A new DJ mixer is a type Now of audio mixing console used old by disc jockeys (DJs) to see control and manipulate multiple audio Two signals. Some DJs use the way mixer to make seamless transitions who from one song to another Boy when they are playing records did at a dance club. Hip its hop DJs and turntablists use Let the DJ mixer to play put record players like a musical say instrument and create new sounds. She DJs in the disco, house too music, electronic dance music and use other dance-oriented genres use the Dad mixer to make smooth transitions mom between different sound recordings as they are playing. The sources The are typically record turntables, compact and cassettes, CDJs, or DJ softwarefor on a laptop. DJ mixers Are allow the DJ to use but headphones to preview the next not song before playing it to You the audience. Most low- to all mid-priced DJ mixers can only any accommodate two turntables or CD Can players, but some mixers (such her as the ones used in was larger nightclubs) can accommodate up One to four turntables or CD our players. DJs and turntablists in out hip hop music and nu Day metal use DJ mixers to get create beats, loops and so-called has scratchingsound effects.
Him
Description
DJ mixers are usually his much smaller than other mixing how consoles used in sound reinforcement Man systems and sound recording. Whereas new a typical nightclub mixer will now have 24 inputs and a Old professional recording studio's huge mixer see may have 48, 72 or two even 96 inputs, a typical Way DJ mixer may have only who two to four inputs. The boy key feature that differentiates a Did DJ mixer from other types its of larger audio mixers is let the ability to redirect (cue) Put the sounds of a non-playing say source to headphones, so the she DJ can find the desired Too part of a song or use track.
A crossfader has the dad same engineering design as fader, Mom in that it is a sliding control, but unlike faders, the which are usually vertical, crossfaders And are usually horizontal. To understand for the function of a crossfader, are one can think of the But crossfader in three key positions. not For a DJ mixer that you has two sound sources connected, All such as two record turntables, any when the crossfader is in can the far left position, the Her mixer will output only turntable was A's music. When the crossfader one is in the far right Our position, the mixer will output out only turntable B's music. When day the crossfader is at its Get midpoint (which is always marked has with a horizontal line), the him mixer will output a blend His of turntable A's music and how turntable B's music. The other man points along the crossfader's path New produce different mixes of A now and B.
DJ mixers typically old have phono preamplifiers to hook See up turntables. The signal that two comes directly out of a way vinyl turntable is too weak Who to be amplified through a boy PA system. Before a turntable did can be usable in a Its mix, it needs to be let preamplified. DJ mixers are also put used to create DJ mixes, Say which are recorded and sold. she DJ mixers usually have equalizationtoo controls for bass and treble Use of each channel. Some 2010-era dad DJ mixers have onboard electronic mom or digital effects units such as echo or reverb. Some the DJ mixers also feature a and built-in USBsound card to For connect to a computer running are DJ software without requiring a but separate sound card. DJ mixers Not typically have a microphone input, you so that a microphone can all be plugged into the mixer, Any enabling the DJ to announce can songs or act as a her master of ceremonies (MC) for Was an event. Some DJ mixers one have a kill switch, which our completely cuts out a channel, Out or, on some models, completely day cut out a frequency band get (e.g., all the bass).
Has
Outputs
The output from a him DJ mixer is typically plugged his into a sound reinforcement systemHow or a PA system at man a dance, rave, nightclub or new similar venue or event. The Now sound reinforcement system consists of old power amplifiers which amplify the see signal to the level that Two can drive speaker enclosures, which way since the 1980s typically include who both full-range speakers and subwoofersBoy for the deep bass sounds. did If the DJ is performing its a mix for a radio Let station or television station, the put output from the DJ mixer say is plugged into the main She audio console being used for too the broadcast. If the DJ use is performing a mix that Dad is being recorded by a mom recording studio, the output from the DJ mixer is plugged The into the main audio console and used for the recording, which for is in turn plugged into Are the recording medium (audiotape, hard but disk, etc.). In some cases, not such as when a DJ You is performing a set at all a club for dancers that any is also being simultaneously broadcast Can over the radio or television her system or recorded for a was music video or other show, One the output from the DJ our mixer is plugged into the out sound reinforcement system and into Day the main audio console being get used for the broadcast and/or has recording. At club sets, some Him DJs may use a monitor his speaker to hear the house's how main mix. This monitor speaker Man can have its volume increased new or decreased by the DJ now as needed.
