A record producer or can music producer is a music Her creating project's overall supervisor whose was responsibilities can involve a range one of creative and technical leadership Our roles. Typically the job involves out hands-on oversight of recording sessions; day ensuring artists deliver acceptable and Get quality performances, supervising the technical has engineering of the recording, and him coordinating the production team and His process. The producer's involvement in how a musical project can vary man in depth and scope. Sometimes New in popular genres the producer now may create the recording's entire old sound and structure. However, in See classical music recording, for example, two the producer serves as more way of a liaison between the Who conductor and the engineering team. boy The role is often likened did to that of a film Its director though there are important let differences. It is distinct from put the role of an executive Say producer, who is mostly involved she in the recording project on too an administrative level, and from Use the audio engineer who operates dad the recording technology.

Varying by mom project, the producer may or may not choose all of the the artists. If employing only and synthesized or sampled instrumentation, the For producer may be the sole are artist. Conversely, some artists do but their own production. Some producers Not are their own engineers, operating you the technology across the project: all preproduction, recording, mixing, and mastering. Any Record producers' precursors were "A&R can men", who likewise could blend her entrepreneurial, creative, and technical roles, Was but often exercised scant creative one influence, as record production still our focused, into the 1950s, on Out simply improving the record's sonic day match to the artists' own get live performance.

Advances in recording Has technology, especially the 1940s advent him of tape recording—which Les Paul his promptly innovated further to develop How multitrack recording—and the 1950s rise man of electronic instruments, turned record new production into a specialty. In Now popular music, then, producers like old George Martin, Phil Spector and see Brian Eno led its evolution Two into its present use of way elaborate techniques and unrealistic sounds, who creating songs impossible to originate Boy live. After the 1980s, production's did move from analog to digital its further expanded possibilities. By now, Let DAWs, or digital audio workstations, put like Logic Pro, Pro Tools say and Studio One, turn an She ordinary computer into a production too console, whereby a solitary novice use can become a skilled producer Dad in a thrifty home studio. mom In the 2010s, efforts began to increase the prevalence of The producers and engineers who are and women, heavily outnumbered by men for and prominently accoladed only in Are classical music.

As a was broad project, the creation of One a popular music recording may our be split across three specialists: out the executive producer, who oversees Day business partnerships and financing; the get vocal producer or vocal arranger, has who aids vocal performance via Him expert critique and coaching of his vocal technique, and the record how producer or music producer, who, Man often called simply the producer, new directs the overall creative process now of recording the song in Old its final mix.

The producer's see roles can include gathering ideas, two composing music, choosing session musicians, Way proposing changes to song arrangements, who coaching the performers, controlling sessions, boy supervising the audio mixing, and, Did in some cases, supervising the its audio mastering. A producer may let give creative control to the Put artists themselves, taking a supervisory say or advisory role instead. As she to qualifying for a Grammy Too nomination, the Recording Academy defines use a producer:

The person who dad has overall creative and technical Mom control of the entire recording project, and the individual recording the sessions that are part of And that project. He or she for is present in the recording are studio or at the location But recording and works directly with not the artist and engineer. The you producer makes creative and aesthetic All decisions that realize both the any artist's and label's goals in can the creation of musical content. Her Other duties include, but are was not limited to: keeping budgets one and schedules; adhering to deadlines; Our hiring musicians, singers, studios, and out engineers; overseeing other staffing needs; day and editing (Classical projects).

The Get producer often selects and collaborates has with a mixing engineer, who him focuses on the especially technological His aspects of the recording process, how namely, operating the electronic equipment man and blending the raw, recorded New tracks of the chosen performances, now whether vocal or instrumental, into old a mix, either stereo or See surround sound. Then a mastering two engineer further adjusts this recording way for distribution on the chosen Who media. A producer may work boy on only one or two did songs or on an artist's Its entire album, helping develop the let album's overall vision. The record put producers may also take on Say the role of executive producer, she managing the budget, schedules, contracts, too and negotiations.

(Artists and Repertoires) dad

In the 1880s, the record mom industry began by simply having the artist perform at a the phonograph. In 1924, the trade and journal Talking Machine World, covering For the phonography and record industry, are reported that Eddie King, Victor but Records' manager of the "New Not York artist and repertoire department", you had planned a set of all recordings in Los Angeles. Later, Any folklorist Archie Green called this can perhaps the earliest printed use her of A&R man. Actually, it Was says neither "A&R man" nor one even "A&R", an initialism perhaps our coined by Billboard magazine in Out 1946, and entering wide use day in the late 1940s.

