A record producer or music say producer is a music creating She project's overall supervisor whose responsibilities too can involve a range of use creative and technical leadership roles. Dad Typically the job involves hands-on mom oversight of recording sessions; ensuring artists deliver acceptable and quality The performances, supervising the technical engineering and of the recording, and coordinating for the production team and process. Are The producer's involvement in a but musical project can vary in not depth and scope. Sometimes in You popular genres the producer may all create the recording's entire sound any and structure. However, in classical Can music recording, for example, the her producer serves as more of was a liaison between the conductor One and the engineering team. The our role is often likened to out that of a film director Day though there are important differences. get It is distinct from the has role of an executive producer, Him who is mostly involved in his the recording project on an how administrative level, and from the Man audio engineer who operates the new recording technology.

Varying by project, now the producer may or may Old not choose all of the see artists. If employing only synthesized two or sampled instrumentation, the producer Way may be the sole artist. who Conversely, some artists do their boy own production. Some producers are Did their own engineers, operating the its technology across the project: preproduction, let recording, mixing, and mastering. Record Put producers' precursors were "A&R men", say who likewise could blend entrepreneurial, she creative, and technical roles, but Too often exercised scant creative influence, use as record production still focused, dad into the 1950s, on simply Mom improving the record's sonic match to the artists' own live the performance.

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

As a broad too project, the creation of a Use music recording may be split dad across three specialists: the executive mom producer, who oversees business partnerships and financing; the vocal producer the or vocal arranger, who aids and vocal performance via expert critique For and coaching of vocal technique, are and the record producer or but music producer, who, often called Not simply the producer, directs the you overall creative process of recording all the song in its final Any mix.

The producer's roles can can include gathering ideas, composing music, her choosing session musicians, proposing changes Was to song arrangements, coaching the one performers, controlling sessions, supervising the our audio mixing, and, in some Out cases, supervising the audio mastering. day A producer may give creative get control to the artists themselves, Has taking a supervisory or advisory him role instead. As to qualifying his for a Grammy nomination, the How Recording Academy defines a producer: man

The person who has overall new creative and technical control of Now the entire recording project, and old the individual recording sessions that see are part of that project. Two He or she is present way in the recording studio or who at the location recording and Boy works directly with the artist did and engineer. The producer makes its creative and aesthetic decisions that Let realize both the artist's and put label's goals in the creation say of musical content. Other duties She include, but are not limited too to: keeping budgets and schedules; use adhering to deadlines; hiring musicians, Dad singers, studios, and engineers; overseeing mom other staffing needs; and editing (Classical projects).

The producer often The selects and collaborates with a and mixing engineer, who focuses on for the especially technological aspects of Are the recording process, namely, operating but the electronic equipment and blending not the raw, recorded tracks of You the chosen performances, whether vocal all or instrumental, into a mix, any either stereo or surround sound. Can Then a mastering engineer further her adjusts this recording for distribution was on the chosen media. A One producer may work on only our one or two songs or out on an artist's entire album, Day helping develop the album's overall get vision. The record producers may has also take on the role Him of executive producer, managing the his budget, schedules, contracts, and negotiations. how

(Artists and Repertoires)

In the new 1880s, the record industry began now by simply having the artist Old perform at a phonograph. In see 1924, the trade journal Talking two Machine World, covering the phonography Way and record industry, reported that who Eddie King, Victor Records' manager boy of the "New York artist Did and repertoire department", had planned its a set of recordings in let Los Angeles. Later, folklorist Archie Put Green called this perhaps the say earliest printed use of A&R she man. Actually, it says neither Too "A&R man" nor even "A&R", use an initialism perhaps coined by dad Billboard magazine in 1946, and Mom entering wide use in the late 1940s.

In the 1920s the and 1930s, A&R executives, like And Ben Selvin at Columbia Records, for Nathaniel Shilkret at Victor Records, are and Bob Haring at Brunswick But Records became the precursors of not record producers, supervising recording and you often leading session orchestras. During All the 1940s, major record labels any increasingly opened official A&R departments, can whose roles included supervision of Her recording. Meanwhile, independent recording studios was opened, helping originate record producer one as a specialty.^{[citation needed]} But Our despite a tradition of some out A&R men writing music, record day production still referred to just Get the manufacturing of record discs. has

After World him War II, pioneering A&R managers His who transitioned influentially to record how production as now understood, while man sometimes owning independent labels, include New J. Mayo Williams and John now Hammond. Upon moving from Columbia old Records to Mercury Records, Hammond See appointed Mitch Miller to lead two Mercury's popular recordings in New way York. Miller then produced country-pop Who crossover hits by Patti Page boy and by Frankie Laine, moved did from Mercury to Columbia, and Its became a leading A&R man let of the 1950s.

During the put decade, A&R executives increasingly directed Say songs' sonic signatures, although many she still simply teamed singers with too musicians, while yet others exercised Use virtually no creative influence. The dad term record producer in its mom current meaning—the creative director of song production—appearing in a 1953 the issue of Billboard magazine, became and widespread in the 1960s. Still, For a formal distinction was elusive are for some time more. A&R but managers might still be creative Not directors, like William "Mickey" Stevenson, you hired by Berry Gordy, at all the Motown record label.