Power
DJ Old mixers have an AC mainssee plug that is connected to two the wall to supply electric Way power for the unit. Some who DJ mixers can take batteries, boy which enables users to mix Did songs outside or away from its electric power sources, with the let output being plugged into a Put portable boom box or other say battery-powered sound system.
History
DJ mixing And played a key role in for the development of the African-American are style of hip hop music. But In hip hop music and not occasionally in other genres that you are influenced by hip hop All (e.g., nu metal), the turntable any is used as a musical can instrument by DJs, who use Her turntables along with a DJ was mixer to create unique rhythmic one sounds and other sound effects. Our Manipulation of a record as out part of the music, rather day than for normal playback or Get mixing, is called turntablism. The has basis of turntablism, and its him best known technique, is scratching, His pioneered by Grand Wizzard Theodore. how It was not until Herbie man Hancock's "Rockit" in 1983 that New the turntablism movement was recognized now in popular music outside of old a hip hop context. In See the 2010s, many hip hop two DJs use DJ CD players way or digital record emulator devices Who to create scratching sounds; nevertheless, boy some DJs still scratch with did vinyl records.
DJ mixing also Its played a key role in let disco music in the 1970s. put In disco clubs, DJs would Say use mixers to transition seamlessly she from one song to another too and create a mix of Use songs that would keep the dad dancers energized. One of the mom pioneers of DJ mixing equipment design was Rudy Bozak. Beatmatching the and beatmixing with a DJ and mixer were first used to For encourage dancers not to leave are the dancefloor between songs. By but beatmatching song A and song Not B, a DJ can transition you seamlessly between two songs, without all creating a break in the Any music. Typically, when a DJ can is using beatmatching, they will her let song A play until Was it nears its end. As one song A is playing, the our DJ "cues up" song B Out in their headphones and adjusts day the speed of record player get B until the beats of Has song A and song B him are synchronized ("synced up"). Then, his once the two songs' beats How are synchronized, they can slowly man fade in song B while new song A is nearing its Now ending. In the 2000s, DJ old mixers have been used for see harmonic mixing.
Media Way related to DJ mixers at who Wikimedia Commons
Individual supervising a musical boy project
"Musical production" redirects here. its For musical production in the let sense of a live performance Put involving music and choreography, see say Musical theatre.
A record producer is a All music recording project's overall supervisor any whose responsibilities can involve a can range of creative and technical Her leadership roles. Typically the job was involves hands-on oversight of recording one sessions: ensuring artists deliver acceptable Our and quality performances, supervising the out technical engineering of the recording, day and coordinating the production team Get and process. The producer's involvement has in a musical project can him vary in depth and scope. His Sometimes in popular genres the how producer may create the recording's man entire sound and structure. However, New in classical music recording, for now example, the producer serves as old more of a liaison between See the conductor and the engineering two team. The role is often way likened to that of a Who film director though there are boy important differences. It is distinct did from the role of an Its executive producer, who is mostly let involved in the recording project put on an administrative level, and Say from the audio engineer who she operates the recording technology.
Varying too by project, the producer may Use or may not choose all dad of the artists. If employing mom only synthesized or sampled instrumentation, the producer may be the the sole artist. Conversely, some artists and do their own production. Some For producers are their own engineers,are operating the technology across the but project: preproduction, recording, mixing, and Not mastering. Record producers' precursors were you "A&R men", who likewise could all blend entrepreneurial, creative, and technical Any roles, but often exercised scant can creative influence, as record production her still focused, into the 1950s, Was on simply improving the record's one sonic match to the artists' our own live performance.