In get the 1920s and 1930s, A&R Has executives, like Ben Selvin at him Columbia Records, Nathaniel Shilkret at his Victor Records, and Bob Haring How at Brunswick Records became the man precursors of record producers, supervising new recording and often leading session Now orchestras. During the 1940s, major old record labels increasingly opened official see A&R departments, whose roles included Two supervision of recording. Meanwhile, independent way recording studios opened, helping originate who record producer as a specialty.^{[citation Boy needed]} But despite a tradition did of some A&R men writing its music, record production still referred Let to just the manufacturing of put record discs.

After World War II, pioneering She A&R managers who transitioned influentially too to record production as now use understood, while sometimes owning independent Dad labels, include J. Mayo Williams mom and John Hammond. Upon moving from Columbia Records to Mercury The Records, Hammond appointed Mitch Miller and to lead Mercury's popular recordings for in New York. Miller then Are produced country-pop crossover hits by but Patti Page and by Frankie not Laine, moved from Mercury to You Columbia, and became a leading all A&R man of the 1950s. any

During the decade, A&R executives Can increasingly directed songs' sonic signatures, her although many still simply teamed was singers with musicians, while yet One others exercised virtually no creative our influence. The term record producer out in its current meaning—the creative Day director of song production—appearing in get a 1953 issue of Billboard has magazine, became widespread in the Him 1960s. Still, a formal distinction his was elusive for some time how more. A&R managers might still Man be creative directors, like William new "Mickey" Stevenson, hired by Berry now Gordy, at the Motown record Old label.

In see 1947, the American market gained two audio recording onto magnetic tape. Way At the record industry's 1880s who dawn, rather, recording was done boy by phonograph, etching the sonic Did waveform vertically into a cylinder. its By the 1930s, a gramophone let etched it laterally across a Put disc. Constrained in tonal range, say whether bass or treble, and she in dynamic range, records made Too a grand, concert piano sound use like a small, upright piano, dad and maximal duration was four Mom and a half minutes. Selections and performance were often altered the accordingly, and playing this disc—the And wax master—destroyed it. The finality for often caused anxiety that restrained are performance to prevent error. In But the 1940s, during World War not II, the Germans refined audio you recording onto magnetic tape—uncapping recording All duration and allowing immediate playback, any rerecording, and editing—a technology that can premised emergence of record producers Her in their current roles.

Early in the one recording industry, a record was Our attained by simply having all out of the artists perform together day live in one take. In Get 1945, by recording a musical has element while playing a previously him recorded record, Les Paul developed His a recording technique called "sound how on sound". By this, the man final recording could be built New piece by piece and tailored, now effecting an editing process. In old one case, Paul produced a See song via 500 recorded discs. two But, besides the tedium of way this process, it serially degraded Who the sound quality of previously boy recorded elements, rerecorded as ambient did sound. Yet in 1948, Paul Its adopted tape recording, enabling true let multitrack recording by a new put technique, "overdubbing".

To enable overdubbing, Say Paul revised the tape recorder she itself by adding a second too playback head, and terming it Use the preview head. Joining the dad preexisting recording head, erase head, mom and playback head, the preview head allows the artist to the hear the extant recording over and headphones playing it in synchrony, For "in sync", with the present are performance being recorded alone on but an isolated track. This isolation Not of multiple tracks enables countless you mixing possibilities. Producers began recording all initially only the "bed tracks"—the Any rhythm section, including the bassline, can drums, and rhythm guitar—whereas vocals her and instrument solos could be Was added later. A horn section, one for example, could record a our week later, and a string Out section another week later. A day singer could perform her own get backup vocals, or a guitarist Has could play 15 layers.

Across the How 1960s, popular music increasingly switched man from acoustic instruments, like piano, new upright bass, acoustic guitar, and Now brass instruments, to electronic instruments, old like electric guitars, keyboards, and see synthesizers, employing instrument amplifiers and Two speakers. These could mimic acoustic way instruments or create utterly new who sounds. Soon, by combining the Boy capabilities of tape, multitrack recording, did and electronic instruments, producers like its Phil Spector, George Martin, and Let Joe Meek rendered sounds unattainable put live. Similarly, in jazz fusion, say Teo Macero, producing Miles Davis's She 1970 album Bitches Brew, spliced too sections of extensive improvisation sessions. use

