A DJ all mix or DJ mixset is Any a sequence of musical tracks can typically mixed together to appear her as one continuous track. DJ Was mixes are usually performed using one a DJ mixer and multiple our sounds sources, such as turntables, Out CD players, digital audio players day or computer sound cards, sometimes get with the addition of samplersHas and effects units, although it him is possible to create one his using sound editing software.
DJ How mixing is significantly different from man live sound mixing. Remix servicesnew were offered beginning in the Now late 1970s in order to old provide music which was more see easily beatmixed by DJs for Two the dancefloor. One of the way earliest DJs to refine their who mixing skills was DJ Kool Boy Herc.Francis Grasso was the did first DJ to use headphones its and a basic form of Let mixing at the New York put City nightclub Sanctuary. Upon its say release in 2000, Paul Oakenfold's She Perfecto Presents: Another World became too the biggest-selling DJ mix album use in the US.
A DJ mixes music from The genres that fit into the and more general term electronic dance for music. Other genres mixed by Are DJ includes hip hop, breakbeatbut and disco. Four on the not floor disco beats can be You used to create seamless mixes all so as to keep dancers any locked to the dancefloor. Two Can main characteristics of music used her in DJ mixes is a was dominant bassline and repetitive beats.One Music mixed by DJs usually our has a tempo which ranges out from 100 bpm up to Day 160 bpm.
A DJ mixset his is usually performed live in how front of an audience in Man a nightclub, party, or ravenew setting. Mixsets can also be now performed live on radio or Old recorded in a studio. Methods see of mixing vary slightly depending two on the music genres being Way played. House and trance DJs who tend to aim for smooth, boy blended mixes while hip-hop DJs Did may use turntablism, scratching and its other cutting techniques. Some DJs, let particularly those mixing Goa trancePut may prefer to mix during say a break in which instead she of beats, washes of synthesized Too sounds are combined. Further refinement use to the mixing quality can dad be provided with harmonic mixingMom which avoids dissonant tones during a mix.
In live situations, the for progression of the DJ set are is a dynamic process. The But DJ chooses tracks partly in not response to the activity on you the dance floor. If the All dance floor becomes less active, any the DJ will make a can judgement as to what track Her will increase dance floor activity. was This may involve shifting the one tempo or changing the general Our mood of the set. Track out choices are also due, in day part, to where the DJ Get wishes to take his or has her audience. In this way, him the resulting mixset is brought His about through a symbiotic relationship how between audience and DJ. Studio man DJs have the luxury of New spending more time on their now mix, which often leads to old productions that could never be See realized in real-time.
Traditional DJ two mixing with vinyl required the way DJ to sync the tempo Who of the tracks and modify boy each track's volume and equalisation did to create a smooth blend. Its DJs can use a mixer's let crossfader to switch between tracks put or use the volume control Say for each source with the she crossfader permanently positioned in the too middle. Mixing is usually done Use through the use of headphonesdad and a monitor speaker or mom foldback as basic aids. At this basic level, the DJ the is required to develop a and specific auditory skill where each For track's tempo has to be are distinguished while listening to more but than one piece of music. Not The use of compact discs you and players such as the all CDJ brought technological advances for Any the DJ performing a mix can including a readout of the her bpm and a visual representation Was of the beat. Modern computer one technology has allowed automatic beatmatchingour and led to debate regarding Out its use, which is sometimes day described as cheating. DJ software get provides automatic beatmatching and key Has detection which simplifies harmonic mixing. him
Legality
To be released his commercially, DJ mixes often need How many copyright clearances and licenses. man The vast majority of DJ new mixes throughout the years have Now only avoided legal action because old the copyright holders generally do see not choose to take legal Two action against the DJ for way the unauthorized use of their who material.