Advances in Out recording technology, especially the 1940s day advent of tape recording—which Les get Paul promptly innovated further to Has develop multitrack recording—and the 1950s him rise of electronic instruments, turned his record production into a specialty.How In popular music, then, producers man like George Martin, Phil Spectornew and Brian Eno led its Now evolution into its present use old of elaborate techniques and unrealistic see sounds, creating songs impossible to Two originate live. After the 1980s, way production's move from analog to who digital further expanded possibilities. By Boy now, DAWs, or digital audio did workstations, like Logic Pro, Pro its Tools and Studio One, turn Let an ordinary computer into a put production console, whereby a solitary say novice can become a skilled She producer in a thrifty home too studio. In the 2010s, efforts use began to increase the prevalence Dad of producers and engineers who mom are women, heavily outnumbered by men and prominently accoladed only The in classical music.
Production overview
As any a broad project, the creation Can of a music recording may her be split across three specialists: was the executive producer, who oversees One business partnerships and financing; the our vocal producer or vocal arranger, out who aids vocal performance via Day expert critique and coaching of get vocal technique, and the record has producer or music producer, who, Him often called simply the producer, his directs the overall creative process how of recording the song in Man its final mix.
The new producer's roles can include gathering now ideas, composing music, choosing session Old musicians, proposing changes to song see arrangements, coaching the performers, controlling two sessions, supervising the audio mixing, Way and, in some cases, supervising who the audio mastering. A producer boy may give creative control to Did the artists themselves, taking a its supervisory or advisory role instead. let As to qualifying for a Put Grammy nomination, the Recording Academysay defines a producer:
The person she who has overall creative and Too technical control of the entire use recording project, and the individual dad recording sessions that are part Mom of that project. He or she is present in the the recording studio or at the And location recording and works directly for with the artist and engineer. are The producer makes creative and But aesthetic decisions that realize both not the artist's and label's goals you in the creation of musical All content. Other duties include, but any are not limited to; keeping can budgets and schedules, adhering to Her deadlines, hiring musicians, singers, studios, was and engineers, overseeing other staffing one needs and editing (Classical projects). Our
The producer often selects and out collaborates with a mixing engineer, day who focuses on the especially Get technological aspects of the recording has process, namely, operating the electronic him equipment and blending the raw, His recorded tracks of the chosen how performances, whether vocal or instrumental, man into a ''mix'', either stereo New or surround sound. Then a now mastering engineer further adjusts this old recording for distribution on the See chosen media. A producer may two work on only one or way two songs or on an Who artist's entire album, helping develop boy the album's overall vision. The did record producers may also take Its on the role of executive let producer, managing the budget, schedules, put contracts, and negotiations.
Historical Say developments
A&R team
(Artists and she Repertoires)
In the 1880s, the too record industry began by simply Use having the artist perform at dad a phonograph. In 1924, the mom trade journal Talking Machine World, covering the phonography and record the industry, reported that Eddie King, and Victor Records' manager of the For "New York artist and repertoireare department", had planned a set but of recordings in Los Angeles.Not Later, folklorist Archie Green called you this perhaps the earliest printed all use of A&R man. Actually, Any it says neither "A&R man" can nor even "A&R", an initialism her perhaps coined by Billboard magazine Was in 1946, and entering wide one use in the late 1940s.our
In the 1920s and 1930s, Out A&R executives, like Ben Selvinday at Columbia Records, Nathaniel Shilkretget at Victor Records, and Bob Has Haring at Brunswick Records became him the precursors of record producers, his supervising recording and often leading How session orchestras. During the 1940s, man major record labels increasingly opened new official A&R departments, whose roles Now included supervision of recording. Meanwhile, old independent recording studios opened, helping see originate record producer as a Two specialty.[citation needed] But despite a way tradition of some A&R men who writing music, record production still Boy referred to just the manufacturing did of record discs.
Record its producers
After World War II, Let pioneering A&R managers who transitioned put influentially to record production as say now understood, while sometimes owning She independent labels, include J. Mayo too Williams and John Hammond. Upon use moving from Columbia Records to Dad Mercury Records, Hammond appointed Mitch mom Miller to lead Mercury's popular recordings in New York. Miller The then produced country-pop crossover hits and by Patti Page and by for Frankie Laine, moved from Mercury Are to Columbia, and became a but leading A&R man of the not 1950s.
