Comprehensive List of Books Relating to Music Production and Creative Growth

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On Composition:

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Making Music: 74 Creative Strategies - Dennis DeSantis
Amazon Link
This is a fantastic book. Each page has a general idea on boosting creativity, workflow, and designing sounds and tracks.


Music Theory for Computer Musicians - Michael Hewitt
Amazon Link
Really easy to digest book on music theory, as it applies to your DAW. Each DAW is used in the examples, so it is not limited to a specific program. Highly recommend this for someone starting out with theory to improve their productions.


Secrets of Dance Music Production - David Felton
Amazon Link
This book I recently picked up and so far it's been quite good. It goes over all the different elements of what make's dance music, and get's quite detailed. More geared towards the beginner, but it was engaging nonetheless. It is the best 'EDM specific' production book I have read.


Ocean of Sound - David Troop
Amazon Link

Very well written and interesting book on ambient music. Not only does David go over the technical side and history of ambiance and musical atmospheres, he speaks very poetically about creating these soundscapes and how they relate to our interpersonal emotions.


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On Audio Engineering:

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Mixing Secrets for the Small Studio - Mike Senior
Amazon Link
In my opinion, this is the best mixing reference book for both beginners and intermediate producers. Very in-depth book that covers everything from how to set-up for accurate listening to the purpose of each mixing and mastering plug-in. Highly recommended.


Zen and the Art of Mixing - Mixerman
Amazon Link
Very interesting read in that it deals with the why's more than the how's. Mixerman, a professional audio engineer, goes in detail to talk about the mix engineer's mindset, how to approach projects, and how to make critical mixing decisions. Really fun read.


The Mixing Engineer's Handbook - Bobby Owinski
Amazon Link
This is a fantastic companion book to keep around. Not only does Owinski go into great technical detail, he includes interviews from various audio engineers that I personally found very helpful and inspiring.


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On the Industry:

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All You Need to Know About the Music Business - Donald S. Passman
Amazon Link
This book is simply a must read for anyone hoping to make a professional career out of music, anyone wanting to start their own record label, or anyone interested in how the industry works. It's a very informative book for any level of producer, and is kept up-to-date with the frequent revisions. Buy it.


Rick Rubin: In the Studio - Jake Brown
Amazon Link
Very interesting read that is a semi-biographical book on Rick Rubin. It is not so personal as it is talking about his life, experiences, and processes. It does get quite technical when referring to the recording process, but there are better books for technical info. This is a fun read on one of the most successful producers in history.


Behind the Glass - Howard Massey
Amazon Link
A collection of interviews from a diverse range of musicians who speak about creativity, workflows, and experiences in the music industry. Really light, easy to digest book.


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On Creativity:

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The War of Art - Steven Pressfield
Amazon Link
This is a must-read, in my opinion, for any creative individual. It is a very philosophical book on dealing with our own mental battles as an artist, and how to overcome them. Definitely pick this one up, all of you.


This is Your Brain on Music - Daniel S. Levitin
Amazon Link
A book written by a neurologist on the psychology of music and what makes us attached to it. It's a fairly scientific book but it is a very rewarding read with some great ideas.


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On Personal Growth and Development:

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How to Win Friends and Influence People - Dale Carnegie
Amazon Link
Although this seems like an odd book for a music producer, personally I think this is one of the most influential books I've ever read. Knowing how to be personable, effectively network, and form relationships is extremely important in our industry. Whether it be meeting and talking to labels, meeting other artists, or getting through to A&R, this book helps with all these areas and I suggest this book to all of you.


7 Habits of Highly Effective People - Stephen R. Covey
Amazon Link
Similar to the recommendation above, although not directly linked to music, I assure you reading this book will change your views on life. It is a very engaging and practical book, and gets you in the right mindset to be successful in your life and music career. Trust me on this one and give it a read.


Flow: The Psychology of Optimal Experience - Mihaly Csikszentmihalyi
Amazon Link
You know the feeling when you're really in the groove of jamming out and all worries tend to slip away for those moments? That is the 'Optimal Experience' according to the author. This book will teach you about that experience, and how to encourage and find it in your work. This is a very challenging, immersive, and enlightening read, which deals with the bigger picture and finding happiness in your work and life. Very inspiring book that puts you in a good mindset when you're doing creative work.


The Art of Work - Jeff Goins
Amazon Link
A very fascinating book that looks at taking your passion (music in our case) and making the most of it. It guides you on how to be successful and turn your passion into your career. Some very interesting sections touching on dealing with failure, disappointment, and criticism, yet listening to your intuition and following your passion. Inspiring and uplifting book to say the least.


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Happy reading!

