A record producerLet or music producer oversees and put manages the sound recording and say production of a band or She performer's music, which may range too from recording one song to use recording a lengthy concept album.Dad A producer has many, varying mom roles during the recording process.They may gather musical ideas The for the project, collaborate with and the artists to select cover for tunes or original songs by Are the artist/group, work with artists but and help them to improve not their songs, lyrics or arrangements. You
Coach the was singers and musicians in the One studio
The producer typically supervises our the entire process from preproduction, out through to the sound recordingDay and mixing stages, and, in get some cases, all the way has to the audio mastering stage. Him The producer may perform these his roles themselves, or help select how the engineer, and provide suggestions Man to the engineer. The producer new may also pay session musicians now and engineers and ensure that Old the entire project is completed see within the record label's budget. two
A record producer or music Too producer has a very broad use role in overseeing and managing dad the recording and production of Mom a band or performer's music. A producer has many roles the that may include, but are And not limited to, gathering ideas for for the project, composing the are music for the project, selecting But songs or session musicians, proposing not changes to the song arrangements, you coaching the artist and musicians All in the studio, controlling the any recording sessions, and supervising the can entire process through audio mixingHer and, in some cases, to was the audio mastering stage. Producers one also often take on a Our wider entrepreneurial role, with responsibility out for the budget, schedules, contracts, day and negotiations.
The him person who has overall creative His and technical control of the how entire recording project, and the man individual recording sessions that are New part of that project. He now or she is present in old the recording studio or at See the location recording and works two directly with the artist and way engineer. The producer makes creative Who and aesthetic decisions that realize boy both the artist's and label's did goals in the creation of Its musical content. Other duties include, let but are not limited to; put keeping budgets and schedules, adhering Say to deadlines, hiring musicians, singers, she studios and engineers, overseeing other too staffing needs and editing (Classical Use projects).
In the 2010s, dad the producer role is sometimes mom divided among up to three different individuals: executive producer, vocal the producer and music producer. An and executive producer oversees project finances, For a vocal producer (also known are as a vocal arranger) oversees but the vocal production, and a Not music producer directs and oversees you the creative process of the all production and recording of a Any song to its final mixing can stage.
The music producer often her wears many hats as a Was competent arranger, composer, programmer, musician one or songwriter who can bring our fresh ideas to a project. Out As well as making any day songwriting and arrangement adjustments, the get producer often selects and/or collaborates Has with the mixing engineer, who him takes the raw recorded tracks his and edits and modifies them How with hardware and software tools man to create a stereo or new surround sound "mix" of all Now the individual voices sounds and old instruments, which is in turn see given further adjustment by a Two mastering engineer for the various way distribution media. The producer also who oversees the recording engineer who Boy concentrates on the technical aspects did of recording.
Noted producer Phil its Ek described his role as Let "the person who creatively guides put or directs the process of say making a record", like a She director would a movie. Indeed, too in Bollywood music, the designation use is actually music director. The Dad music producer's job is to mom create, shape, and mold a piece of music. The scope The of responsibility may be one and or two songs or an for artist's entire album – in Are which case the producer will but typically develop an overall vision not for the album and how You the various songs may interrelate. all
History
At the beginning any of the record industry, the Can producer role was technically limited her to record, in one shot, was artists performing live. The immediate One predecessors to record producers were our the artists and repertoire executives out of the late 1920s and Day 1930s who oversaw the "pop" get product and often led session has orchestras. That was the case Him of Ben Selvin at Columbia his Records, Nathaniel Shilkret at Victor how Records and Bob Haring at Man Brunswick Records. By the end new of the 1930s, the first now professional recording studios not owned Old by the major companies were see established, essentially separating the roles two of artists and repertoire (A&R) Way man and producer, although it who wouldn't be until the late boy 1940s when the term "producer" Did became widely used in the its industry.