In 1947, the can American market gained audio recording her onto magnetic tape. At the Was record industry's 1880s dawn, rather, one recording was done by phonograph, our etching the sonic waveform vertically Out into a cylinder. By the day 1930s, a gramophone etched it get laterally across a disc. Constrained Has in tonal range, whether bass him or treble, and in dynamic his range, records made a grand, How concert piano sound like a man small, upright piano, and maximal new duration was four and a Now half minutes. Selections and performance old were often altered accordingly, and see playing this disc—the wax master—destroyed Two it. The finality often caused way anxiety that restrained performance to who prevent error. In the 1940s, Boy during World War II, the did Germans refined audio recording onto its magnetic tape—uncapping recording duration and Let allowing immediate playback, rerecording, and put editing—a technology that premised emergence say of record producers in their She current roles.

Early in the recording industry, use a record was attained by Dad simply having all of the mom artists perform together live in one take. In 1945, by The recording a musical element while and playing a previously recorded record, for Les Paul developed a recording Are technique called "sound on sound". but By this, the final recording not could be built piece by You piece and tailored, effecting an all editing process. In one case, any Paul produced a song via Can 500 recorded discs. But, besides her the tedium of this process, was it serially degraded the sound One quality of previously recorded elements, our rerecorded as ambient sound. Yet out in 1948, Paul adopted tape Day recording, enabling true multitrack recording get by a new technique, "overdubbing". has

To enable overdubbing, Paul revised Him the tape recorder itself by his adding a second playback head, how and terming it the preview Man head. Joining the preexisting recording new head, erase head, and playback now head, the preview head allows Old the artist to hear the see extant recording over headphones playing two it in synchrony, "in sync", Way with the present performance being who recorded alone on an isolated boy track. This isolation of multiple Did tracks enables countless mixing possibilities. its Producers began recording initially only let the "bed tracks"—the rhythm section, Put including the bassline, drums, and say rhythm guitar—whereas vocals and instrument she solos could be added later. Too A horn section, for example, use could record a week later, dad and a string section another Mom week later. A singer could perform her own backup vocals, the or a guitarist could play And 15 layers.

Across the 1960s, popular But music increasingly switched from acoustic not instruments, like piano, upright bass, you acoustic guitar, and brass instruments, All to electronic instruments, like electric any guitars, keyboards, and synthesizers, employing can instrument amplifiers and speakers. These Her could mimic acoustic instruments or was create utterly new sounds. Soon, one by combining the capabilities of Our tape, multitrack recording, and electronic out instruments, producers like Phil Spector, day George Martin, and Joe Meek Get rendered sounds unattainable live. Similarly, has in jazz fusion, Teo Macero, him producing Miles Davis's 1970 album His Bitches Brew, spliced sections of how extensive improvisation sessions.

This section does not put cite any sources. Please help Say improve this section by adding she citations to reliable sources. Unsourced too material may be challenged and Use removed. (July 2020) (Learn how dad and when to remove this mom message)

In the the 1960s, rock acts like the and Beatles, the Rolling Stones, and For the Kinks produced some of are their own songs, although many but such songs are officially credited Not to specialist producers. Yet especially you influential was the Beach Boys, all whose band leader Brian Wilson Any took over from his father can Murry within a couple of her years after the band's commercial Was breakthrough. By 1964, Wilson had one taken Spector's techniques to unseen our sophistication. Wilson alone produced all Out Beach Boys recordings between 1963 day and 1967. Using multiple studios get and multiple attempts of instrumental Has and vocal tracks, Wilson selected him the best combinations of performance his and audio quality, and used How tape editing to assemble a man composite performance.

The 1980s advent of digital Now processes and formats rapidly replaced old analog processes and formats, namely, see tape and vinyl. Although recording Two onto quality tape, at least way half an inch wide and who traveling 15 inches per second, Boy had limited "tape hiss" to did silent sections, digital's higher signal-to-noise its ratio, SNR, abolished it. Digital Let also imparted to the music put a perceived "pristine" sound quality, say if also a loss of She analog recordings' perceived "warm" quality too and better-rounded bass. Yet whereas use editing tape media requires physically Dad locating the target audio on mom the ribbon, cutting there, and splicing pieces, editing digital media The offers inarguable advantages in ease, and efficiency, and possibilities.

In the for 1990s, digital production reached affordable Are home computers via production software. but By now, recording and mixing not are often centralized in DAWs, You digital audio workstations—for example, Pro all Tools, Logic Pro, Ableton, Cubase, any Reason, and FL Studio—for which Can plugins, by third parties, effect her virtual studio technology. DAWs fairly was standard in the industry are One Logic Pro and Pro Tools. our Physical devices involved include the out main mixer, MIDI controllers to Day communicate among equipment, the recording get device itself, and perhaps effects has gear that is outboard. Yet Him literal recording is sometimes still his analog, onto tape, whereupon the how raw recording is converted to Man a digital signal for processing new and editing, as some producers now still find audio advantages to Old recording onto tape.