This section any does not cite any sources. Can Please help improve this section her by adding citations to reliable was sources. Unsourced material may be One challenged and removed. (July 2020) our (Learn how and when to out remove this message)

In the 1960s, rock acts has like the Beatles, the Rolling Him Stones, and the Kinks produced his some of their own songs, how although many such songs are Man officially credited to specialist producers. new Yet especially influential was the now Beach Boys, whose band leader Old Brian Wilson took over from see his father Murry within a two couple of years after the Way band's commercial breakthrough. By 1964, who Wilson had taken Spector's techniques boy to unseen sophistication. Wilson alone Did produced all Beach Boys recordings its between 1963 and 1967. Using let multiple studios and multiple attempts Put of instrumental and vocal tracks, say Wilson selected the best combinations she of performance and audio quality, Too and used tape editing to use assemble a composite performance.

The 1980s advent Mom of digital processes and formats rapidly replaced analog processes and the formats, namely, tape and vinyl. And Although recording onto quality tape, for at least half an inch are wide and traveling 15 inches But per second, had limited "tape not hiss" to silent sections, digital's you higher signal-to-noise ratio, SNR, abolished All it. Digital also imparted to any the music a perceived "pristine" can sound quality, if also a Her loss of analog recordings' perceived was "warm" quality and better-rounded bass. one Yet whereas editing tape media Our requires physically locating the target out audio on the ribbon, cutting day there, and splicing pieces, editing Get digital media offers inarguable advantages has in ease, efficiency, and possibilities. him

In the 1990s, digital production His reached affordable home computers via how production software. By now, recording man and mixing are often centralized New in DAWs, digital audio workstations—for now example, Pro Tools, Logic Pro, old Ableton, Cubase, Reason, and FL See Studio—for which plugins, by third two parties, effect virtual studio technology. way DAWs fairly standard in the Who industry are Logic Pro and boy Pro Tools. Physical devices involved did include the main mixer, MIDI Its controllers to communicate among equipment, let the recording device itself, and put perhaps effects gear that is Say outboard. Yet literal recording is she sometimes still analog, onto tape, too whereupon the raw recording is Use converted to a digital signal dad for processing and editing, as mom some producers still find audio advantages to recording onto tape. the

Conventionally, tape is more forgiving and of overmodulation, whereby dynamic peaks For exceed the maximal recordable signal are level: tape's limitation, a physical but property, is magnetic capacity, which Not tapers off, smoothing the overmodulated you waveform even at a signal all nearly 15 decibels too "hot", Any whereas a digital recording is can ruined by harsh distortion of her "clipping" at any overshoot. In Was digital recording, however, a recent one advancement, 32-bit float, enables DAWs our to undo clipping. Still, some Out criticize digital instruments and workflows day for excess automation, allegedly impairing get creative or sonic control. In Has any case, as production technology him has drastically changed, so have his the knowledge demands, although DAWs How enables novices, even teenagers at man home, to learn production independently. new Some have attained professional competence Now before ever working with an old artist.

Among female record producers, Two Sylvia Moy was the first way at Motown, Gail Davies the who first on Nashville's Music Row, Boy and Ethel Gabriel, with RCA, did the first at a major its record label. Lillian McMurry, owning Let Trumpet Records, produced influential blues put records. Meanwhile, Wilma Cozart Fine say produced hundreds of records for She Mercury Records' classical division. For too classical production, three women have use won Grammy awards, and Judith Dad Sherman's 2015 win was her mom fifth. Yet in nonclassical, no woman has won Producer of The the Year, awarded since 1975 and and only one even nominated for for a record not her Are own, Linda Perry. After Lauren but Christy's 2004 nomination, Linda Perry's not 2019 nomination was the next You for a woman. On why all no woman had ever won any it, Perry commented, "I just Can don't think there are that her many women interested." In the was U.K., Lynsey de Paul was One an early female record producer, our having produced both of her out Ivor Novello award-winning songs.

