| Introduction | p. xi |
| What Kind Of Producer Do You Want To Be? | p. 1 |
| All-Singing-All-Dancing-King-Of-The-Hill | p. 1 |
| Sidekick | p. 6 |
| Collaborator | p. 8 |
| Merlin The Magician | p. 9 |
| Other Ways Of Categorising Producers | p. 13 |
| How Do You Get Started? | p. 15 |
| What Are The Ways In? | p. 15 |
| The Musician Or Artist? | p. 15 |
| The Audio Engineer... | p. 20 |
| The Songwriter | p. 26 |
| The DJ Producers... | p. 28 |
| The Self Taught Home Studio Hobbyist | p. 31 |
| The Finding A New Act Routine | p. 33 |
| The Who-The-Hell-Knows-How-They-Got-Started Route | p. 35 |
| OK - So You Want To Be A Record Producer - What Next? | p. 35 |
| Are Qualifications A Help Or A Hindrance? | p. 38 |
| So Exactly How Much Technical Knowledge Do You Need? | p. 43 |
| How Much Musical Knowledge Do You Need? | p. 47 |
| What If You Have Neither Musical Nor Technical Skills? | p. 49 |
| The Door's Open, The Foot's In, Now What? | p. 50 |
| What's The Job Description? | p. 52 |
| We Are Not Worthy | p. 60 |
| Who Takes Care Of The Administration And Paperwork? | p. 68 |
| Managing The Session From Day To Day | p. 69 |
| Pre-production | p. 69 |
| Recording The Live Band | p. 72 |
| Recording An Orchestra Or Big Band | p. 75 |
| Overdubbing Live Musicians | p. 76 |
| The Computer-Based Session | p. 77 |
| The Vocals | p. 78 |
| Which Method Makes A Better Record - Live, Overdubbed Or Computer? | p. 83 |
| What Are 'They' Going To Expect Of You? | p. 86 |
| The Artist? | p. 86 |
| The Record Company? | p. 89 |
| The Artist's Manager? | p. 90 |
| Will They Still Love You Tomorrow? | p. 91 |
| What Is Your Working Life Expectancy? | p. 91 |
| How's Your Health? | p. 92 |
| What Keeps A&R People Coming Right Back To You? | p. 94 |
| If You're Hot | p. 94 |
| If You're Not Quite There Yet | p. 95 |
| If You Were Recently Hot | p. 96 |
| When The Night's Closing In | p. 96 |
| What Prevents Them From Coming Back To You? | p. 99 |
| How Else Can You Get Work? | p. 100 |
| What's The Best Way To Handle The Show Reel/Resume/CV Tap Dance? | p. 100 |
| Producer Managers | p. 103 |
| To Have A Manager Or Not To Have A Manager? | p. 103 |
| Do They Earn Their Percentage? | p. 105 |
| Is She Just Fielding Calls Or Is She Out There Pitching For You? | p. 105 |
| How Do You Avoid Getting Ripped Off By Your Manager? | p. 107 |
| Does He Siphon Off Some Of Your Work To Other Producers In The Stable? | p. 107 |
| How Do You Define 'Best Manager' For You? | p. 113 |
| How Can You Find Such A Person - If They Even Exist? | p. 114 |
| How Do You Persuade Them To Take You On? | p. 114 |
| How Do You Deal With The Artist, The Record Company And The Artist's Manager? | p. 117 |
| What Should Your Relationship With The Artist Be? | p. 117 |
| Best Friends? | p. 117 |
| Able To Fit In? | p. 118 |
| Hang After Hours, Between Albums, Party-Hearty and Laugh At The Jokes? | p. 118 |
| Somewhat Aloof? | p. 119 |
| Professional? | p. 119 |
| How Do You Tell Them Something Is Not Working? | p. 119 |
| Where Does Your Responsibility Lie? | p. 120 |
| To The Artist? | p. 120 |
| To The Record Company? | p. 123 |
| To Yourself? | p. 124 |
| To The Project? | p. 125 |
| What About The Drug And Alcohol Connection? | p. 126 |
| Should You Be Bathroom Buddies? | p. 126 |
| Is It OK If It Is Outside Of Working Hours? | p. 128 |
| What Do You Do If The Artist Does And You Don't? | p. 128 |
| What Do You Do When The Artist Freaks? | p. 129 |
| What Do You Do When The Record Company Freaks? | p. 130 |
| What Do You Do When The Artist's Manager Is A Freak? | p. 134 |
| Lawyers | p. 135 |
| How Much Will They Cost You? | p. 136 |
| How Much Should You Depend On Them? | p. 137 |
| How Much Do You Really Need Them? | p. 138 |
| What Happens When They Get It Wrong? | p. 138 |
| What Tricks Do They Get Up To? | p. 139 |
| And That's Just Your Lawyer. How Much Damage Can The Other Guy Do? | p. 140 |
| Difficulties And Pitfalls | p. 143 |