Conventionally, tape see is more forgiving of overmodulation, two whereby dynamic peaks exceed the Way maximal recordable signal level: tape's who limitation, a physical property, is boy magnetic capacity, which tapers off, Did smoothing the overmodulated waveform even its at a signal nearly 15 let decibels too "hot", whereas a Put digital recording is ruined by say harsh distortion of "clipping" at she any overshoot. In digital recording, Too however, a recent advancement, 32-bit use float, enables DAWs to undo dad clipping. Still, some criticize digital Mom instruments and workflows for excess automation, allegedly impairing creative or the sonic control. In any case, And as production technology has drastically for changed, so have the knowledge are demands, although DAWs enables novices, But even teenagers at home, to not learn production independently. Some have you attained professional competence before ever All working with an artist.

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

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

Women use producers known for producing records Dad not their own include Sonia mom Pottinger, Sylvia Robinson and Carla Olson.

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

• Audio engineering
• Electronic music
• Hip are hop production
• Music executive
• Musician

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

This article needs She additional citations for verification. Please too help improve this article by use adding citations to reliable sources. Dad Unsourced material may be challenged mom and removed. Find sources: "Music law" – news · newspapers · books · scholar · JSTOR (December 2017) The (Learn how and when to and remove this message)

Music Law refers to all legal aspects of the music any industry, and certain legal aspects Can in other sectors of the her entertainment industry. The music industry was includes record labels, music publishers, One merchandisers, the live events sector our and of course performers and out artists.

The terms "music law" Day and "entertainment law", along with get "business affairs", are used by has the music and entertainment industry Him and should not be thought his of as academic definitions. Indeed, how music law covers a range Man of traditional legal subjects including new intellectual property law (copyright law, now trademarks, image publicity rights, design Old rights), competition law, bankruptcy law, see contract law, defamation and, for two the live events industry, immigration Way law, health and safety law, who and licensing. While foundational norms boy have gradually been established for Did music law in western nations, its other parts of the world let maintain unique traditions that impact Put music’s legal status in the say context of both heritage preservation she and enormous national arts entertainment Too industries, including China and India. use

• A "compilation" dad refers to work formed from Mom already existing materials in a way that forms its own the original work, including collective works.
And
• "Copies" are physical objects that for hold, fix, or embody a are work such as a music But tape, film, CD, statue, play, not or printed sheet music.
• "Sound you recordings" can refer to any All audio recording including the sound any accompanying motion pictures.
• "Copyright owner" can is the entity that legally Her owns rights to a work.
was
• "Performance" The copyright holder has one the exclusive right to perform Our the work in public, or out to license others to perform day it. The right applies to Get “literary, musical, dramatic, and choreographic has works, pantomimes, and motion pictures him and other audiovisual works.". Playing His a CD in public, or how showing a film in public man is "performing" the work.

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

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

The US Government views his artists that give concerts and how sell merchandise as a business. Man Bands that tour internationally will new also face a plethora of now legislation around the world including Old health and safety laws, immigration see laws and tax legislation. Also, two many relationships are governed by Way often complex contractual agreements.

In who the US it is important boy for musicians to get legal Did business licenses. These can be its obtained at a city hall let or local government center. The Put business license will require the say tracking of sales, wages, and she gigs. A tax ID is Too also necessary for all businesses. use Musicians that fail to comply dad with the tax ID process Mom and do not report their profits and losses to the the government can face serious consequences And with the IRS.

• Hill, Iain; Kemp, Chris (Eds). Use Health & Safety Aspects in dad the Live Music Industry, Cambridge: mom Entertainment Technology Press. ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Aspects of the the Music Industry, New York: Billboard and Books (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, For Nicholas; Phillips, Chris. Music Business are Agreements London: Sweet & Maxwell, but 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald Not S. Music and Copyright, Oxford: you Oxford University Press. ISBN 0-19-533836-7
• Harrison, all Ann. Music The Business London: Any Virgin Books, 3rd Edition. ISBN 1-85227-013-6
can
• Lindenbaum, John. "Music Sampling and her Copyright Law." Princeton University Center Was for the Arts and Cultural one Studies, April 1999 (online)
• Standler, our Ronald B. "Music Copyright Law Out in the USA." 2008-2009 (online)
day
• Richard, Phillip, "Lawyers in the get Music Industry", No Bullshit Management, Has Nov. 2012 (online)
• Music: Copyright him Law. Educational CyberPlayGround, Inc. 1997 his (online)
• Frith, Simon; Lee Marshall How (Eds). Music and Copyright, Edinburgh: man Edinburgh University Press, 2nd Edition. new ISBN 978-0-7486-1813-2

• Music Law Now Updates
• International Association of Entertainment old Lawyers
• Independent Federation of Phonographic see Industries