A record producer was or music producer is a One music creating project's overall supervisor our whose responsibilities can involve a out range of creative and technical Day leadership roles. Typically the job get involves hands-on oversight of recording has sessions; ensuring artists deliver acceptable Him and quality performances, supervising the his technical engineering of the recording, how and coordinating the production team Man and process. The producer's involvement new in a musical project can now vary in depth and scope. Old Sometimes in popular genres the see producer may create the recording's two entire sound and structure. However, Way in classical music recording, for who example, the producer serves as boy more of a liaison between Did the conductor and the engineering its team. The role is often let likened to that of a Put film director though there are say important differences. It is distinct she from the role of an Too executive producer, who is mostly use involved in the recording project dad on an administrative level, and Mom from the audio engineer who operates the recording technology.

Varying the by project, the producer may And or may not choose all for of the artists. If employing are only synthesized or sampled instrumentation, But the producer may be the not sole artist. Conversely, some artists you do their own production. Some All producers are their own engineers, any operating the technology across the can project: preproduction, recording, mixing, and Her mastering. Record producers' precursors were was "A&R men", who likewise could one blend entrepreneurial, creative, and technical Our roles, but often exercised scant out creative influence, as record production day still focused, into the 1950s, Get on simply improving the record's has sonic match to the artists' him own live performance.

Advances in His recording technology, especially the 1940s how advent of tape recording—which Les man Paul promptly innovated further to New develop multitrack recording—and the 1950s now rise of electronic instruments, turned old record production into a specialty. See In popular music, then, producers two like George Martin, Phil Spector way and Brian Eno led its Who evolution into its present use boy of elaborate techniques and unrealistic did sounds, creating songs impossible to Its originate live. After the 1980s, let production's move from analog to put digital further expanded possibilities. By Say now, DAWs, or digital audio she workstations, like Logic Pro, Pro too Tools and Studio One, turn Use an ordinary computer into a dad production console, whereby a solitary mom novice can become a skilled producer in a thrifty home the studio. In the 2010s, efforts and began to increase the prevalence For of producers and engineers who are are women, heavily outnumbered by but men and prominently accoladed only Not in classical music.

As our a broad project, the creation Out of a popular music recording day may be split across three get specialists: the executive producer, who Has oversees business partnerships and financing; him the vocal producer or vocal his arranger, who aids vocal performance How via expert critique and coaching man of vocal technique, and the new record producer or music producer, Now who, often called simply the old producer, directs the overall creative see process of recording the song Two in its final mix.

The way producer's roles can include gathering who ideas, composing music, choosing session Boy musicians, proposing changes to song did arrangements, coaching the performers, controlling its sessions, supervising the audio mixing, Let and, in some cases, supervising put the audio mastering. A producer say may give creative control to She the artists themselves, taking a too supervisory or advisory role instead. use As to qualifying for a Dad Grammy nomination, the Recording Academy mom defines a producer:

The person who has overall creative and The technical control of the entire and recording project, and the individual for recording sessions that are part Are of that project. He or but she is present in the not recording studio or at the You location recording and works directly all with the artist and engineer. any The producer makes creative and Can aesthetic decisions that realize both her the artist's and label's goals was in the creation of musical One content. Other duties include, but our are not limited to: keeping out budgets and schedules; adhering to Day deadlines; hiring musicians, singers, studios, get and engineers; overseeing other staffing has needs; and editing (Classical projects). Him

The producer often selects and his collaborates with a mixing engineer, how who focuses on the especially Man technological aspects of the recording new process, namely, operating the electronic now equipment and blending the raw, Old recorded tracks of the chosen see performances, whether vocal or instrumental, two into a mix, either stereo Way or surround sound. Then a who mastering engineer further adjusts this boy recording for distribution on the Did chosen media. A producer may its work on only one or let two songs or on an Put artist's entire album, helping develop say the album's overall vision. The she record producers may also take Too on the role of executive use producer, managing the budget, schedules, dad contracts, and negotiations.

(Artists and Repertoires)

In the 1880s, the the record industry began by simply And having the artist perform at for a phonograph. In 1924, the are trade journal Talking Machine World, But covering the phonography and record not industry, reported that Eddie King, you Victor Records' manager of the All "New York artist and repertoire any department", had planned a set can of recordings in Los Angeles. Her Later, folklorist Archie Green called was this perhaps the earliest printed one use of A&R man. Actually, Our it says neither "A&R man" out nor even "A&R", an initialism day perhaps coined by Billboard magazine Get in 1946, and entering wide has use in the late 1940s. him

In the 1920s and 1930s, His A&R executives, like Ben Selvin how at Columbia Records, Nathaniel Shilkret man at Victor Records, and Bob New Haring at Brunswick Records became now the precursors of record producers, old supervising recording and often leading See session orchestras. During the 1940s, two major record labels increasingly opened way official A&R departments, whose roles Who included supervision of recording. Meanwhile, boy independent recording studios opened, helping did originate record producer as a Its specialty.^{[citation needed]} But despite a let tradition of some A&R men put writing music, record production still Say referred to just the manufacturing she of record discs.

