A record producer or music its producer is a music creating let project's overall supervisor whose responsibilities Put can involve a range of say creative and technical leadership roles. she Typically the job involves hands-on Too oversight of recording sessions; ensuring use artists deliver acceptable and quality dad performances, supervising the technical engineering Mom of the recording, and coordinating the production team and process. the The producer's involvement in a And musical project can vary in for depth and scope. Sometimes in are popular genres the producer may But create the recording's entire sound not and structure. However, in classical you music recording, for example, the All producer serves as more of any a liaison between the conductor can and the engineering team. The Her role is often likened to was that of a film director one though there are important differences. Our It is distinct from the out role of an executive producer, day who is mostly involved in Get the recording project on an has administrative level, and from the him audio engineer who operates the His recording technology.

Varying by project, how the producer may or may man not choose all of the New artists. If employing only synthesized now or sampled instrumentation, the producer old may be the sole artist. See Conversely, some artists do their two own production. Some producers are way their own engineers, operating the Who technology across the project: preproduction, boy recording, mixing, and mastering. Record did producers' precursors were "A&R men", Its who likewise could blend entrepreneurial, let creative, and technical roles, but put often exercised scant creative influence, Say as record production still focused, she into the 1950s, on simply too improving the record's sonic match Use to the artists' own live dad performance.

Advances in recording technology, mom especially the 1940s advent of tape recording—which Les Paul promptly the innovated further to develop multitrack and recording—and the 1950s rise of For electronic instruments, turned record production are into a specialty. In popular but music, then, producers like George Not Martin, Phil Spector and Brian you Eno led its evolution into all its present use of elaborate Any techniques and unrealistic sounds, creating can songs impossible to originate live. her After the 1980s, production's move Was from analog to digital further one expanded possibilities. By now, DAWs, our or digital audio workstations, like Out Logic Pro, Pro Tools and day Studio One, turn an ordinary get computer into a production console, Has whereby a solitary novice can him become a skilled producer in his a thrifty home studio. In How the 2010s, efforts began to man increase the prevalence of producers new and engineers who are women, Now heavily outnumbered by men and old prominently accoladed only in classical see music.

As a broad put project, the creation of a say music recording may be split She across three specialists: the executive too producer, who oversees business partnerships use and financing; the vocal producer Dad or vocal arranger, who aids mom vocal performance via expert critique and coaching of vocal technique, The and the record producer or and music producer, who, often called for simply the producer, directs the Are overall creative process of recording but the song in its final not mix.

The producer's roles can You include gathering ideas, composing music, all choosing session musicians, proposing changes any to song arrangements, coaching the Can performers, controlling sessions, supervising the her audio mixing, and, in some was cases, supervising the audio mastering. One A producer may give creative our control to the artists themselves, out taking a supervisory or advisory Day role instead. As to qualifying get for a Grammy nomination, the has Recording Academy defines a producer: Him

The person who has overall his creative and technical control of how the entire recording project, and Man the individual recording sessions that new are part of that project. now He or she is present Old in the recording studio or see at the location recording and two works directly with the artist Way and engineer. The producer makes who creative and aesthetic decisions that boy realize both the artist's and Did label's goals in the creation its of musical content. Other duties let include, but are not limited Put to: keeping budgets and schedules; say adhering to deadlines; hiring musicians, she singers, studios, and engineers; overseeing Too other staffing needs; and editing use (Classical projects).

The producer often dad selects and collaborates with a Mom mixing engineer, who focuses on the especially technological aspects of the the recording process, namely, operating And the electronic equipment and blending for the raw, recorded tracks of are the chosen performances, whether vocal But or instrumental, into a mix, not either stereo or surround sound. you Then a mastering engineer further All adjusts this recording for distribution any on the chosen media. A can producer may work on only Her one or two songs or was on an artist's entire album, one helping develop the album's overall Our vision. The record producers may out also take on the role day of executive producer, managing the Get budget, schedules, contracts, and negotiations. has

(Artists and Repertoires)

In the His 1880s, the record industry began how by simply having the artist man perform at a phonograph. In New 1924, the trade journal Talking now Machine World, covering the phonography old and record industry, reported that See Eddie King, Victor Records' manager two of the "New York artist way and repertoire department", had planned Who a set of recordings in boy Los Angeles. Later, folklorist Archie did Green called this perhaps the Its earliest printed use of A&R let man. Actually, it says neither put "A&R man" nor even "A&R", Say an initialism perhaps coined by she Billboard magazine in 1946, and too entering wide use in the Use late 1940s.