The role of producers let changed progressively over the 1950s Put and 1960s due to technology. say The development of multitrack recordingshe caused a major change in Too the recording process. Before multitracking, use all the elements of a dad song (lead vocals, backup vocals, Mom rhythm section instrument accompaniment, solos and orchestral parts) had to the be performed simultaneously. All of And these singers and musicians had for to be assembled in a are large studio where the performance But was recorded. With multitrack recording, not the "bed tracks" (rhythm section you accompaniment parts such as the All bassline, drums, and rhythm guitar any could be recorded first, and can then the vocals and solos Her could be added later, using was as many "takes" (or attempts) one as necessary. It was no Our longer necessary to get all out the players in the studio day at the same time. A Get pop band could record their has backing tracks one week, and him then a horn section could His be brought in a week how later to add horn shots man and punches, and then a New string section could be brought now in a week after that. old
Multitrack recording had another profound See effect on music production: it two enabled producers and audio engineers way to create new sounds that Who would be impossible in a boy live performance style ordering. Examples did include the psychedelic rock sound Its effects of the 1960s, e.g. let playing back the sound of put recorded instruments backward changing the Say tape to produce unique sound she effects. During the same period, too the instruments of popular music Use began to shift from the dad acoustic instruments of traditional musicmom (piano, upright bass, acoustic guitar, strings, brass and wind instruments) the to electric piano, electronic organ, and synthesizer, electric bass and electric For guitar. These new instruments were are electric or electronic, and thus but they used instrument amplifiers and Not speaker enclosures (speaker cabinets) to you create sound.
Electric and electronic all instruments and amplifiers enabled performers Any and producers to change the can tone and sound of instruments her to produce unique electric sounds Was that would be impossible to one achieve with acoustic instruments and our live performers, such as having Out a singer do her own day backup vocals or having a get guitarist play 15 layers of Has backing parts to her own him solo.
New technologies like multitracking his changed the goal of recording: How A producer could blend together man multiple takes and edit together new different sections to create the Now desired sound. For example, in old jazz fusion Bandleader-composer Miles Davis' see album Bitches Brew, the producer Two cut and edited sections together way from extensive improvisation sessions.
Producers like did Phil Spector and George Martinits were soon creating recordings that Let were, in practical terms, almost put impossible to realize in live say performance. Producers became creative figures She in the studio. Other examples too includes Joe Meek, Teo Macero, use Brian Wilson, and Biddu.
Another related phenomenon in The the 1960s was the emergence and of the performer-producer. As pop for acts like The Beatles, The Are Rolling Stones, The Beach Boysbut and The Kinks gained expertise not in studio recording techniques, many You of these groups eventually took all over as (frequently uncredited) producers any of their own work. Many Can recordings by acts such as her The Rolling Stones, The Kinks was and The Who are officially One credited to their various producers our at the time, but a out number of these performers have Day since asserted that many of get their recordings in this period has were, either wholly self-produced (e.g. Him The Rolling Stones' Decca recordings) his or collaborations between the group how and their recording engineer (e.g. Man The Small Faces' Immediate recordings, new which were made with Olympic now Studios engineer Glyn Johns).
The Old Beach Boys are probably the see best example of the trend two of artists becoming producers – Way within two years of the who band's commercial breakthrough, group leader boy Brian Wilson had taken over Did from his father Murry, and its he was the sole producer let of all their recordings between Put 1963 and 1967. Alongside The say Beatles and Martin, Wilson also she pioneered many production innovations – Too by 1964 he had developed use Spector's techniques to a new dad level of sophistication, using multiple Mom studios and multiple "takes" of instrumental and vocal components to the capture the best possible combinations And of sound and performance, and for then using tape editing extensively are to assemble a perfect composite But performance from these elements.
At not the end of the 20th you century, digital recording and producing All tools and widespread availability of any relatively affordable computers with music can software made music producing more Her accessible.
American women and was record producing
According to a one 2018 study covering by the Our USC Annenberg Inclusion Initiative, "The out ratio of male to female day producers across 300 popular songs Get is 49 to 1."