After World War II, Use pioneering A&R managers who transitioned dad influentially to record production as mom now understood, while sometimes owning independent labels, include J. Mayo the Williams and John Hammond. Upon and moving from Columbia Records to For Mercury Records, Hammond appointed Mitch are Miller to lead Mercury's popular but recordings in New York. Miller Not then produced country-pop crossover hits you by Patti Page and by all Frankie Laine, moved from Mercury Any to Columbia, and became a can leading A&R man of the her 1950s.

During the decade, A&R Was executives increasingly directed songs' sonic one signatures, although many still simply our teamed singers with musicians, while Out yet others exercised virtually no day creative influence. The term record get producer in its current meaning—the Has creative director of song production—appearing him in a 1953 issue of his Billboard magazine, became widespread in How the 1960s. Still, a formal man distinction was elusive for some new time more. A&R managers might Now still be creative directors, like old William "Mickey" Stevenson, hired by see Berry Gordy, at the Motown Two record label.

In 1947, the American market who gained audio recording onto magnetic Boy tape. At the record industry's did 1880s dawn, rather, recording was its done by phonograph, etching the Let sonic waveform vertically into a put cylinder. By the 1930s, a say gramophone etched it laterally across She a disc. Constrained in tonal too range, whether bass or treble, use and in dynamic range, records Dad made a grand, concert piano mom sound like a small, upright piano, and maximal duration was The four and a half minutes. and Selections and performance were often for altered accordingly, and playing this Are disc—the wax master—destroyed it. The but finality often caused anxiety that not restrained performance to prevent error. You In the 1940s, during World all War II, the Germans refined any audio recording onto magnetic tape—uncapping Can recording duration and allowing immediate her playback, rerecording, and editing—a technology was that premised emergence of record One producers in their current roles. our

Early in out the recording industry, a record Day was attained by simply having get all of the artists perform has together live in one take. Him In 1945, by recording a his musical element while playing a how previously recorded record, Les Paul Man developed a recording technique called new "sound on sound". By this, now the final recording could be Old built piece by piece and see tailored, effecting an editing process. two In one case, Paul produced Way a song via 500 recorded who discs. But, besides the tedium boy of this process, it serially Did degraded the sound quality of its previously recorded elements, rerecorded as let ambient sound. Yet in 1948, Put Paul adopted tape recording, enabling say true multitrack recording by a she new technique, "overdubbing".

To enable Too overdubbing, Paul revised the tape use recorder itself by adding a dad second playback head, and terming Mom it the preview head. Joining the preexisting recording head, erase the head, and playback head, the And preview head allows the artist for to hear the extant recording are over headphones playing it in But synchrony, "in sync", with the not present performance being recorded alone you on an isolated track. This All isolation of multiple tracks enables any countless mixing possibilities. Producers began can recording initially only the "bed Her tracks"—the rhythm section, including the was bassline, drums, and rhythm guitar—whereas one vocals and instrument solos could Our be added later. A horn out section, for example, could record day a week later, and a Get string section another week later. has A singer could perform her him own backup vocals, or a His guitarist could play 15 layers. how

Across New the 1960s, popular music increasingly now switched from acoustic instruments, like old piano, upright bass, acoustic guitar, See and brass instruments, to electronic two instruments, like electric guitars, keyboards, way and synthesizers, employing instrument amplifiers Who and speakers. These could mimic boy acoustic instruments or create utterly did new sounds. Soon, by combining Its the capabilities of tape, multitrack let recording, and electronic instruments, producers put like Phil Spector, George Martin, Say and Joe Meek rendered sounds she unattainable live. Similarly, in jazz too fusion, Teo Macero, producing Miles Use Davis's 1970 album Bitches Brew, dad spliced sections of extensive improvisation mom sessions.