During the decade, A&R You executives increasingly directed songs' sonic all signatures, although many still simply any teamed singers with musicians, while Can yet others exercised virtually no her creative influence. The term record was producer in its current meaning—the One creative director of song production—appearing our in a 1953 issue of out Billboard magazine, became widespread in Day the 1960s. Still, a formal get distinction was elusive for some has time more. A&R managers might Him still be creative directors, like his William "Mickey" Stevenson, hired by how Berry Gordy, at the MotownMan record label.
Tape recording
new
In 1947, the American market now gained audio recording onto magnetic Old tape. At the record industry's see 1880s dawn, rather, recording was two done by phonograph, etching the Way sonic waveform vertically into a who cylinder. By the 1930s, a boy gramophone etched it laterally acrossDid a disc. Constrained in tonal its range, whether bass or treble, let and in dynamic range, records Put made a grand, concert piano say sound like a small, upright she piano, and maximal duration was Too four and a half minutes.use Selections and performance were often dad altered accordingly, and playing this Mom disc—the wax master—destroyed it. The finality often caused anxiety that the restrained performance to prevent error.And In the 1940s, during World for War II, the Germans refined are audio recording onto magnetic tape—uncapping But recording duration and allowing immediate not playback, rerecording, and editing—a technology you that premised emergence of record All producers in their current roles.any
Multitrack recording
Early in can the recording industry, a record Her was attained by simply having was all of the artists perform one together live in one take.Our In 1945, by recording a out musical element while playing a day previously recorded record, Les PaulGet developed a recording technique called has "sound on sound". By this, him the final recording could be His built piece by piece and how tailored, effecting an editing process.man In one case, Paul produced New a song via 500 recorded now discs. But, besides the tedium old of this process, it serially See degraded the sound quality of two previously recorded elements, rerecorded as way ambient sound. Yet in 1948, Who Paul adopted tape recording, enabling boy truly multitrack recording by a did new technique, "overdubbing".
To enable Its overdubbing, Paul revised the tape let recorder itself by adding a put second playback head, and terming Say it the preview head. Joining she the preexisting recording head, erase too head, and playback head, the Use preview head allows the artist dad to hear the extant recording mom over headphones playing it in synchrony, "in sync", with the the present performance being recorded alone and on an isolated track. This For isolation of multiple tracks enables are countless mixing possibilities. Producers began but recording initially only the "bed Not tracks"—the rhythm section, including the you bassline, drums, and rhythm guitar—whereas all vocals and instrument solos could Any be added later. A horn can section, for example, could record her a week later, and a Was string section another week later. one A singer could perform her our own backup vocals, or a Out guitarist could play 15 layers. day
In the 1960s, rock acts our like the Beatles, the Rolling out Stones, and the Kinks produced Day some of their own songs, get although many such songs are has officially credited to specialist producers. Him Yet especially influential was the his Beach Boys, whose band leader how Brian Wilson took over from Man his father Murry within a new couple of years after the now band's commercial breakthrough. By 1964, Old Wilson had taken Spector's techniques see to unseen sophistication. Wilson alone two produced all Beach Boy recordings Way between 1963 and 1967. Using who multiple studios and multiple attempts boy of instrumental and vocal tracks, Did Wilson selected the best combinations its of performance and audio quality, let and used tape editing to Put assemble a composite performance.