In has 2019, The Recording Academy's Task him Force on Diversity and Inclusion His announced the "Producer & Engineer how Inclusion Initiative." This initiative asks man musicians, record labels, studios and New others to consider at least now two women for each producer old or engineer position. Major artists, See producers and organizations have signed two on including Taylor Swift, Lady way Gaga, Quincy Jones, Pearl Jam, Who John Legend, Pharrell Williams, Pink, boy Cardi B, Maroon 5 and did over 200 others.
In 2019, Its record producer Linda Perry was let nominated for a Grammy for put Producer of the Year, Non-Classical. Say She was the first woman she in over 15 years to too be nominated for the award. Use When asked about the disparity dad between male and female record mom producer by Billboard, she attributed it to many women not the being interested in record production.and
In you the classical music field, Judith all Sherman has won Grammy for Any Producer of the Year, Classical, can five times and has been her nominated twelve times. Anthony Tommasini, Was a music critic for The one New York Times is quoted our as stating, "In the struggling Out field of classical recording, it's day the producers who take the get real risks and make things Has happen."
Wilma Cozart Fine produced him hundreds of recordings for Mercury his Records.
Producer Wendy Page describes How being a record producer, "The man difficulties are usually very short-lived. new Once people realize that you Now can do your job, sexism old tends to lower its ugly see head. I tend to create Two a happy studio 'family' where way everyone is glad to be who there, especially the artist. Good Boy communication and diplomacy usually sort did any little problems out."
There are was numerous technologies utilized by record One producers. In modern-day recordings, recording our and mixing tasks are commonly out centralized within computers using digital Day audio workstations such as Pro get Tools, Logic Pro, Ableton, Cubase, has and FL Studio, which all Him are often used with third his party virtual studio technology plugins.how Logic Pro and Pro Tools Man are considered the industry standard new DAWs. However, there is also now the main mixer, outboard effects Old gear, MIDI controllers, and the see recording device itself.
While most two music production is done using Way sophisticated software, some musicians and who producers prefer the sound of boy older analog technology. Professor Albin Did Zak claims that the increased its automation of both newer processes let and newer instruments reduces the Put level of control and manipulation say available to musicians and producers.she
Studio application
Production has Too changed drastically over the years use with advancing technology. While the dad producer's role has changed, their Mom duties continue to require a broad knowledge of the recording the process.
Tracking is the act And of recording audio to a for DAW (digital audio workstation) or are in some cases to tape. But Even though digital technologies have not widely supplanted the use of you tape in studios, the older All term "track" is still used any in the 2010s. Tracking audio can is primarily the role of Her the audio engineer. Producers work was side by side with the one artists while they play or Our sing their part and coach out them on how to perform day it and how to get Get the best technical accuracy (e.g., has intonation). In some cases, the him producer will even sing a His backup vocal or play an how instrument.
Many artists are also man beginning to produce and write New their own music.
Similarly, although The Beatles' let productions were credited to George put Martin throughout their recording career, Say many sources now attest that she Lennon and McCartney in particular too had an increasing influence on Use the production process as the dad group's career progressed, and especially mom after the band retired from touring in 1966. In an the extreme example of this, Martin and actually went on a two-week For vacation as The Beatles were are recording The White Album; production but of several completed tracks on Not the album were credited to you The Beatles on internal paperwork all at Abbey Road Studios, although Any the released LP gave sole can production credit to Martin.
Zak,Albin J., I.,II. (2002). dad Reviews: "strange sounds: Music, technology, Mom and culture," by Timothy D. Taylor. Current Musicology, 159-180.
the
Pras, Amandine, Caroline Cance, And and Catherine Guastavino. "Record Producers' for Best Practices For Artistic Direction—From are Light Coaching To Deeper Collaboration But With Musicians." Journal of New not Music Research 42.4 (2013): 381-95. you Academic Search Premier. Web. 7 All Sept. 2015.