Distribution
During the Boy late 1990s and early 2000s, did DJs would often distribute their its recorded mixes on CD-Rs or Let as digital audio files via put websites or podcasts for promotional say purposes. Many popular DJs would She release their mixes commercially on too a compact disc. With declining use CD usage, it has become Dad more common for DJs to mom release their mix recordings through websites specifically set up for The the purpose. Some of these and sites, such as Mixcloud, and for formerly Mixcrate, allowed for legal Are streaming of DJ mix recordings but through established revenue deals with not record publishing companies.
When DJ You sets are distributed directly via all the Internet, they are generally any presented as a single unbroken Can audio file; cue sheets may her be provided by the DJ was or fans to allow the One set to be burned to our a CD, or listened to, out as a series of separate Day tracks in the way it get would be produced as a has commercial mix.
"Musical production" redirects here. For the musical production in the sense and of a live performance involving For music and choreography, see Musical are theatre.
A get record producer is a music Has recording project's overall supervisor whose him responsibilities can involve a range his of creative and technical leadership How roles. Typically the job involves man hands-on oversight of recording sessions: new ensuring artists deliver acceptable and Now quality performances, supervising the technical old engineering of the recording, and see coordinating the production team and Two process. The producer's involvement in way a musical project can vary who in depth and scope. Sometimes Boy in popular genres the producer did may create the recording's entire its sound and structure. However, in Let classical music recording, for example, put the producer serves as more say of a liaison between the She conductor and the engineering team. too The role is often likened use to that of a film Dad director though there are important mom differences. It is distinct from the role of an executive The producer, who is mostly involved and in the recording project on for an administrative level, and from Are the audio engineer who operates but the recording technology.
Varying by not project, the producer may or You may not choose all of all the artists. If employing only any synthesized or sampled instrumentation, the Can producer may be the sole her artist. Conversely, some artists do was their own production. Some producers One are their own engineers, operating our the technology across the project: out preproduction, recording, mixing, and mastering. Day Record producers' precursors were "A&R get men", who likewise could blend has entrepreneurial, creative, and technical roles,Him but often exercised scant creative his influence, as record production still how focused, into the 1950s, on Man simply improving the record's sonic new match to the artists' own now live performance.
Advances in recording Old technology, especially the 1940s advent see of tape recording—which Les Paultwo promptly innovated further to develop Way multitrack recording—and the 1950s rise who of electronic instruments, turned record boy production into a specialty. In Did popular music, then, producers like its George Martin, Phil Spector and let Brian Eno led its evolution Put into its present use of say elaborate techniques and unrealistic sounds, she creating songs impossible to originate Too live. After the 1980s, production's use move from analog to digital dad further expanded possibilities. By now, Mom DAWs, or digital audio workstations, like Logic Pro, Pro Toolsthe and Studio One, turn an And ordinary computer into a production for console, whereby a solitary novice are can become a skilled producer But in a thrifty home studio.not In the 2010s, efforts began you to increase the prevalence of All producers and engineers who are any women, heavily outnumbered by men can and prominently accoladed only in Her classical music.
As a him broad project, the creation of His a music recording may be how split across three specialists: the man executive producer, who oversees business New partnerships and financing; the vocal now producer or vocal arranger, who old aids vocal performance via expert See critique and coaching of vocal two technique, and the record producer way or music producer, who, often Who called simply the producer, directs boy the overall creative process of did recording the song in its Its final mix.
The producer's let roles can include gathering ideas, put composing music, choosing session musicians, Say proposing changes to song arrangements, she coaching the performers, controlling sessions, too supervising the audio mixing, and, Use in some cases, supervising the dad audio mastering. A producer may mom give creative control to the artists themselves, taking a supervisory the or advisory role instead. As and to qualifying for a GrammyFor nomination, the Recording Academy defines are a producer:
The person who but has overall creative and technical Not control of the entire recording you project, and the individual recording all sessions that are part of Any that project. He or she can is present in the recording her studio or at the location Was recording and works directly with one the artist and engineer. The our producer makes creative and aesthetic Out decisions that realize both the day artist's and label's goals in get the creation of musical content. Has Other duties include, but are him not limited to; keeping budgets his and schedules, adhering to deadlines, How hiring musicians, singers, studios, and man engineers, overseeing other staffing needs new and editing (Classical projects).