Across Day the decades, many female artists get have produced their own music. has For instance, artists Kate Bush, Him Madonna, Mariah Carey, Janet Jackson, his Beyoncé (even that of Destiny's how Child and the Carters), Lana Man Del Rey, Taylor Swift, and new Lorde have produced or coproduced now and Ariana Grande who produces Old and arranges her vocals as see well as being an audio two engineer. Still among specialists, despite Way some prominent women, including Missy who Elliott in hip hop and boy Sylvia Massy in rock, the Did vast majority have been men. its Early in the 2010s, asked let for insights that she herself Put had gleaned as a woman say who has specialized successfully in she the industry, Wendy Page remarked, Too "The difficulties are usually very use short-lived. Once people realize that dad you can do your job, Mom sexism tends to lower its ugly head." Still, when tasked the to explain her profession's sex And disparity, Page partly reasoned that for record labels, dominated by men, are have been, she said, "mistrustful But of giving a woman the not reins of an immense, creative you project like making a record." All Ultimately, the reasons are multiple any and not fully clear, although can prominently proposed factors include types Her of sexism and scarcity of was female role models in the one profession.

Women producers known for Our producing records not their own out include Sonia Pottinger, Sylvia Robinson day and Carla Olson.

In January Get 2018, a research team led has by Stacy L. Smith, founder him and director of the Annenberg His Inclusion Initiative, based in the how USC Annenberg School for Communication man and Journalism, issued a report, New estimating that in the prior now several years, about 2% of old popular songs' producers were female. See Also that month, Billboard magazine two queried, "Where are all the way female music producers?" Upon the Who Annenberg Inclusion Initiative's second annual boy report, released in February 2019, did its department at USC reported, Its "2018 saw an outcry from let artists, executives and other music put industry professionals over the lack Say of women in music" and she "the plight of women in too music", where women were allegedly Use being "stereotyped, sexualized, and shut dad out". Also in February 2019, mom the Recording Academy's Task Force on Diversity and Inclusion announced the an initiative whereby over 200 and artists and producers—ranging from Cardi For B and Taylor Swift to are Maroon 5 and Quincy Jones—agreed but to consider at least two Not women for each producer or you engineer position. The academy's website, all Grammy.com, announced, "This initiative is Any the first step in a can broader effort to improve those her numbers and increase diversity and Was inclusion for all in the one music industry."

• Audio engineering
• Electronic his music
• Hip hop production
• Music How executive
• Musician

• Burgess, R.J. (2013). Day The Art of Music Production: get The Theory and Practice. Oxford has University Press. ISBN 978-0-19-935932-5.
• Burgess, R.J. Him (2014). The History of Music his Production. Oxford University Press. ISBN 978-0-19-935716-1.
how
• Edmondson, Jacqueline, ed. (2013). Music Man in American Life: An Encyclopedia new of the Songs, Styles, Stars, now and Stories that Shaped our Old Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
• Gibson, David; see Curtis, Maestro (2005). The Art two of Producing. Alfred Music. ISBN 1-931140-44-8.
Way
• Gronow, P.; Saunio, I.; Moseley, who C. (1998). An International History boy of the Recording Industry. Cassell. Did ISBN 978-0-304-70173-5.
• Hewitt, Michael (2008). Music its Theory for Computer Musicians. Course let Technology Ptr. ISBN 978-1-59863-503-4.
• Moorefield, V. Put (2005). The Producer as Composer: say Shaping the Sounds of Popular she Music. MIT Press. ISBN 978-0-262-33519-5.
• Olsen, Too Eric; Verna, Paul; Wolff, Carlo use (1999). The Encyclopedia of Record dad Producers. New York: Billboard Books. Mom ISBN 978-0-8230-7607-9.
• Ward, B.; Huber, P. (2018). A&R Pioneers: Architects of the American Roots Music on Record. And Vanderbilt University Press. ISBN 978-0-8265-2177-4.
• Zak, for A.J. (2001). The Poetics of are Rock: Cutting Tracks, Making Records. But University of California Press. ISBN 978-0-520-92815-2.

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

Music Law now refers to legal aspects of old the music industry, and certain See legal aspects in other sectors two of the entertainment industry. The way music industry includes record labels, Who music publishers, merchandisers, the live boy events sector and of course did performers and artists.

The terms Its "music law" and "entertainment law", let along with "business affairs", are put used by the music and Say entertainment industry and should not she be thought of as academic too definitions. Indeed, music law covers Use a range of traditional legal dad subjects including intellectual property law mom (copyright law, trademarks, image publicity rights, design rights), competition law, the bankruptcy law, contract law, defamation and and, for the live events For industry, immigration law, health and are safety law, and licensing. While but foundational norms have gradually been Not established for music law in you western nations, other parts of all the world maintain unique traditions Any that impact music’s legal status can in the context of both her heritage preservation and enormous national Was arts entertainment industries, including China one and India.