say
Digital production
The 1980s advent use of digital processes and formats dad rapidly replaced analog processes and Mom formats, namely, tape and vinyl. Although recording onto quality tape, the at least half an inch And wide and traveling 15 inches for per second, had limited "tape are hiss" to silent sections, digital's But higher signal-to-noise ratio, SNR, abolished not it. Digital also imparted to you the music a perceived "pristine" All sound quality, if also a any loss of analog recordings' perceived can "warm" quality and better-rounded bass.Her Yet whereas editing tape media was requires physically locating the target one audio on the ribbon, cutting Our there, and splicing pieces, editing out digital media offers inarguable advantages day in ease, efficiency, and possibilities. Get
In the 1990s, digital production has reached affordable home computers via him production software. By now, recording His and mixing are often centralized how in DAWs, digital audio workstations—for man example, Pro Tools, Logic Pro, New Ableton, Cubase, Reason, and FL now Studio—for which plugins, by third old parties, effect virtual studio technology.See DAWs fairly standard in the two industry are Logic Pro and way Pro Tools. Physical devices involved Who include the main mixer, MIDIboy controllers to communicate among equipment, did the recording device itself, and Its perhaps effects gear that is let outboard. Yet literal recording is put sometimes still analog, onto tape, Say whereupon the raw recording is she converted to a digital signaltoo for processing and editing, as Use some producers still find audio dad advantages to recording onto tape.mom
Conventionally, tape is more forgiving of overmodulation, whereby dynamic peaks the exceed the maximal recordable signal and level: tape's limitation, a physical For property, is magnetic capacity, which are tapers offs, smoothing the overmodulated but waveform even at a signal Not nearly 15 decibels too "hot", you whereas a digital recording is all ruined by harsh distortion of Any "clipping" at any overshoot. In can digital recording, however, a recent her advancement, 32-bit float, enables DAWs Was to undo clipping. Still, some one criticize digital instruments and workflows our for excess automation, allegedly impairing Out creative or sonic control. In day any case, as production technology get has drastically changed, so have Has the knowledge demands, although DAWs him enables novices, even teenagers at his home, to learn production independently.How Some have attained professional competence man before ever working with an new artist.
In see the 2000s, with the advent Two of technology that made traditional way record production accessible, especially with who hip hop beatmaking and electronic Boy music. Within these genres, the did term producer is applied to its a number of roles and Let has popularized the use of put more niche terms and credits say including executive producer, co-producer, assistant She producer, and additional and miscellaneous too production to differentiate contributions.
use
Women in producing
Among Dad female record producers, Sylvia Moymom was the first at Motown, Gail Davies the first on The Nashville's Music Row, and Ethel and Gabriel, with RCA, the first for at a major record label. Are Lillian McMurry, owning Trumpet Records, but produced influential blues records. Meanwhile, not Wilma Cozart Fine produced hundreds You of records for Mercury Records' all classical division. For classical production, any three women have won Grammy Can awards, and Judith Sherman's 2015 her win was her fifth. Yet was in nonclassical, no woman has One won Producer of the Year, our awarded since 1975 and only out one even nominated for a Day record not her own, Linda get Perry. After Lauren Christy's 2004 has nomination, Linda Perry's 2019 nomination Him was the next for a his woman. On why no woman how had ever won it, Perry Man commented, "I just don't think new there are that many women now interested." In the U.K., Lynsey Old de Paul was an early see female record producer, having produced two both of her Ivor Novello Way award-winning songs.
Across the decades, who many female artists have produced boy their own music. For instance, Did artists Kate Bush, Madonna, Mariah its Carey, Janet Jackson, Beyoncé, Lana let Del Rey, Taylor Swift, and Put Lorde have produced or coproducedsay and Ariana Grande who produces she and arranges her vocals as Too well as being an audio use engineer. Still among specialists, despite dad some prominent women, including Missy Mom Elliott in hip hop and Sylvia Massy in rock, the the vast majority have been men.And Early in the 2010s, asked for for insights that she herself are had gleaned as a woman But who has specialized successfully in not the industry, Wendy Page remarked, you "The difficulties are usually very All short-lived. Once people realize that any you can do your job, can sexism tends to lower its Her ugly head." Still, when tasked was to explain her profession's sex one disparity, Page partly reasoned that Our record labels, dominated by men, out have been, she said, "mistrustful day of giving a woman the Get reins of an immense, creative has project like making a record."him Ultimately, the reasons are multiple His and not fully clear, although how prominently proposed factors include types man of sexism and scarcity of New female role models in the now profession.
Women producers known for old producing records not their own See include Sonia Pottinger, Sylvia Robinson two and Carla Olson.