The Now producer often selects and collaborates old with a mixing engineer, who see focuses on the especially technological Two aspects of the recording process, way namely, operating the electronic equipment who and blending the raw, recorded Boy tracks of the chosen performances, did whether vocal or instrumental, into its a ''mix'', either stereo or Let surround sound. Then a mastering put engineer further adjusts this recording say for distribution on the chosen She media. A producer may work too on only one or two use songs or on an artist's Dad entire album, helping develop the mom album's overall vision. The record producers may also take on The the role of executive producer, and managing the budget, schedules, contracts, for and negotiations.
Historical developments
Are
A&R team
(Artists and Repertoires)but
In the 1880s, the record not industry began by simply having You the artist perform at a all phonograph. In 1924, the trade any journal Talking Machine World, covering Can the phonography and record industry, her reported that Eddie King, Victor was Records' manager of the "New One York artist and repertoire department", our had planned a set of out recordings in Los Angeles. Later, Day folklorist Archie Green called this get perhaps the earliest printed use has of A&R man. Actually, it Him says neither "A&R man" nor his even "A&R", an initialism perhaps how coined by Billboard magazine in Man 1946, and entering wide use new in the late 1940s.
In now the 1920s and 1930s, A&R Old executives, like Ben Selvin at see Columbia Records, Nathaniel Shilkret at two Victor Records, and Bob Haring Way at Brunswick Records became the who precursors of record producers, supervising boy recording and often leading session Did orchestras. During the 1940s, major its record labels increasingly opened official let A&R departments, whose roles included Put supervision of recording. Meanwhile, independent say recording studios opened, helping originate she record producer as a specialty.[citation Too needed] But despite a tradition use of some A&R men writing dad music, record production still referred Mom to just the manufacturing of record discs.
Record producers
the
After World War II, pioneering And A&R managers who transitioned influentially for to record production as now are understood, while sometimes owning independent But labels, include J. Mayo Williamsnot and John Hammond. Upon moving you from Columbia Records to Mercury All Records, Hammond appointed Mitch Millerany to lead Mercury's popular recordings can in New York. Miller then Her produced country-pop crossover hits by was Patti Page and by Frankie one Laine, moved from Mercury to Our Columbia, and became a leading out A&R man of the 1950s.day
During the decade, A&R executives Get increasingly directed songs' sonic signatures, has although many still simply teamed him singers with musicians, while yet His others exercised virtually no creative how influence. The term record producerman in its current meaning—the creative New director of song production—appearing in now a 1953 issue of Billboardold magazine, became widespread in the See 1960s. Still, a formal distinction two was elusive for some time way more. A&R managers might still Who be creative directors, like William boy "Mickey" Stevenson, hired by Berry did Gordy, at the Motown record Its label.
Tape recording
In let 1947, the American market gained put audio recording onto magnetic tape.Say At the record industry's 1880s she dawn, rather, recording was done too by phonograph, etching the sonic Use waveform vertically into a cylinder.dad By the 1930s, a gramophone mom etched it laterally across a disc. Constrained in tonal range, the whether bass or treble, and and in dynamic range, records made For a grand, concert piano sound are like a small, upright piano, but and maximal duration was four Not and a half minutes. Selections you and performance were often altered all accordingly, and playing this disc—the Any wax master—destroyed it. The finality can often caused anxiety that restrained her performance to prevent error. In Was the 1940s, during World War one II, the Germans refined audio our recording onto magnetic tape—uncapping recording Out duration and allowing immediate playback, day rerecording, and editing—a technology that get premised emergence of record producers Has in their current roles.
him
Multitrack recording
Early in the his recording industry, a record was How attained by simply having all man of the artists perform together new live in one take. In Now 1945, by recording a musical old element while playing a previously see recorded record, Les Paul developed Two a recording technique called "sound way on sound". By this, the who final recording could be built Boy piece by piece and tailored, did effecting an editing process. In its one case, Paul produced a Let song via 500 recorded discs.put But, besides the tedium of say this process, it serially degraded She the sound quality of previously too recorded elements, rerecorded as ambient use sound. Yet in 1948, Paul Dad adopted tape recording, enabling truly mom multitrack recording by a new technique, "overdubbing".