In the 1920s dad and 1930s, A&R executives, like mom Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records, the and Bob Haring at Brunswick and Records became the precursors of For record producers, supervising recording and are often leading session orchestras. During but the 1940s, major record labels Not increasingly opened official A&R departments, you whose roles included supervision of all recording. Meanwhile, independent recording studios Any opened, helping originate record producer can as a specialty.^{[citation needed]} But her despite a tradition of some Was A&R men writing music, record one production still referred to just our the manufacturing of record discs. Out

After World day War II, pioneering A&R managers get who transitioned influentially to record Has production as now understood, while him sometimes owning independent labels, include his J. Mayo Williams and John How Hammond. Upon moving from Columbia man Records to Mercury Records, Hammond new appointed Mitch Miller to lead Now Mercury's popular recordings in New old York. Miller then produced country-pop see crossover hits by Patti Page Two and by Frankie Laine, moved way from Mercury to Columbia, and who became a leading A&R man Boy of the 1950s.

During the did decade, A&R executives increasingly directed its songs' sonic signatures, although many Let still simply teamed singers with put musicians, while yet others exercised say virtually no creative influence. The She term record producer in its too current meaning—the creative director of use song production—appearing in a 1953 Dad issue of Billboard magazine, became mom widespread in the 1960s. Still, a formal distinction was elusive The for some time more. A&R and managers might still be creative for directors, like William "Mickey" Stevenson, Are hired by Berry Gordy, at but the Motown record label.

In 1947, the You American market gained audio recording all onto magnetic tape. At the any record industry's 1880s dawn, rather, Can recording was done by phonograph, her etching the sonic waveform vertically was into a cylinder. By the One 1930s, a gramophone etched it our laterally across a disc. Constrained out in tonal range, whether bass Day or treble, and in dynamic get range, records made a grand, has concert piano sound like a Him small, upright piano, and maximal his duration was four and a how half minutes. Selections and performance Man were often altered accordingly, and new playing this disc—the wax master—destroyed now it. The finality often caused Old anxiety that restrained performance to see prevent error. In the 1940s, two during World War II, the Way Germans refined audio recording onto who magnetic tape—uncapping recording duration and boy allowing immediate playback, rerecording, and Did editing—a technology that premised emergence its of record producers in their let current roles.

Early in the recording industry, say a record was attained by she simply having all of the Too artists perform together live in use one take. In 1945, by dad recording a musical element while Mom playing a previously recorded record, Les Paul developed a recording the technique called "sound on sound". And By this, the final recording for could be built piece by are piece and tailored, effecting an But editing process. In one case, not Paul produced a song via you 500 recorded discs. But, besides All the tedium of this process, any it serially degraded the sound can quality of previously recorded elements, Her rerecorded as ambient sound. Yet was in 1948, Paul adopted tape one recording, enabling true multitrack recording Our by a new technique, "overdubbing". out

To enable overdubbing, Paul revised day the tape recorder itself by Get adding a second playback head, has and terming it the preview him head. Joining the preexisting recording His head, erase head, and playback how head, the preview head allows man the artist to hear the New extant recording over headphones playing now it in synchrony, "in sync", old with the present performance being See recorded alone on an isolated two track. This isolation of multiple way tracks enables countless mixing possibilities. Who Producers began recording initially only boy the "bed tracks"—the rhythm section, did including the bassline, drums, and Its rhythm guitar—whereas vocals and instrument let solos could be added later. put A horn section, for example, Say could record a week later, she and a string section another too week later. A singer could Use perform her own backup vocals, dad or a guitarist could play mom 15 layers.