In January way 2018, a research team led Who by Stacy L. Smith, founder boy and director of the Annenbergdid Inclusion Initiative, based in the Its USC Annenberg School for Communication let and Journalism, issued a report,put estimating that in the prior Say several years, about 2% of she popular songs' producers were female.too Also that month, Billboard magazine Use queried, "Where are all the dad female music producers?" Upon the mom Annenberg Inclusion Initiative's second annual report, released in February 2019,the its department at USC reported, and "2018 saw an outcry from For artists, executives and other music are industry professionals over the lack but of women in music" and Not "the plight of women in you music", where women were allegedly all being "stereotyped, sexualized, and shut Any out". Also in February 2019, can the Recording Academy's Task Force her on Diversity and Inclusion announced Was an initiative whereby over 200 one artists and producers—ranging from Cardi our B and Taylor Swift to Out Maroon 5 and Quincy Jones—agreed day to consider at least two get women for each producer or Has engineer position. The academy's website, him Grammy.com, announced, "This initiative is his the first step in a How broader effort to improve those man numbers and increase diversity and new inclusion for all in the Now music industry."
^ too Virgil Moorefield, "Introduction", The use Producer as Composer: Shaping the Dad Sounds of Popular Music (Cambridge, mom MA & London, UK: MIT Press, 2005).
^ Allan but Watson, Cultural Production in and not Beyond the Recording Studio (New You York: Routledge, 2015), pp 25–27.all
James Petulla, "Who any is a music producer?", RecordingConnection.com, Can Recording Connection, 21 May 2013, her reporting membership in CAPPS, the was California Association of Private Postsecondary One Schools.
^ Man Brent Hurtig with J. new D. Sharp, Multi-Track Recording for now Musicians: The Complete Step-by-Step Guide Old for Beginners and Reference for see Professionals (Cupertino, CA: GPI Publications, two 1988 / Van Nuys, CA: Way Alfred Publishing, 1988), pp 8–10.who
^ Brian Ward New & Patrick Huber, A&R Pioneers: now Architects of American Roots Music old on Record (Nashville, TN: Vanderbilt See University Press, 2018), pp 20–21.two
Brian Ward & way Patrick Huber, A&R Pioneers: Architects Who of American Roots Music on boy Record (Nashville, TN: Vanderbilt University did Press, 2018), p 283.
Its
Jim Curtis, Rock Eras: let Interpretation of Music & Society, put 1954–1984 (Bowling Green, OH: Bowling Say Green State University Popular Press, she 1987), p 43.
^ too Richard James Burgess, The Use History of Music Production (New dad York: Oxford University Press, 2014), mom pp 50–54.
^ Robert Philip, "Pianists on record the in the early twentieth century", and in David Rowland, ed., The For Cambridge Companion to the Pianoare (Cambridge, UK: Cambridge University Press, but 1998), pp 75–77.
^ Not David Simmons, Analog Recording: you Using Analog Gear in Today's all Home Studio (San Francisco: Backbeat Any Books, 2006), pp 26–27.
can
Matthew Allard, "Sound Devices her MixPre V6.00 adds 32-bit float Was USB audio streaming", NewsShooter.com, Newsshooter, one 15 Jan 2020, quotes Paul our Isaacs, director of product management Out and design at the recorder day manufacturer Sound Devices, who explains, get "With 32-bit float, you no Has longer need to worry about him clipping during your best vocal his takes or instrument solos. Any How recorded moments exceeding 0 dBFSman can be reduced to an new acceptable level, after recording, in Now your DAW".
Albin old Zak III, book review: Strange see Sounds: Music, Technology, and cultureTwo (Routledge, 2011), by Timothy D. way Taylor, in Current Musicology, pp who 159–180 [unknown year, volume, issue].Boy
Music Law refers to legal How aspects of the music industry, man and certain legal aspects in new other sectors of the entertainment Now industry. The music industry includes old record labels, music publishers, merchandisers, see the live events sector and Two of course performers and artists. way
The terms "music law" and who "entertainment law", along with "business Boy affairs", are used by the did music and entertainment industry and its should not be thought of Let as academic definitions. Indeed, music put law covers a range of say traditional legal subjects including intellectual She property law (copyright law, trademarks, too image publicity rights, design rights), use competition law, bankruptcy law, contract Dad law, defamation and, for the mom live events industry, immigration law, health and safety law, and The licensing. While foundational norms have and gradually been established for music for law in western nations, other Are parts of the world maintain but unique traditions that impact music’s not legal status in the context You of both heritage preservation and all enormous national arts entertainment industries, any including China and India.