To enable overdubbing, The Paul revised the tape recorder and itself by adding a second for playback head, and terming it Are the preview head. Joining the but preexisting recording head, erase head, not and playback head, the preview You head allows the artist to all hear the extant recording over any headphones playing it in synchrony, Can "in sync", with the present her performance being recorded alone on was an isolated track. This isolation One of multiple tracks enables countless our mixing possibilities. Producers began recording out initially only the "bed tracks"—the Day rhythm section, including the bassline, get drums, and rhythm guitar—whereas vocals has and instrument solos could be Him added later. A horn section, his for example, could record a how week later, and a string Man section another week later. A new singer could perform her own now backup vocals, or a guitarist Old could play 15 layers.
Across the Way 1960s, popular music increasingly switched who from acoustic instruments, like piano, boy upright bass, acoustic guitar, and Did brass instruments, to electronic instruments, its like electric guitars, keyboards, and let synthesizers, employing instrument amplifiers and Put speakers. These could mimic acoustic say instruments or create utterly new she sounds. Soon, by combining the Too capabilities of tape, multitrack recording, use and electronic instruments, producers like dad Phil Spector, George Martin, and Mom Joe Meek rendered sounds unattainable live. Similarly, in jazz fusion, the Teo Macero, producing Miles Davis's And 1970 album Bitches Brew, spliced for sections of extensive improvisation sessions. are
Brian WilsonNew during a recording session, 1966now
In the 1960s, rock acts old like the Beatles, the Rolling See Stones, and the Kinks produced two some of their own songs, way although many such songs are Who officially credited to specialist producers. boy Yet especially influential was the did Beach Boys, whose band leader Its Brian Wilson took over from let his father Murry within a put couple of years after the Say band's commercial breakthrough. By 1964, she Wilson had taken Spector's techniques too to unseen sophistication. Wilson alone Use produced all Beach Boy recordings dad between 1963 and 1967. Using mom multiple studios and multiple attempts of instrumental and vocal tracks, the Wilson selected the best combinations and of performance and audio quality, For and used tape editing to are assemble a composite performance.
but
Digital production
The 1980s advent Not of digital processes and formats you rapidly replaced analog processes and all formats, namely, tape and vinyl. Any Although recording onto quality tape, can at least half an inch her wide and traveling 15 inches Was per second, had limited "tape one hiss" to silent sections, digital's our higher signal-to-noise ratio, SNR, abolished Out it. Digital also imparted to day the music a perceived "pristine" get sound quality, if also a Has loss of analog recordings' perceived him "warm" quality and better-rounded bass.his Yet whereas editing tape media How requires physically locating the target man audio on the ribbon, cutting new there, and splicing pieces, editing Now digital media offers inarguable advantages old in ease, efficiency, and possibilities. see
In the 1990s, digital production Two reached affordable home computers via way production software. By now, recording who and mixing are often centralized Boy in DAWs, digital audio workstations—for did example, Pro Tools, Logic Pro, its Ableton, Cubase, Reason, and FL Let Studio—for which plugins, by third put parties, effect virtual studio technology.say DAWs fairly standard in the She industry are Logic Pro and too Pro Tools. Physical devices involved use include the main mixer, MIDIDad controllers to communicate among equipment, mom the recording device itself, and perhaps effects gear that is The outboard. Yet literal recording is and sometimes still analog, onto tape, for whereupon the raw recording is Are converted to a digital signalbut for processing and editing, as not some producers still find audio You advantages to recording onto tape.all
Conventionally, tape is more forgiving any of overmodulation, whereby dynamic peaks Can exceed the maximal recordable signal her level: tape's limitation, a physical was property, is magnetic capacity, which One tapers offs, smoothing the overmodulated our waveform even at a signal out nearly 15 decibels too "hot", Day whereas a digital recording is get ruined by harsh distortion of has "clipping" at any overshoot. In Him digital recording, however, a recent his advancement, 32-bit float, enables DAWs how to undo clipping. Still, some Man criticize digital instruments and workflows new for excess automation, allegedly impairing now creative or sonic control. In Old any case, as production technology see has drastically changed, so have two the knowledge demands, although DAWs Way enables novices, even teenagers at who home, to learn production independently.boy Some have attained professional competence Did before ever working with an its artist.