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There are lots of good articles and videos on the concepts involved in mixing and mastering (maybe too many, it can start to feel a little overwhelming lol). Here are a couple of links that are short intros into the topics... and yes, mixing and mastering are two completely different things.
Mixdowns
Mastering
More stuff here from the same writer: http://innerportalstudio.com/guides/

There's a fantastic book called Mastering Audio: The Art and the Science by Bob Katz. He's pretty much the High Anointed Guru on the topic. I think you could find it as PDF, most likely from shady sources, but this is something you will want by your side as a physical book. Probably WAY more detailed than you'll need right now, but what I found helpful was going through it, coming across a concept I wasn't familiar with, and doing some research on that topic. The Mixing Engineer's Handbook by Bobby Owsinski is also very detailed, excellent, and highly rated. I think you can find it in PDF as well, but again this is something you'll probably want on your desk. And I really recommend buying any book to support the authors!

I'm reading this right now: The Mixing Engineer's Handbook by Bobby Owsinski

He has one on recording and mastering as well

Mastering

Mixing

hope these help!

From the Mixing Engineer's Handbook (third edition)

The Frequency Element: Using the Equalizer

Even though an engineer has every intention of making his recording sound as big and as clear as possible during tracking and overdubs, it often happens that the frequency range of some (or even all) of the tracks are somewhat limited when it comes time to mix. This can be due to the tracks being recorded in a different studio where different monitors or signal path was used, the sound of the instruments themselves, or the taste of the artist or producer. When it comes to the mix, it's up to the mixing engineer to extend the frequency range of those tracks if it's appropriate.

In the quest to make things sound bigger, fatter, brighter, and clearer, the equalizer is the chief tool used by most mixer, but perhaps more than any other audio tool, it's how it's used that separates the average engineer from the master.

> "I tend to like things to sound sort of natural, but I don't care what it takes to make it sound like that. Some people get a very preconceived notions that you can't do this or you can't do that, but as Bruce Swedien said to me, he doesn't care if you have to turn the knob around backwards; if it sounds good, it is good. Assuming that you have a reference point that you can trust, of course." - Allen Sides

 

> "I find that the more that I mix, the less I actually EQ, but I'm not afraid to brung up a Pultec and whack it up to +10 if something needs it. - Joe Chiccarelli

 

The Goals of Equalization

While we may not think about it when we're doing it, there are three primary goals when equalizing:

• To make an instrument sound clearer and more defined.
  
• To make the instrument or mix bigger and larger than life.
  
• To make all the elements of a mix fit together better by putting each instrument in its own predominate frequency range.
  
  Sometimes just being aware of which of these you're trying to accomplish at the moment can help you get the sound you're looking for quickly and easily, rather than just randomly twisting some knobs until you think it might sound right.
  
   
  
  

  The Frequency Bands and What They Do
  

  Before we examine the various methods of equalization, it's important to note specific areas of the audio frequency bandwidth and how they affect what we hear. The audio band can effectively be broken down into six distinct ranges, each one having an enormous impact on the total sound (see Table 7.1).
  
   
  
  Table 7.1 The Audible Frequency Ranges
  
  Range | Description | Effect
  ----------|-----------|-----------
  16 Hz to 60 Hz Sub-Bass | Encompasses sounds that are often felt more than heard and gives the music a sense of power. | Too much emphasis in this range makes the music sound muddy. Attenuating this range (especially below 40 Hz) can clean up a mix considerably.
  60 Hz to 250 Hz Bass | Contains fundamental notes of the rhythm section. | EQing this range can change the musical balance, making it fat or thin. Too much boost in this range can make the music sound boomy.
  250 Hz to 2 kHz Low Mids | Contains the low-order harmonics of most musical instruments. | Can introduce a telephone-like quality to the music if boosted too much. Boosting the 500 Hz to 1000 Hz octaves makes the instruments sound horn-like. Boosting the 1 kHz to 2 kHz octave makes them sound tinny. Excess output in this range can cause listening fatigue.
  2 kHz to 4 kHz High Mids | Contains speech recognition sounds such as "m," "b," and "v." | Too much boost in this range, especially at 3 kHz, can introduce a lisping quality to a voice. Too much boost in this range can cause listening fatigue. Dipping the 3-kHz range on instrument backgrounds and slightly peaking 3 kHz on vocals can make the vocals audible without having to decrease the instrumental level in mixes where the voice would otherwise seem buried.
  4 kHz to 6 kHz Presence | Responsible for clarity and definition of voices and instruments. | Boosting this range can make the music seem closer to the listener. Reducing the 5-kHz content of a mix makes the sound more distant and transparent.
  6 kHz to 16 kHz Brilliance | Controls brilliance and clarity. | Too much emphasis in this range can produce sibilance on the vocals.
  
   
  
  For those of you who have an easier time visualizing the audio spectrum in one-octave increments (like those found on a graphic equalizer), here's an octave look at the same chart (see Table 7.2).
  
   
  
  Table 7.2 Graphic Equalizer Chart
  
  Octave Band | Effect
  ---------|----------
  31 Hz | Rumble, "chest"
  63 Hz | Bottom
  125 Hz | Boom, thump, warmth
  250 Hz | Fullness or mud
  500 Hz | Honk
  1 kHz | Whack
  2 kHz | Crunch
  4 kHz | Edge
  8 kHz | Sibilance, definition, "ouch!"
  16 kHz | Air
  
   
  
  

  EQ Methods
  

  Since each specific song, arrangement, instrument, and player is unique, it's impossible to give anything other than some general guidelines when it comes to equalization methods. That said, there are a number of methods that can quickly and easily get you in the ballpark, as long as you know what you're going for. Remember that different engineers have different ways of arriving at the same end, so if the following doesn't work for you, keep trying. The method doesn't matter, only the end result.
  