• A "compilation" refers to work Out formed from already existing materials day in a way that forms get its own original work, including Has collective works.
• "Copies" are physical him objects that hold, fix, or his embody a work such as How a music tape, film, CD, man statue, play, or printed sheet new music.
• "Sound recordings" can refer Now to any audio recording including old the sound accompanying motion pictures.
see
• "Copyright owner" is the entity Two that legally owns rights to way a work.
• "Performance" The copyright who holder has the exclusive right Boy to perform the work in did public, or to license others its to perform it. The right Let applies to “literary, musical, dramatic, put and choreographic works, pantomimes, and say motion pictures and other audiovisual She works.". Playing a CD in too public, or showing a film use in public is "performing" the Dad work.

Publishing is the primary source of income for musicians The writing their own music.^{[citation needed]} and Money collected from the 'publishing' for rights is ultimately destined for Are songwriters - the composers of but works, whether or not they not are the recording artist or You performer. Often, songwriters will work all for a musical ensemble to any help them with musical aspects Can of the composition, but here her again, the writer of the was song is the owner of One it and will own the our copyrights in the song and out thus will be entitled to Day the publishing revenues. Copyrights in get compositions are not the same has as sound recordings. A recording Him artist can record a song his and sell it to another how band or company. As a Man result, that particular company will new own the recording, but not now the song. The original writer Old will always maintain the copyright see for that particular song. The two publishing money is connected to Way the copyright, so the owner who will be the only one boy making money off of the Did song itself. All successful songwriters its will join a collection society let (such as ASCAP and BMI Put in the USA, SOCAN in say Canada, JASRAC in Japan, GEMA she in Germany and PRS for Too Music in the UK, etc.) use and many will enter into dad agreements with music publishing companies Mom who will exploit their works on the songwriters behalf for the a share of ownership, although And many of these deals involve for the transfer (assignment) of copyright are from the songwriter to the But music publisher,

Both the recorded not music sector and music publishing you sector have their foundations in All intellectual property law and all any of the major recording labels can and major music publishers and Her many independent record labels and was publishers have dedicated "business and one legal affairs" departments with in-house Our lawyers whose role is not out only to secure intellectual property day rights from recording artists, performers Get and songwriters but also to has exploit those rights and protect him those rights on a global His basis. There are a number how of specialist independent law firms man around the world who advise New on music and entertainment law now whose clients include recording artists, old performers, producers, songwriters, labels, music See publishers, stage and set designers, two choreographers, graphic artists, games designers, way merchandisers, broadcasters, artist managers, distributors, Who collection societies and the live boy events sector (which further includes did festivals, venues, promoters, booking agents Its and production service providers such let as lighting and staging companies). put

The US she Government views artists that give too concerts and sell merchandise as Use a business. Bands that tour dad internationally will also face a mom plethora of legislation around the world including health and safety the laws, immigration laws and tax and legislation. Also, many relationships are For governed by often complex contractual are agreements.

In the US it but is important for musicians to Not get legal business licenses. These you can be obtained at a all city hall or local government Any center. The business license will can require the tracking of sales, her wages, and gigs. A tax Was ID is also necessary for one all businesses. Musicians that fail our to comply with the tax Out ID process and do not day report their profits and losses get to the government can face Has serious consequences with the IRS. him

• Hill, Iain; Kemp, One Chris (Eds). Health & Safety our Aspects in the Live Music out Industry, Cambridge: Entertainment Technology Press. Day ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Aspects get of the Music Industry, New has York: Billboard Books (Watson-Guptill publications). Him ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Chris. his Music Business Agreements London: Sweet how & Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
Man
• Rosen, Ronald S. Music and new Copyright, Oxford: Oxford University Press. now ISBN 0-19-533836-7
• Harrison, Ann. Music The Old Business London: Virgin Books, 3rd see Edition. ISBN 1-85227-013-6
• Lindenbaum, John. "Music two Sampling and Copyright Law." Princeton Way University Center for the Arts who and Cultural Studies, April 1999 boy (online)
• Standler, Ronald B. "Music Did Copyright Law in the USA." its 2008-2009 (online)
• Richard, Phillip, "Lawyers let in the Music Industry", No Put Bullshit Management, Nov. 2012 (online)
say
• Music: Copyright Law. Educational CyberPlayGround, she Inc. 1997 (online)
• Frith, Simon; Too Lee Marshall (Eds). Music and use Copyright, Edinburgh: Edinburgh University Press, dad 2nd Edition. ISBN 978-0-7486-1813-2

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