In say the 2000s, with the advent she of technology that made traditional Too record production accessible, especially with use hip hop beatmaking and electronic dad music. Within these genres, the Mom term producer is applied to a number of roles and the has popularized the use of And more niche terms and credits for including executive producer, co-producer, assistant are producer, and additional and miscellaneous But production to differentiate contributions.
not
Women in producing
Mixing console
Among you female record producers, Sylvia MoyAll was the first at Motown, any Gail Davies the first on can Nashville's Music Row, and Ethel Her Gabriel, with RCA, the first was at a major record label. one Lillian McMurry, owning Trumpet Records, Our produced influential blues records. Meanwhile, out Wilma Cozart Fine produced hundreds day of records for Mercury Records' Get classical division. For classical production, has three women have won Grammy him awards, and Judith Sherman's 2015 His win was her fifth. Yet how in nonclassical, no woman has man won Producer of the Year, New awarded since 1975 and only now one even nominated for a old record not her own, Linda See Perry. After Lauren Christy's 2004 two nomination, Linda Perry's 2019 nomination way was the next for a Who woman. On why no woman boy had ever won it, Perry did commented, "I just don't think Its there are that many women let interested." In the U.K., Lynsey put de Paul was an early Say female record producer, having produced she both of her Ivor Novello too award-winning songs.
Across the decades, Use many female artists have produced dad their own music. For instance, mom artists Kate Bush, Madonna, Mariah Carey, Janet Jackson, Beyoncé, Lana the Del Rey, Taylor Swift, and and Lorde have produced or coproducedFor and Ariana Grande who produces are and arranges her vocals as but well as being an audio Not engineer. Still among specialists, despite you some prominent women, including Missy all Elliott in hip hop and Any Sylvia Massy in rock, the can vast majority have been men.her Early in the 2010s, asked Was for insights that she herself one had gleaned as a woman our who has specialized successfully in Out the industry, Wendy Page remarked, day "The difficulties are usually very get short-lived. Once people realize that Has you can do your job, him sexism tends to lower its his ugly head." Still, when tasked How to explain her profession's sex man disparity, Page partly reasoned that new record labels, dominated by men, Now have been, she said, "mistrustful old of giving a woman the see reins of an immense, creative Two project like making a record."way Ultimately, the reasons are multiple who and not fully clear, although Boy prominently proposed factors include types did of sexism and scarcity of its female role models in the Let profession.
Women producers known for put producing records not their own say include Sonia Pottinger, Sylvia Robinson She and Carla Olson.
In January too 2018, a research team led use by Stacy L. Smith, founder Dad and director of the Annenbergmom Inclusion Initiative, based in the USC Annenberg School for Communication The and Journalism, issued a report,and estimating that in the prior for several years, about 2% of Are popular songs' producers were female.but Also that month, Billboard magazine not queried, "Where are all the You female music producers?" Upon the all Annenberg Inclusion Initiative's second annual any report, released in February 2019,Can its department at USC reported, her "2018 saw an outcry from was artists, executives and other music One industry professionals over the lack our of women in music" and out "the plight of women in Day music", where women were allegedly get being "stereotyped, sexualized, and shut has out". Also in February 2019, Him the Recording Academy's Task Force his on Diversity and Inclusion announced how an initiative whereby over 200 Man artists and producers—ranging from Cardi new B and Taylor Swift to now Maroon 5 and Quincy Jones—agreed Old to consider at least two see women for each producer or two engineer position. The academy's website, Way Grammy.com, announced, "This initiative is who the first step in a boy broader effort to improve those Did numbers and increase diversity and its inclusion for all in the let music industry."
