an index, but personally, it doesn't feel smooth just thumbing over to a section on reverb mixing and picking it up from there. The book works infinitely better when read from start to finish, especially for self taught people like me that have some knowledge on how to get a certain sound, but don't exactly know what the correct terms and technical language are to describe it. But this is a minor gripe as the details are all there, you simply have to dedicate yourself to reading all of it. Overall, I think this is a great book for the person starting their own studio all the way up to an intermediate advanced user. Readers that consider themselves closer to the advanced stage might want to go with a book dedicated to their own software/DAW equipment, but everyone else will find something to like and appreciate here. 336 pages I have to say I wasn't able to get much out of this book but I believe the lacking was in myself & not the book as my son was able to glean a multitude of useful information out of it. I passed it to him & it's just about worn out from his use. I've been trying to get a grip on computer based recording for a long time, preferring to use a stand alone, all in one 24 track digital recorder/mixer or a 16 track analogue reel to reel, only using the computer for mastering. This book didn't explain to me how to use program based recording in terms I could grasp but it helped my son to grasp protools when his main tool in the past has been Ableton. My thought is if you're into modern sounds like electronica, dj, hip hop, urban, etc this is a great book for you. But if you're an old fart like myself into Celtic, blues, classic rock, folk & Americana I don't believe it will help you make the leap. 336 pages