Across the 1960s, popular and music increasingly switched from acoustic For instruments, like piano, upright bass, are acoustic guitar, and brass instruments, but to electronic instruments, like electric Not guitars, keyboards, and synthesizers, employing you instrument amplifiers and speakers. These all could mimic acoustic instruments or Any create utterly new sounds. Soon, can by combining the capabilities of her tape, multitrack recording, and electronic Was instruments, producers like Phil Spector, one George Martin, and Joe Meek our rendered sounds unattainable live. Similarly, Out in jazz fusion, Teo Macero, day producing Miles Davis's 1970 album get Bitches Brew, spliced sections of Has extensive improvisation sessions.

This section does not did cite any sources. Please help its improve this section by adding Let citations to reliable sources. Unsourced put material may be challenged and say removed. (July 2020) (Learn how She and when to remove this too message)

In the Dad 1960s, rock acts like the mom Beatles, the Rolling Stones, and the Kinks produced some of The their own songs, although many and such songs are officially credited for to specialist producers. Yet especially Are influential was the Beach Boys, but whose band leader Brian Wilson not took over from his father You Murry within a couple of all years after the band's commercial any breakthrough. By 1964, Wilson had Can taken Spector's techniques to unseen her sophistication. Wilson alone produced all was Beach Boys recordings between 1963 One and 1967. Using multiple studios our and multiple attempts of instrumental out and vocal tracks, Wilson selected Day the best combinations of performance get and audio quality, and used has tape editing to assemble a Him composite performance.

The 1980s advent of digital how processes and formats rapidly replaced Man analog processes and formats, namely, new tape and vinyl. Although recording now onto quality tape, at least Old half an inch wide and see traveling 15 inches per second, two had limited "tape hiss" to Way silent sections, digital's higher signal-to-noise who ratio, SNR, abolished it. Digital boy also imparted to the music Did a perceived "pristine" sound quality, its if also a loss of let analog recordings' perceived "warm" quality Put and better-rounded bass. Yet whereas say editing tape media requires physically she locating the target audio on Too the ribbon, cutting there, and use splicing pieces, editing digital media dad offers inarguable advantages in ease, Mom efficiency, and possibilities.

In the 1990s, digital production reached affordable the home computers via production software. And By now, recording and mixing for are often centralized in DAWs, are digital audio workstations—for example, Pro But Tools, Logic Pro, Ableton, Cubase, not Reason, and FL Studio—for which you plugins, by third parties, effect All virtual studio technology. DAWs fairly any standard in the industry are can Logic Pro and Pro Tools. Her Physical devices involved include the was main mixer, MIDI controllers to one communicate among equipment, the recording Our device itself, and perhaps effects out gear that is outboard. Yet day literal recording is sometimes still Get analog, onto tape, whereupon the has raw recording is converted to him a digital signal for processing His and editing, as some producers how still find audio advantages to man recording onto tape.

Conventionally, tape New is more forgiving of overmodulation, now whereby dynamic peaks exceed the old maximal recordable signal level: tape's See limitation, a physical property, is two magnetic capacity, which tapers off, way smoothing the overmodulated waveform even Who at a signal nearly 15 boy decibels too "hot", whereas a did digital recording is ruined by Its harsh distortion of "clipping" at let any overshoot. In digital recording, put however, a recent advancement, 32-bit Say float, enables DAWs to undo she clipping. Still, some criticize digital too instruments and workflows for excess Use automation, allegedly impairing creative or dad sonic control. In any case, mom as production technology has drastically changed, so have the knowledge the demands, although DAWs enables novices, and even teenagers at home, to For learn production independently. Some have are attained professional competence before ever but working with an artist.

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

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

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

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

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

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

This article needs let additional citations for verification. Please Put help improve this article by say adding citations to reliable sources. she Unsourced material may be challenged Too and removed. Find sources: "Music law" – news · newspapers · use books · scholar · JSTOR (December 2017) dad (Learn how and when to Mom remove this message)

Music Law refers to But legal aspects of the music not industry, and certain legal aspects you in other sectors of the All entertainment industry. The music industry any includes record labels, music publishers, can merchandisers, the live events sector Her and of course performers and was artists.