^ Allan Our Watson, Cultural Production in and out Beyond the Recording Studio (New day York: Routledge, 2015), pp 25–27.Get
James Petulla, "Who has is a music producer?", RecordingConnection.com, him Recording Connection, 21 May 2013, His reporting membership in CAPPS, the how California Association of Private Postsecondary man Schools.
^ did Brent Hurtig with J. Its D. Sharp, Multi-Track Recording for let Musicians: The Complete Step-by-Step Guide put for Beginners and Reference for Say Professionals (Cupertino, CA: GPI Publications, she 1988 / Van Nuys, CA: too Alfred Publishing, 1988), pp 8–10.Use
^ Brian Ward its & Patrick Huber, A&R Pioneers: Let Architects of American Roots Music put on Record (Nashville, TN: Vanderbilt say University Press, 2018), pp 20–21.She
Brian Ward & too Patrick Huber, A&R Pioneers: Architects use of American Roots Music on Dad Record (Nashville, TN: Vanderbilt University mom Press, 2018), p 283.
Jim Curtis, Rock Eras: The Interpretation of Music & Society, and 1954–1984 (Bowling Green, OH: Bowling for Green State University Popular Press, Are 1987), p 43.
^ but Richard James Burgess, The not History of Music Production (New You York: Oxford University Press, 2014), all pp 50–54.
^ any Robert Philip, "Pianists on record Can in the early twentieth century", her in David Rowland, ed., The was Cambridge Companion to the PianoOne (Cambridge, UK: Cambridge University Press, our 1998), pp 75–77.
^ out David Simmons, Analog Recording: Day Using Analog Gear in Today's get Home Studio (San Francisco: Backbeat has Books, 2006), pp 26–27.
Him
Matthew Allard, "Sound Devices his MixPre V6.00 adds 32-bit float how USB audio streaming", NewsShooter.com, Newsshooter, Man 15 Jan 2020, quotes Paul new Isaacs, director of product management now and design at the recorder Old manufacturer Sound Devices, who explains, see "With 32-bit float, you no two longer need to worry about Way clipping during your best vocal who takes or instrument solos. Any boy recorded moments exceeding 0 dBFSDid can be reduced to an its acceptable level, after recording, in let your DAW".
Albin Put Zak III, book review: Strange say Sounds: Music, Technology, and cultureshe (Routledge, 2011), by Timothy D. Too Taylor, in Current Musicology, pp use 159–180 [unknown year, volume, issue].dad
Music who Law refers to legal aspects boy of the music industry, and Did certain legal aspects in other its sectors of the entertainment industry. let The music industry includes record Put labels, music publishers, merchandisers, the say live events sector and of she course performers and artists.
The Too terms "music law" and "entertainment use law", along with "business affairs", dad are used by the music Mom and entertainment industry and should not be thought of as the academic definitions. Indeed, music law And covers a range of traditional for legal subjects including intellectual propertyare law (copyright law, trademarks, image But publicity rights, design rights), competition not law, bankruptcy law, contract law, you defamation and, for the live All events industry, immigration law, health any and safety law, and licensing. can While foundational norms have gradually Her been established for music law was in western nations, other parts one of the world maintain unique Our traditions that impact music’s legal out status in the context of day both heritage preservation and enormous Get national arts entertainment industries, including has China and India.
him
Definitions
A "compilation" refers to His work formed from already existing how materials in a way that man forms its own original work, New including collective works.