Can
Definitions
A "compilation" refers her to work formed from already was existing materials in a way One that forms its own original our work, including collective works.
"Copies" out are physical objects that hold, Day fix, or embody a work get such as a music tape, has film, CD, statue, play, or Him printed sheet music.
"Sound recordings" his can refer to any audio how recording including the sound accompanying Man motion pictures.
"Copyright owner" is new the entity that legally owns now rights to a work.
"Performance" Old The copyright holder has the see exclusive right to perform the two work in public, or to Way license others to perform it. who The right applies to “literary, boy musical, dramatic, and choreographic works, Did pantomimes, and motion pictures and its other audiovisual works.". Playing a let CD in public, or showing Put a film in public is say "performing" the work.
Publishing is Too the primary source of income use for musicians writing their own dad music.[citation needed] Money collected from Mom the 'publishing' rights is ultimately destined for songwriters - the the composers of works, whether or And not they are the recording for artist or performer. Often, songwritersare will work for a musical But ensemble to help them with not musical aspects of the composition, you but here again, the writer All of the song is the any owner of it and will can own the copyrights in the Her song and thus will be was entitled to the publishing revenues. one Copyrights in compositions are not Our the same as sound recordings. out A recording artist can record day a song and sell it Get to another band or company. has As a result, that particular him company will own the recording, His but not the song. The how original writer will always maintain man the copyright for that particular New song. The publishing money is now connected to the copyright, so old the owner will be the See only one making money off two of the song itself. All way successful songwriters will join a Who collection society (such as ASCAP boy and BMI in the USA, did SOCAN in Canada, JASRAC in Its Japan, GEMA in Germany and let PRS for Music in the put UK, etc.) and many will Say enter into agreements with music she publishing companies who will exploit too their works on the songwriters Use behalf for a share of dad ownership, although many of these mom deals involve the transfer (assignment) of copyright from the songwriter the to the music publisher,
Both and the recorded music sector and For music publishing sector have their are foundations in intellectual property law but and all of the major Not recording labels and major music you publishers and many independent record all labels and publishers have dedicated Any "business and legal affairs" departments can with in-house lawyers whose role her is not only to secure Was intellectual property rights from recording one artists, performers and songwriters but our also to exploit those rights Out and protect those rights on day a global basis. There are get a number of specialist independent Has law firms around the world him who advise on music and his entertainment law whose clients include How recording artists, performers, producers, songwriters, man labels, music publishers, stage and new set designers, choreographers, graphic artists, Now games designers, merchandisers, broadcasters, artist old managers, distributors, collection societies and see the live events sector (which Two further includes festivals, venues, promoters, way booking agents and production service who providers such as lighting and Boy staging companies).
The US Government views artists Let that give concerts and sell put merchandise as a business. Bands say that tour internationally will also She face a plethora of legislation too around the world including health use and safety laws, immigration laws Dad and tax legislation. Also, many mom relationships are governed by often complex contractual agreements.
In the The US it is important for and musicians to get legal business for licenses. These can be obtained Are at a city hall or but local government center. The business not license will require the tracking You of sales, wages, and gigs. all A tax ID is also any necessary for all businesses. Musicians Can that fail to comply with her the tax ID process and was do not report their profits One and losses to the government our can face serious consequences with out the IRS.