This her section does not cite any Was sources. Please help improve this one section by adding citations to our reliable sources. Unsourced material may Out be challenged and removed. (July day 2020) (Learn how and when get to remove this message)

In the 1960s, rock his acts like the Beatles, the How Rolling Stones, and the Kinks man produced some of their own new songs, although many such songs Now are officially credited to specialist old producers. Yet especially influential was see the Beach Boys, whose band Two leader Brian Wilson took over way from his father Murry within who a couple of years after Boy the band's commercial breakthrough. By did 1964, Wilson had taken Spector's its techniques to unseen sophistication. Wilson Let alone produced all Beach Boys put recordings between 1963 and 1967. say Using multiple studios and multiple She attempts of instrumental and vocal too tracks, Wilson selected the best use combinations of performance and audio Dad quality, and used tape editing mom to assemble a composite performance.

The 1980s The advent of digital processes and and formats rapidly replaced analog processes for and formats, namely, tape and Are vinyl. Although recording onto quality but tape, at least half an not inch wide and traveling 15 You inches per second, had limited all "tape hiss" to silent sections, any digital's higher signal-to-noise ratio, SNR, Can abolished it. Digital also imparted her to the music a perceived was "pristine" sound quality, if also One a loss of analog recordings' our perceived "warm" quality and better-rounded out bass. Yet whereas editing tape Day media requires physically locating the get target audio on the ribbon, has cutting there, and splicing pieces, Him editing digital media offers inarguable his advantages in ease, efficiency, and how possibilities.

In the 1990s, digital Man production reached affordable home computers new via production software. By now, now recording and mixing are often Old centralized in DAWs, digital audio see workstations—for example, Pro Tools, Logic two Pro, Ableton, Cubase, Reason, and Way FL Studio—for which plugins, by who third parties, effect virtual studio boy technology. DAWs fairly standard in Did the industry are Logic Pro its and Pro Tools. Physical devices let involved include the main mixer, Put MIDI controllers to communicate among say equipment, the recording device itself, she and perhaps effects gear that Too is outboard. Yet literal recording use is sometimes still analog, onto dad tape, whereupon the raw recording Mom is converted to a digital signal for processing and editing, the as some producers still find And audio advantages to recording onto for tape.

Conventionally, tape is more are forgiving of overmodulation, whereby dynamic But peaks exceed the maximal recordable not signal level: tape's limitation, a you physical property, is magnetic capacity, All which tapers off, smoothing the any overmodulated waveform even at a can signal nearly 15 decibels too Her "hot", whereas a digital recording was is ruined by harsh distortion one of "clipping" at any overshoot. Our In digital recording, however, a out recent advancement, 32-bit float, enables day DAWs to undo clipping. Still, Get some criticize digital instruments and has workflows for excess automation, allegedly him impairing creative or sonic control. His In any case, as production how technology has drastically changed, so man have the knowledge demands, although New DAWs enables novices, even teenagers now at home, to learn production old independently. Some have attained professional See competence before ever working with two an artist.

Among female record Who producers, Sylvia Moy was the boy first at Motown, Gail Davies did the first on Nashville's Music Its Row, and Ethel Gabriel, with let RCA, the first at a put major record label. Lillian McMurry, Say owning Trumpet Records, produced influential she blues records. Meanwhile, Wilma Cozart too Fine produced hundreds of records Use for Mercury Records' classical division. dad For classical production, three women mom have won Grammy awards, and Judith Sherman's 2015 win was the her fifth. Yet in nonclassical, and no woman has won Producer For of the Year, awarded since are 1975 and only one even but nominated for a record not Not her own, Linda Perry. After you Lauren Christy's 2004 nomination, Linda all Perry's 2019 nomination was the Any next for a woman. On can why no woman had ever her won it, Perry commented, "I Was just don't think there are one that many women interested." In our the U.K., Lynsey de Paul Out was an early female record day producer, having produced both of get her Ivor Novello award-winning songs. Has

Across the decades, many female him artists have produced their own his music. For instance, artists Kate How Bush, Madonna, Mariah Carey, Janet man Jackson, Beyoncé (even that of new Destiny's Child and the Carters), Now Lana Del Rey, Taylor Swift, old and Lorde have produced or see coproduced and Ariana Grande who Two produces and arranges her vocals way as well as being an who audio engineer. Still among specialists, Boy despite some prominent women, including did Missy Elliott in hip hop its and Sylvia Massy in rock, Let the vast majority have been put men. Early in the 2010s, say asked for insights that she She herself had gleaned as a too woman who has specialized successfully use in the industry, Wendy Page Dad remarked, "The difficulties are usually mom very short-lived. Once people realize that you can do your The job, sexism tends to lower and its ugly head." Still, when for tasked to explain her profession's Are sex disparity, Page partly reasoned but that record labels, dominated by not men, have been, she said, You "mistrustful of giving a woman all the reins of an immense, any creative project like making a Can record." Ultimately, the reasons are her multiple and not fully clear, was although prominently proposed factors include One types of sexism and scarcity our of female role models in out the profession.