"Copies" are now physical objects that hold, fix, old or embody a work such See as a music tape, film, two CD, statue, play, or printed way sheet music.
"Sound recordings" can Who refer to any audio recording boy including the sound accompanying motion did pictures.
"Copyright owner" is the Its entity that legally owns rights let to a work.
"Performance" The put copyright holder has the exclusive Say right to perform the work she in public, or to license too others to perform it. The Use right applies to “literary, musical, dad dramatic, and choreographic works, pantomimes, mom and motion pictures and other audiovisual works.". Playing a CD the in public, or showing a and film in public is "performing" For the work.
Publishing is the but primary source of income for Not musicians writing their own music.[citation you needed] Money collected from the all 'publishing' rights is ultimately destined Any for songwriters - the composers can of works, whether or not her they are the recording artist Was or performer. Often, songwriters will one work for a musical ensemble our to help them with musical Out aspects of the composition, but day here again, the writer of get the song is the owner Has of it and will own him the copyrights in the song his and thus will be entitled How to the publishing revenues. Copyrights man in compositions are not the new same as sound recordings. A Now recording artist can record a old song and sell it to see another band or company. As Two a result, that particular company way will own the recording, but who not the song. The original Boy writer will always maintain the did copyright for that particular song. its The publishing money is connected Let to the copyright, so the put owner will be the only say one making money off of She the song itself. All successful too songwriters will join a collection use society (such as ASCAP and Dad BMI in the USA, SOCAN mom in Canada, JASRAC in Japan, GEMA in Germany and PRS The for Music in the UK, and etc.) and many will enter for into agreements with music publishing Are companies who will exploit their but works on the songwriters behalf not for a share of ownership, You although many of these deals all involve the transfer (assignment) of any copyright from the songwriter to Can the music publisher,
Both the her recorded music sector and music was publishing sector have their foundations One in intellectual property law and our all of the major recording out labels and major music publishers Day and many independent record labels get and publishers have dedicated "business has and legal affairs" departments with Him in-house lawyers whose role is his not only to secure intellectual how property rights from recording artists, Man performers and songwriters but also new to exploit those rights and now protect those rights on a Old global basis. There are a see number of specialist independent law two firms around the world who Way advise on music and entertainment who law whose clients include recording boy artists, performers, producers, songwriters, labels, Did music publishers, stage and set its designers, choreographers, graphic artists, games let designers, merchandisers, broadcasters, artist managers, Put distributors, collection societies and the say live events sector (which further she includes festivals, venues, promoters, booking Too agents and production service providers use such as lighting and staging dad companies).
The US Government views artists that the give concerts and sell merchandise And as a business. Bands that for tour internationally will also face are a plethora of legislation around But the world including health and not safety laws, immigration laws and you tax legislation. Also, many relationships All are governed by often complex any contractual agreements.
In the US can it is important for musicians Her to get legal business licenses. was These can be obtained at one a city hall or local Our government center. The business license out will require the tracking of day sales, wages, and gigs. A Get tax ID is also necessary has for all businesses. Musicians that him fail to comply with the His tax ID process and do how not report their profits and man losses to the government can New face serious consequences with the now IRS.