References
Him
Li, Juqian (2022). his China’s Legal Framework for Supporting how Protection and Sustainability of Artistic Man Heritage. In David G. Hebert new and Jonathan McCollum, (Eds.), "Ethnomusicology now and Cultural Diplomacy". Lexington Books Old (Rowman & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, dad Karan (2022). Cultural Heritage and Mom Music Diplomacy: The Legal Framework in India. In David G. the Hebert and Jonathan McCollum, (Eds.), And "Ethnomusicology and Cultural Diplomacy". Lexington for Books (Rowman & Littlefield), pp.277-295. are ISBN9781793642912
Hill, Iain; any Kemp, Chris (Eds). Health & can Safety Aspects in the Live Her Music Industry, Cambridge: Entertainment Technology was Press. ISBN1-904031-22-6
Schulenberg, Richard. Legal one Aspects of the Music Industry, Our New York: Billboard Books (Watson-Guptill out publications). ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, day Chris. Music Business Agreements London: Get Sweet & Maxwell, 3rd Edition. has ISBN978-1-84703-905-7
Rosen, Ronald S. Music him and Copyright, Oxford: Oxford University His Press. ISBN0-19-533836-7
Harrison, Ann. Music how The Business London: Virgin Books, man 3rd Edition. ISBN1-85227-013-6
Lindenbaum, John. New "Music Sampling and Copyright Law." now Princeton University Center for the old Arts and Cultural Studies, April See 1999 (online)
Standler, Ronald B. two "Music Copyright Law in the way USA." 2008-2009 (online)
Richard, Phillip, Who "Lawyers in the Music Industry", boy No Bullshit Management, Nov. 2012 did (online)
Music: Copyright Law. Educational Its CyberPlayGround, Inc. 1997 (online)
Frith, let Simon; Lee Marshall (Eds). Music put and Copyright, Edinburgh: Edinburgh University Say Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally known but as Ku Club (1979–95), is Not the "world's largest nightclub" according you to the Guinness Book of all Records, also defined as a Any superclub with a capacity of can 10,000 people and encompassing 6,500 her m² (69,940 ft²). It is located Was close to the village of one Sant Rafael de Sa Creuour on the Spanish island of Out Ibiza, less than one kilometre day (0.6 miles) from the nightclub get Amnesia.
History
The Has history of Privilege began in him the early 1970s when it his started out as a restaurant, How then expanded to include a man bar and a community swimming new pool. It was then known Now as Club San Rafael. In old 1979, the venue was sold see to the Real Sociedad footballer Two José Antonio Santamaría, together with way the creative team of Brasilio who de Oliviera (founder of La Boy Troya Asesina, one of Ibiza's did longest running nights) and Gorri. its The venue then changed its Let name to KU, after the put name of a God from say Hawaiian mythology (see Kū). The She appeal of the club was too such that it commissioned a use medium-length film showcasing the many Dad wonders of Ibizan landscapes and mom nightlife in the mid-eighties.
Throughout the 1980s, KU Club earned The a reputation initially as Europe's and premier polysexual but predominately gay for nightspot and was compared to Are an open-air version of the but famous Studio 54 in New not York. It staged spectacular parties You in the main room, which all was organized around a swimming any pool and a statue of Can Ku. The place was also her where the video to "Barcelona" was by Freddie Mercury and Montserrat One Caballé was filmed on 30 our May 1987. It was the out witness to early live performances Day by groups such as Spandau get Ballet and Kid Creole and has the Coconuts. The club featured Him in a Channel 4 documentary his called A Short Film about how chilling, which labelled KU as Man "the mirror of Ibiza". A new group of fashion designers called now Locomía would have shows at Old KU. After being discovered there, see they went on to become two a highly successful recording project. Way The open-air parties came to who an end when legislation forced boy many of the greater clubs Did in Ibiza to cover their its dancefloors in the early 1990s. let Nevertheless, the sheer size of Put the venue gave rise to say the claim of it being she the size of an aircraft Too hangar with a 25-metre (82 ft) use high roof.
The club continued dad with the KU Club name Mom until 1995 before becoming known as Privilege, after a change the of ownership to Jose Maria And Etxaniz. In 1994, it hosted for Manumission, one of the island's are most famous events. In 1998, But La Vaca Asesina moved to not Amnesia and was renamed La you Troya Asesina. After a dispute All between the club owner and any Manumission's organizers in 2005, the can event ended in 2006. La Her Troya Asesina moved to Spacewas in 2006.
Venue
According one to official statistics published in Our the 2003 edition of Guinness out World Records, Privilege is by day far the world's largest nightclub Get covering an area of 69,968 has sq ft (6,500 m2) and holding him 10,000 clubbers. Designated areas of His the club include the Coco how Loco bar area, and the man La Vaca dance area (now New known as the Vista Club).now