  Before these methods are outlined, it's really important that you observe the following:
  
  

• Listen! Open up your ears and listen carefully to all the nuances of the sound. Everything you hear is important.
  
• Make sure you're monitoring at a comfortable level--not too loud and not too soft. If it's too soft, you may be fooled by the non-linearity of the speakers and overcompensate. If it's too loud, certain frequencies may be masked or overemphasized by the non-linearities of the ear itself, and again you will overcompensate.
  
   
  
  

  Method 1: Equalize for Definition
  

  Even source material that's been recorded well can sound lifeless, thanks to certain frequencies being overemphasized or others being severely attenuated. More often than not, the lack of definition of an instrument is because of too much lower midrange in approximately the 400- to 800-Hz area. This area adds a "boxy" quality to the sound. Sometimes it's because the sound is lacking in the 3-kHz to 6-kHz area that makes it undefined. Subtractive equalization is a method that allows you to zero in on the frequencies that are masking the definition in a sound.
  
  

1. Set the Boost/Cut control to a moderate level of cut (8 or 10 dB should work).
   
2. Sweep through the frequencies until you find the frequency where the sound has the least amount of boxiness and the most definition (see Figure 7.1).
   
3. Adjust the amount of cut to taste. Be aware that too much cut makes the sound thinner.
   
   There are two spots in the frequency spectrum where the subtractive equalization is particularly effective: between 200 Hz and 600 Hz and between 2 kHz and 4 kHz. This is because most directional microphones provide a natural boost at 200 to 600 Hz because of the proximity effect brought about by close-miking, and many mics (especially those known for being good vocal mics) have a presence boost between 2 kHz and 4 kHz. Dipping those frequencies a few dB (more or less as needed) can make the track sound much more natural than if you were to try to add frequencies instead.
   
   If there was a limited number of microphones (or even just one) used to record all the instruments in a home studio, these two frequency bands (or any other where there's a peak in the response) will build up as more and more instruments were added. By dipping those frequency bands a bit, you'll find that many of the instruments can sit better in the mix without having to add much EQ at all.
   
   > What I hate to see is an engineer or producer start EQing before they've heard the sound source. To me, it's kinda like salting and peppering your food before you've tasted it. I always like to listen to the sound source first, whether it's recorded or live, and see how well it holds up without any EQ or whatever." -Bruce Swedien
   
   Tip: Always try attenuating (cutting) the frequency first. This is preferable because all equalizers add phase shift as you boost, which results in an undesirable coloring of sound. Usually, the more EQ you add, the more phase shift is also added and the harder it may be to fit the instrument into the mix as a result. Many engineers are judicious in their use of EQ, but that being said, anything goes! if it sounds good, it is good.
   
    
   
   

   Alternate method
   

4. Starting with your EQ flat, remove all the bottom end below 100 Hz by turning the low-frequency control to full cut.
   
5. Using the rest of your EQ, tune the mid-upper midrange until the sound is thick yet distinct.
   
6. Round it out with a supporting lower-mid tone to give it some body.
   
7. Slowly bring up the mud-inducing bottom end enough to move air, but not so much as to make the sound muddy.
   
8. Add some high-frequency EQ for definition (see Figure 7.2).
   
   > "I just try to get stuff to sound natural, but at the same time be very vivid. I break it down into roughly three areas: mids, the top and the bottoms; then there's low mids and high mids. Generally, except for a very few instruments or a few microphones, cutting flat doesn't sound good to most people's ears, so I'll say, 'Well, if this is a state-of-the-art preamp and a great mic and it doesn't sound that great to me, why?' Well, the midrange is not quite vivid enough. Okay, we'll look at the 3k, 4k range, maybe 2500. Why don't we make it kind of come to life like a shot of cappuccino and open it up a little bit? The....
   
    
   
    
   
   Then it goes on more with another table later on but I ran out of text. You can get the newer 4th edition here:
   
   You can't Have an EQ chart for synths tho because synths make tons of different sounds in different octaves and frequencies.

I found the 4th Edition on Amazon: https://www.amazon.com/Mixing-Engineers-Handbook-Fourth/dp/0988839180

The Recording Engineers Handbook is like the industry standard as far as books on the subject go. Every engineer should have a copy. It’s packed with super useful info.

A few purchases I made recently after few days of researching and asking for recommendations.

Mike Stavrou - Mixing With Your Mind

Rick Snoman - Dance Music Manual, 3rd Edition

Bob Katz - Mastering Audio: The Art and the Science

Bobby Owsinski - The Mixing Engineers Handbook: 4th Edition


Edit: ...and I just checked out the ableton book recommended by /u/NeiloMac and now it's on its way.

Not sure I can explain it in a single comment, but instead I'd recommend you to keep this book for weekend reading The Mixing Engineer's Handbook