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

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

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

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

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

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

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

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

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

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

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

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

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

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

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