Alan Parsons' Art & Science of Sound Recording: The Book by Julian Colbeck, Alan Parsons

By Julian Colbeck, Alan Parsons

Publish yr note: First released in 2012

More than just the publication of the award-winning DVD set, Art & technological know-how of Sound Recording, the ebook takes mythical engineer, manufacturer, and artist Alan Parsons' ways to sound recording to the subsequent point. In ebook shape, Parsons has the gap to incorporate extra technical heritage info, extra designated diagrams, plus an entire set in fact notes on all the 24 themes, from "The short background of Recording" to the now-classic "Dealing with Disasters."

Written with the DVD's coproducer, musician, and writer Julian Colbeck, ASSR, the booklet bargains readers a vintage "big picture" view of recent recording expertise at the side of a virtually encyclopedic record of particular concepts, approaches, and gear. For all its heft and authority authored through a guy knowledgeable at London's famed Abbey street studios within the Nineteen Seventies ASSR, the e-book can be written in undeniable English and is filled with invaluable anecdotes from Alan Parsons' personal profession operating with the Beatles, purple Floyd, and numerous others.

Not simply informative, but in addition hugely unique and inspirational, ASSR, the booklet is the correct platform on which to construct services within the artwork and technological know-how of sound recording.

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To that end, I’m obliged as well to consider the opinions of film directors and producers and score composers in these situations. Let’s dream together for a moment and imagine that the choice of arranger boiled down to just my druthers. Sizing up the candidates for a particular job, I discover that one of them had been an accomplished saucier in his parents’ kitchen at nine years of age, with the ability to knock out a restaurant-grade hollandaise. I’d probably tell the other candidates that they could just go home.

There was a style to Warner Bros. Records. They made good choices — frankly, I never saw them make a bad move. Everyone was always so pleasant. But, then again, people have a tendency to be pleasant if you’re selling records. —Phil Everly, on the Everly Brothers’ years at Warner Bros. Records, Revolutions in Sound I t certainly looked as though Van Dyke Parks had been given the keys to the candy store when he accepted a deal with Warner Bros. Records in 1967. One would hope that’s how it felt for him, in the immediate wake of Parks’ witnessing the demise of a project invested with so much hope and effort, seeing a cherished collaborator grow distant, confused and ornery (though one could allow that Parks just finally got to know Brian Wilson) and experiencing something close to physical intimidation from a vocalist unwilling to sing Parks’ lyrics.

I can only try. Weird but true: during the last couple of decades, the impression is deeply received that European and Japanese audiences appreciate Parks’ solo work more than his own compatriots do. All of his writing has struck me as American to the bone, so much so that I’ve assumed it to • 29 • SONG CYCLE be undecipherable by foreign audiences. So when a Dutch street orchestra performs “Jack Palance,” the calypso tune personalized by Parks on his second album, or when Parks is accosted repeatedly on the streets of Tokyo by fans, or when he merits a standing ovation at London’s Festival Hall merely for taking his seat at the world premiere of Brian Wilson’s SMiLE, I’m glad for him — doubtless he knows how it feels to be left on the shelf — but it’s all the more bewildering to me.

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