Women producers known Day for producing records not their get own include Sonia Pottinger, Sylvia has Robinson and Carla Olson.

In Him January 2018, a research team his led by Stacy L. Smith, how founder and director of the Man Annenberg Inclusion Initiative, based in new the USC Annenberg School for now Communication and Journalism, issued a Old report, estimating that in the see prior several years, about 2% two of popular songs' producers were Way female. Also that month, Billboard who magazine queried, "Where are all boy the female music producers?" Upon Did the Annenberg Inclusion Initiative's second its annual report, released in February let 2019, its department at USC Put reported, "2018 saw an outcry say from artists, executives and other she music industry professionals over the Too lack of women in music" use and "the plight of women dad in music", where women were Mom allegedly being "stereotyped, sexualized, and shut out". Also in February the 2019, the Recording Academy's Task And Force on Diversity and Inclusion for announced an initiative whereby over are 200 artists and producers—ranging from But Cardi B and Taylor Swift not to Maroon 5 and Quincy you Jones—agreed to consider at least All two women for each producer any or engineer position. The academy's can website, Grammy.com, announced, "This initiative Her is the first step in was a broader effort to improve one those numbers and increase diversity Our and inclusion for all in out the music industry."

• Audio engineering
man
• Electronic music
• Hip hop production
New
• Music executive
• Musician

• Burgess, R.J. Has (2013). The Art of Music him Production: The Theory and Practice. his Oxford University Press. ISBN 978-0-19-935932-5.
• Burgess, How R.J. (2014). The History of man Music Production. Oxford University Press. new ISBN 978-0-19-935716-1.
• Edmondson, Jacqueline, ed. (2013). Now Music in American Life: An old Encyclopedia of the Songs, Styles, see Stars, and Stories that Shaped Two our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
• Gibson, way David; Curtis, Maestro (2005). The who Art of Producing. Alfred Music. Boy ISBN 1-931140-44-8.
• Gronow, P.; Saunio, I.; did Moseley, C. (1998). An International its History of the Recording Industry. Let Cassell. ISBN 978-0-304-70173-5.
• Hewitt, Michael (2008). put Music Theory for Computer Musicians. say Course Technology Ptr. ISBN 978-1-59863-503-4.
• Moorefield, She V. (2005). The Producer as too Composer: Shaping the Sounds of use Popular Music. MIT Press. ISBN 978-0-262-33519-5.
Dad
• Olsen, Eric; Verna, Paul; Wolff, mom Carlo (1999). The Encyclopedia of Record Producers. New York: Billboard The Books. ISBN 978-0-8230-7607-9.
• Ward, B.; Huber, and P. (2018). A&R Pioneers: Architects for of American Roots Music on Are Record. Vanderbilt University Press. ISBN 978-0-8265-2177-4.
but
• Zak, A.J. (2001). The Poetics not of Rock: Cutting Tracks, Making You Records. University of California Press. all ISBN 978-0-520-92815-2.

This article needs additional citations our for verification. Please help improve out this article by adding citations Day to reliable sources. Unsourced material get may be challenged and removed. Find has sources: "Music law" – news · newspapers · books · scholar · Him JSTOR (December 2017) (Learn how his and when to remove this how message)

Music see Law refers to legal aspects two of the music industry, and Way certain legal aspects in other who sectors of the entertainment industry. boy The music industry includes record Did labels, music publishers, merchandisers, the its live events sector and of let course performers and artists.

The Put terms "music law" and "entertainment say law", along with "business affairs", she are used by the music Too and entertainment industry and should use not be thought of as dad academic definitions. Indeed, music law Mom covers a range of traditional legal subjects including intellectual property the law (copyright law, trademarks, image And publicity rights, design rights), competition for law, bankruptcy law, contract law, are defamation and, for the live But events industry, immigration law, health not and safety law, and licensing. you While foundational norms have gradually All been established for music law any in western nations, other parts can of the world maintain unique Her traditions that impact music’s legal was status in the context of one both heritage preservation and enormous Our national arts entertainment industries, including out China and India.