| Studio Nightmares | p. 143 |
| Serious Differences Of Opinion | p. 143 |
| The Endless Album | p. 144 |
| Lack Of Vision | p. 144 |
| Micro-Vision | p. 145 |
| Panic Stations | p. 146 |
| The Singer Can't Sing In Tune/Time | p. 146 |
| The Band Can't Play In Tune/Time | p. 147 |
| One Of The Musicians Is Screwing Up Every Take | p. 150 |
| You're Calmly Cruising Up To The End Of The Album, Bang On Budget, And The Artist Decides Half Of It Is Crap | p. 152 |
| The A&R Person Hates The Mixes: Stay Calm And Survive | p. 153 |
| What Makes It Seem Like Hard Work? | p. 155 |
| How Much Loyalty Can You Expect Within The Business? | p. 156 |
| From The Artist? | p. 156 |
| From The A&R Person? | p. 158 |
| Final Word On Loyalty | p. 159 |
| First Girlfriend Syndrome | p. 160 |
| Success And Money | p. 162 |
| How Much Can You Make? | p. 162 |
| Where Else Does The Money Come From? | p. 165 |
| Do Producers Earn Their Percentage? | p. 168 |
| How Can You Increase Your Chances Of Success? | p. 173 |
| What Is The Secret Of Longevity? | p. 174 |
| Hitting The Jackpot | p. 175 |
| What Are The Timeless Ingredients In A Hit Record? | p. 180 |
| The Label | p. 180 |
| The Song | p. 181 |
| The Vocal | p. 182 |
| The Arrangement | p. 182 |
| The Performance | p. 185 |
| The Engineering | p. 186 |
| How Important Is The Mix Really? | p. 187 |
| Timeliness | p. 187 |
| The Heart | p. 187 |
| Are These Rules To Which There Are Exceptions? | p. 189 |
| Frequently Asked Questions | p. 191 |
| How Much Can You Learn, How Much Is Natural Ability? | p. 191 |
| How Do You Pick The Right Project? | p. 192 |
| Do Producers Have Their Own Sound? | p. 192 |
| Should You Get Involved In The Song Writing? | p. 193 |
| New Versus Established Artists? | p. 195 |
| What About The All-Important Credits? | p. 196 |
| Executive Producer | p. 196 |
| Album Producer | p. 197 |
| Producer | p. 198 |
| Co-producer | p. 198 |
| Associate Producer | p. 198 |
| Additional Production By | p. 198 |
| Multiple Producer Credits | p. 199 |
| Recorded By | p. 200 |
| Engineered By | p. 200 |
| Mixed By | p. 200 |
| Remixed By Or Remix Produced By | p. 200 |
| Programmed By | p. 201 |
| Edits By | p. 201 |
| What Are The Best Moments? | p. 202 |
| Why Are There So Few Female Record Producers? | p. 202 |
| Can You Successfully Genre Hop? | p. 207 |
| Advantages And Disadvantages | p. 207 |
| Who Has Done It? | p. 209 |
| How Do You Deal With... | p. 209 |
| Post-Purchase Dissonance More Commonly Known As 'Buyer's Remorse'? | p. 209 |
| Post-Partum Depression? | p. 210 |
| What Happens When The Fat Lady Sings? | p. 211 |
| How Do You Know When It's Over? | p. 211 |
| Where Do Old Producers Go? | p. 212 |
| Should You Start Making Plans And When? | p. 213 |
| Why Do People Want To Produce Records? | p. 214 |
| Why Do People Want To Make Records At All? | p. 214 |
| Do You Know When You Have Produced A Smash? | p. 215 |
| What Is Demo-Itis? | p. 216 |
| What Kind Of Person Becomes A Producer? | p. 219 |
| How Do Producers Feel About Remixers? | p. 221 |
| What's The Remixer's Point Of View? | p. 223 |
| What's The A&R Person's Point Of View? | p. 224 |
| What Is The 'Sophomore Slump'? | p. 225 |
| Working Outside The Mainstream? | p. 228 |
| Classical | p. 228 |
| Jazz | p. 229 |
| Country | p. 231 |
| Traditional, Folk, Roots And World Music | p. 233 |
| Children's Music | p. 241 |
| Regional Producers | p. 246 |
| Technology Rules: Will the Internet Kill the Video Star? | p. 248 |
| Has Technology Made Studio Life Easier? | p. 248 |
| The Revolution Will Be Digitised: Where Is It All Going? | p. 252 |
| What Does This Mean To The Professional Record Producer? | p. 256 |
| Why Will We Even Need Labels In The Future? | p. 268 |
| Charts | p. 270 |
| Will Record Producers Survive The Revolution? | p. 274 |
| The Final Cut | p. 277 |
| Featured interview with legendary producer Arif Mardin | p. 279 |
| Glossary | p. 288 |
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