Book Recommendation: Behind the Glass - Top Record Producers Tell How They Craft The Hits

Behind the Glass - Top Record Producers Tell How They Craft the Hits by Howard Massey.

This one was recommended to me by my friend Craig as a book he found interesting when he was going to school for audio engineering. And after reading it, it's clear to see why. At the risk of being hyperbolic, this is one of the best books on recording and producing I've ever read.


Far from an academic explanation of various terminology and techniques, this book is actually comprised of a series of interviews with legendary producers like Alan Parsons, Brian Wilson, George Martin, Phil Ramone, etc. regarding their techniques and experiences making some of the most well-known albums of all time. Generally, similar questions are asked of each producer so it is easy to see how each has their own unique way of doing things. I know this description doesn't sound like anything special necessarily, but trust me when I say this is a treasure trove of information.

If you are new to recording and mixing, I don't recommend starting with this, as it assumes a general familiarity with basic studio techniques and terms. But if you've been recording on your own for awhile and want to have a rare peek into how the big boys (and girls) do it, you'd be hard pressed to find a better resource. True, most of the producers here aren't making electronic music (although Stephen Hague and a couple others are present), but that misses the point. There are certain techniques that are universal to all forms of music, and the more techniques you can add to your arsenal, the better your music is going to sound. Plus, it can be humbling to realize George Martin made the Beatles' "Sgt. Pepper" album on only a paltry 4-track machine, or that Glen Ballard recorded Alanis Morrissette's mega-selling "Jagged Little Pill" in his home studio using a couple of ADAT machines.

I only have two gripes with the book. First, it's about 10 years old, so already some of the equipment and techniques put forward as being 'current' are already out of date a bit. This doesn't make the info any less useful, but it does stand out how much has changed since the book was written. Secondly, reading all these fascinating interviews only made me want more. Why no Trevor Horn or Mark Ellis (aka Flood) or Brian Eno? In the foreward, Mr. Massey does provide an email address to submit who you'd like to see covered in the next volume, but being that it's been ten years since this one came out, I wonder if another volume will see the light of day? I certainly hope so!

Overall, the most valuable lesson this book demonstrates is that there is no 'right' way of doing things. Some of the interviewees claim that recording on anything but 1/2" tape is unacceptable, while others sings the praises of digital and the incredible flexibility it offers. Some may be against using compression in general, while others believe in squashing everything. Indeed, at the end of the day, what is the 'right' way of producing an album is simply what sounds best to you.