• A "compilation" refers to Get work formed from already existing has materials in a way that him forms its own original work, His including collective works.
• "Copies" are how physical objects that hold, fix, man or embody a work such New as a music tape, film, now CD, statue, play, or printed old sheet music.
• "Sound recordings" can See refer to any audio recording two including the sound accompanying motion way pictures.
• "Copyright owner" is the Who entity that legally owns rights boy to a work.
• "Performance" The did copyright holder has the exclusive Its right to perform the work let in public, or to license put others to perform it. The Say right applies to “literary, musical, she dramatic, and choreographic works, pantomimes, too and motion pictures and other Use audiovisual works.". Playing a CD dad in public, or showing a mom film in public is "performing" the work.

Publishing is the and primary source of income for For musicians writing their own music.^{[citation are needed]} Money collected from the but 'publishing' rights is ultimately destined Not for songwriters - the composers you of works, whether or not all they are the recording artist Any or performer. Often, songwriters will can work for a musical ensemble her to help them with musical Was aspects of the composition, but one here again, the writer of our the song is the owner Out of it and will own day the copyrights in the song get and thus will be entitled Has to the publishing revenues. Copyrights him in compositions are not the his same as sound recordings. A How recording artist can record a man song and sell it to new another band or company. As Now a result, that particular company old will own the recording, but see not the song. The original Two writer will always maintain the way copyright for that particular song. who The publishing money is connected Boy to the copyright, so the did owner will be the only its one making money off of Let the song itself. All successful put songwriters will join a collection say society (such as ASCAP and She BMI in the USA, SOCAN too in Canada, JASRAC in Japan, use GEMA in Germany and PRS Dad for Music in the UK, mom etc.) and many will enter into agreements with music publishing The companies who will exploit their and works on the songwriters behalf for for a share of ownership, Are although many of these deals but involve the transfer (assignment) of not copyright from the songwriter to You the music publisher,

Both the all recorded music sector and music any publishing sector have their foundations Can in intellectual property law and her all of the major recording was labels and major music publishers One and many independent record labels our and publishers have dedicated "business out and legal affairs" departments with Day in-house lawyers whose role is get not only to secure intellectual has property rights from recording artists, Him performers and songwriters but also his to exploit those rights and how protect those rights on a Man global basis. There are a new number of specialist independent law now firms around the world who Old advise on music and entertainment see law whose clients include recording two artists, performers, producers, songwriters, labels, Way music publishers, stage and set who designers, choreographers, graphic artists, games boy designers, merchandisers, broadcasters, artist managers, Did distributors, collection societies and the its live events sector (which further let includes festivals, venues, promoters, booking Put agents and production service providers say such as lighting and staging she companies).

The use US Government views artists that dad give concerts and sell merchandise Mom as a business. Bands that tour internationally will also face the a plethora of legislation around And the world including health and for safety laws, immigration laws and are tax legislation. Also, many relationships But are governed by often complex not contractual agreements.

In the US you it is important for musicians All to get legal business licenses. any These can be obtained at can a city hall or local Her government center. The business license was will require the tracking of one sales, wages, and gigs. A Our tax ID is also necessary out for all businesses. Musicians that day fail to comply with the Get tax ID process and do has not report their profits and him losses to the government can His face serious consequences with the how IRS.

• Hill, Iain; Out Kemp, Chris (Eds). Health & day Safety Aspects in the Live get Music Industry, Cambridge: Entertainment Technology Has Press. ISBN 1-904031-22-6
• Schulenberg, Richard. Legal him Aspects of the Music Industry, his New York: Billboard Books (Watson-Guptill How publications). ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, man Chris. Music Business Agreements London: new Sweet & Maxwell, 3rd Edition. Now ISBN 978-1-84703-905-7
• Rosen, Ronald S. Music old and Copyright, Oxford: Oxford University see Press. ISBN 0-19-533836-7
• Harrison, Ann. Music Two The Business London: Virgin Books, way 3rd Edition. ISBN 1-85227-013-6
• Lindenbaum, John. who "Music Sampling and Copyright Law." Boy Princeton University Center for the did Arts and Cultural Studies, April its 1999 (online)
• Standler, Ronald B. Let "Music Copyright Law in the put USA." 2008-2009 (online)
• Richard, Phillip, say "Lawyers in the Music Industry", She No Bullshit Management, Nov. 2012 too (online)
• Music: Copyright Law. Educational use CyberPlayGround, Inc. 1997 (online)
• Frith, Dad Simon; Lee Marshall (Eds). Music mom and Copyright, Edinburgh: Edinburgh University Press, 2nd Edition. ISBN 978-0-7486-1813-2

• Music Law Updates
• International and Association of Entertainment Lawyers
• Independent for Federation of Phonographic Industries