The terms "music law" one and "entertainment law", along with Our "business affairs", are used by out the music and entertainment industry day and should not be thought Get of as academic definitions. Indeed, has music law covers a range him of traditional legal subjects including His intellectual property law (copyright law, how trademarks, image publicity rights, design man rights), competition law, bankruptcy law, New contract law, defamation and, for now the live events industry, immigration old law, health and safety law, See and licensing. While foundational norms two have gradually been established for way music law in western nations, Who other parts of the world boy maintain unique traditions that impact did music’s legal status in the Its context of both heritage preservation let and enormous national arts entertainment put industries, including China and India. Say

• A "compilation" she refers to work formed from too already existing materials in a Use way that forms its own dad original work, including collective works.
mom
• "Copies" are physical objects that hold, fix, or embody a the work such as a music and tape, film, CD, statue, play, For or printed sheet music.
• "Sound are recordings" can refer to any but audio recording including the sound Not accompanying motion pictures.
• "Copyright owner" you is the entity that legally all owns rights to a work.
Any
• "Performance" The copyright holder has can the exclusive right to perform her the work in public, or Was to license others to perform one it. The right applies to our “literary, musical, dramatic, and choreographic Out works, pantomimes, and motion pictures day and other audiovisual works.". Playing get a CD in public, or Has showing a film in public him is "performing" the work.

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

Both the recorded music sector Way and music publishing sector have who their foundations in intellectual property boy law and all of the Did major recording labels and major its music publishers and many independent let record labels and publishers have Put dedicated "business and legal affairs" say departments with in-house lawyers whose she role is not only to Too secure intellectual property rights from use recording artists, performers and songwriters dad but also to exploit those Mom rights and protect those rights on a global basis. There the are a number of specialist And independent law firms around the for world who advise on music are and entertainment law whose clients But include recording artists, performers, producers, not songwriters, labels, music publishers, stage you and set designers, choreographers, graphic All artists, games designers, merchandisers, broadcasters, any artist managers, distributors, collection societies can and the live events sector Her (which further includes festivals, venues, was promoters, booking agents and production one service providers such as lighting Our and staging companies).

The US Government views Get artists that give concerts and has sell merchandise as a business. him Bands that tour internationally will His also face a plethora of how legislation around the world including man health and safety laws, immigration New laws and tax legislation. Also, now many relationships are governed by old often complex contractual agreements.

In See the US it is important two for musicians to get legal way business licenses. These can be Who obtained at a city hall boy or local government center. The did business license will require the Its tracking of sales, wages, and let gigs. A tax ID is put also necessary for all businesses. Say Musicians that fail to comply she with the tax ID process too and do not report their Use profits and losses to the dad government can face serious consequences mom with the IRS.

• Hill, Iain; Kemp, Chris (Eds). say Health & Safety Aspects in She the Live Music Industry, Cambridge: too Entertainment Technology Press. ISBN 1-904031-22-6
• Schulenberg, use Richard. Legal Aspects of the Dad Music Industry, New York: Billboard mom Books (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Chris. Music Business The Agreements London: Sweet & Maxwell, and 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald for S. Music and Copyright, Oxford: Are Oxford University Press. ISBN 0-19-533836-7
• Harrison, but Ann. Music The Business London: not Virgin Books, 3rd Edition. ISBN 1-85227-013-6
You
• Lindenbaum, John. "Music Sampling and all Copyright Law." Princeton University Center any for the Arts and Cultural Can Studies, April 1999 (online)
• Standler, her Ronald B. "Music Copyright Law was in the USA." 2008-2009 (online)
One
• Richard, Phillip, "Lawyers in the our Music Industry", No Bullshit Management, out Nov. 2012 (online)
• Music: Copyright Day Law. Educational CyberPlayGround, Inc. 1997 get (online)
• Frith, Simon; Lee Marshall has (Eds). Music and Copyright, Edinburgh: Him Edinburgh University Press, 2nd Edition. his ISBN 978-0-7486-1813-2

• Music Law how Updates
• International Association of Entertainment Man Lawyers
• Independent Federation of Phonographic new Industries