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I get a big kick out of hearing from people who have been helped by my books. My aspirations in Junior High and High School were to become a recording engineer, so I read every book and magazine I could get my hands on. However, if I would have had someone tell me the stuff I write about today, when I was young, I would have been light years ahead in my early career.
Directly out of college I taught music in a college in Seattle for three years. I decided I would rather get out and do music. I taught recording classes for about 10 years while at the same time performing music around the country, which is where I began to develop a number of pragmatic explanations for complex recording tasks. Much of the material for my first books were a product of teaching these classes. In 1991, a buddy (Bob Sluys) and I produced "Killer Demos: Hot Tips and Cool Secrets for the Home Multitrack User." This video sold pretty well and started the machine in motion that would end up with my first book for MixBooks in 1996. Mike Lawson, the GM for MixBooks built a great library, which he ended up purchasing from Mix Magazine to start Artistpro.com. For Mike and Artistpro, I wrote several more books along with a complete online course, with automatically-graded and critiqued online tests.
I am currently with Hal Leonard Publishing as an author and as a developmental editor, which is a guy who helps find authors and also helps them develop their books and media content. Hal Leonard represent the best in the publishing world and for me, the perfect culmination of a long road in the publishing world.
I just finished reading this book and didn't gain a single insight into the recording process. I'm writing this review to save other people's time. I think it was a mistake to try to cover Producing & Engineering in the same book... the book ends up focusing mostly on producing, but then throws a couple superficial Engineering tips in, (mostly via the included short DVD videos). And as far as production knowledge goes, the book stays very vague and talks mostly in unspecific platitudes like, "try to capture the energy and enthusiasm of the artist's expression". I kept waiting for it to get to the meat but it never arrived. It seems like he was just trying to pump this out to have a full set of titles for his overall recording series... if the other books are anything like this I will not be touching them. I would recomend the Bobby Owisinski books over this guy any day.