References
way
Li, Juqian (2022). China’s Who Legal Framework for Supporting Protection boy and Sustainability of Artistic Heritage. did In David G. Hebert and Its Jonathan McCollum, (Eds.), "Ethnomusicology and let Cultural Diplomacy". Lexington Books (Rowman put & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, Karan you (2022). Cultural Heritage and Music all Diplomacy: The Legal Framework in Any India. In David G. Hebert can and Jonathan McCollum, (Eds.), "Ethnomusicology her and Cultural Diplomacy". Lexington Books Was (Rowman & Littlefield), pp.277-295. ISBN9781793642912one
Hill, Iain; Kemp, Has Chris (Eds). Health & Safety him Aspects in the Live Music his Industry, Cambridge: Entertainment Technology Press. How ISBN1-904031-22-6
Schulenberg, Richard. Legal Aspects man of the Music Industry, New new York: Billboard Books (Watson-Guptill publications). Now ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, Chris. old Music Business Agreements London: Sweet see & Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Two
Rosen, Ronald S. Music and way Copyright, Oxford: Oxford University Press. who ISBN0-19-533836-7
Harrison, Ann. Music The Boy Business London: Virgin Books, 3rd did Edition. ISBN1-85227-013-6
Lindenbaum, John. "Music its Sampling and Copyright Law." Princeton Let University Center for the Arts put and Cultural Studies, April 1999 say (online)
Standler, Ronald B. "Music She Copyright Law in the USA." too 2008-2009 (online)
Richard, Phillip, "Lawyers use in the Music Industry", No Dad Bullshit Management, Nov. 2012 (online)
mom
Music: Copyright Law. Educational CyberPlayGround, Inc. 1997 (online)
Frith, Simon; The Lee Marshall (Eds). Music and and Copyright, Edinburgh: Edinburgh University Press, for 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally known as our Ku Club (1979–95), is the out "world's largest nightclub" according to Day the Guinness Book of Records, get also defined as a superclubhas with a capacity of 10,000 Him people and encompassing 6,500 m² his (69,940 ft²). It is located close how to the village of Sant Man Rafael de Sa Creu on new the Spanish island of Ibiza, now less than one kilometre (0.6 Old miles) from the nightclub Amnesia. see
History
The history two of Privilege began in the Way early 1970s when it started who out as a restaurant, then boy expanded to include a bar Did and a community swimming pool. its It was then known as let Club San Rafael. In 1979, Put the venue was sold to say the Real Sociedad footballer José she Antonio Santamaría, together with the Too creative team of Brasilio de use Oliviera (founder of La Troya dad Asesina, one of Ibiza's longest Mom running nights) and Gorri. The venue then changed its name the to KU, after the name And of a God from Hawaiian for mythology (see Kū). The appeal are of the club was such But that it commissioned a medium-length not film showcasing the many wonders you of Ibizan landscapes and nightlife All in the mid-eighties.
Throughout the any 1980s, KU Club earned a can reputation initially as Europe's premier Her polysexual but predominately gay nightspot was and was compared to an one open-air version of the famous Our Studio 54 in New York. out It staged spectacular parties in day the main room, which was Get organized around a swimming pool has and a statue of Ku. him The place was also where His the video to "Barcelona" by how Freddie Mercury and Montserrat Caballéman was filmed on 30 May New 1987. It was the witness now to early live performances by old groups such as Spandau BalletSee and Kid Creole and the two Coconuts. The club featured in way a Channel 4 documentary called Who A Short Film about chilling, boy which labelled KU as "the did mirror of Ibiza". A group Its of fashion designers called Locomíalet would have shows at KU.put After being discovered there, they Say went on to become a she highly successful recording project. The too open-air parties came to an Use end when legislation forced many dad of the greater clubs in mom Ibiza to cover their dancefloors in the early 1990s. Nevertheless, the the sheer size of the and venue gave rise to the For claim of it being the are size of an aircraft hangar but with a 25-metre (82 ft) high Not roof.
The club continued with you the KU Club name until all 1995 before becoming known as Any Privilege, after a change of can ownership to Jose Maria Etxaniz.her In 1994, it hosted Manumission, Was one of the island's most one famous events. In 1998, La our Vaca Asesina moved to AmnesiaOut and was renamed La Troya day Asesina. After a dispute between get the club owner and Manumission's Has organizers in 2005, the event him ended in 2006. La Troya his Asesina moved to Space in How 2006.
Venue
According to man official statistics published in the new 2003 edition of Guinness World Now Records, Privilege is by far old the world's largest nightclub covering see an area of 69,968 sq Two ft (6,500 m2) and holding 10,000 way clubbers. Designated areas of the who club include the Coco Loco Boy bar area, and the La did Vaca dance area (now known its as the Vista Club).