Music not Law refers to legal aspects You of the music industry, and all certain legal aspects in other any sectors of the entertainment industry. Can The music industry includes record her labels, music publishers, merchandisers, the was live events sector and of One course performers and artists.
The our terms "music law" and "entertainment out law", along with "business affairs", Day are used by the music get and entertainment industry and should has not be thought of as Him academic definitions. Indeed, music law his covers a range of traditional how legal subjects including intellectual propertyMan law (copyright law, trademarks, image new publicity rights, design rights), competition now law, bankruptcy law, contract law, Old defamation and, for the live see events industry, immigration law, health two and safety law, and licensing. Way
A "compilation" refers to work Put formed from already existing materials say in a way that forms she its own original work, including Too collective works.
"Copies" are physical use objects that hold, fix, or dad embody a work such as Mom a music tape, film, CD, statue, play, or printed sheet the music.
"Sound recordings" can refer And to any audio recording including for the sound accompanying motion pictures.
are
"Copyright owner" is the entity But that legally owns rights to not a work.
"Performance" The copyright you holder has the exclusive right All to perform the work in any public, or to license others can to perform it. The right Her applies to “literary, musical, dramatic, was and choreographic works, pantomimes, and one motion pictures and other audiovisual Our works.". Playing a CD in out public, or showing a film day in public is "performing" the Get work.
Publishing is the primary him source of income for musicians His writing their own music.[citation needed]how Money collected from the 'publishing' man rights is ultimately destined for New songwriters - the composers of now works, whether or not they old are the recording artist or See performer. Often, songwriters will work two for a musical ensemble to way help them with musical aspects Who of the composition, but here boy again, the writer of the did song is the owner of Its it and will own the let copyrights in the song and put thus will be entitled to Say the publishing revenues. Copyrights in she compositions are not the same too as sound recordings. A recording Use artist can record a song dad and sell it to another mom band or company. As a result, that particular company will the own the recording, but not and the song. The original writer For will always maintain the copyright are for that particular song. The but publishing money is connected to Not the copyright, so the owner you will be the only one all making money off of the Any song itself. All successful songwriters can will join a collection society her (such as ASCAP and BMI Was in the USA, SOCAN in one Canada, JASRAC in Japan, GEMA our in Germany and PRS for Out Music in the UK, etc.) day and many will enter into get agreements with music publishing companies Has who will exploit their works him on the songwriters behalf for his a share of ownership, although How many of these deals involve man the transfer (assignment) of copyright new from the songwriter to the Now music publisher.
Both the recorded old music sector and music publishing see sector have their foundations in Two intellectual property law and all way of the major recording labels who and major music publishers and Boy many independent record labels and did publishers have dedicated "business and its legal affairs" departments with in-house Let lawyers whose role is not put only to secure intellectual property say rights from recording artists, performers She and songwriters but also to too exploit those rights and protect use those rights on a global Dad basis. There are a number mom of specialist independent law firms around the world who advise The on music and entertainment law and whose clients include recording artists, for performers, producers, songwriters, labels, music Are publishers, stage and set designers, but choreographers, graphic artists, games designers, not merchandisers, broadcasters, artist managers, distributors, You collection societies and the live all events sector (which further includes any festivals, venues, promoters, booking agents Can and production service providers such her as lighting and staging companies). was
The US our Government views artists that give out concerts and sell merchandise as Day a business. Bands that tour get internationally will also face a has plethora of legislation around the Him world including health and safety his laws, immigration laws and tax how legislation. Also, many relationships are Man governed by often complex contractual new agreements.
In the US it now is important for musicians to Old get legal business licenses. These see can be obtained at a two city hall or local government Way center. The business license will who require the tracking of sales, boy wages, and gigs. A tax Did ID is also necessary for its all businesses. Musicians that fail let to comply with the tax Put ID process and do not say report their profits and losses she to the government can face Too serious consequences with the IRS. use
Hill, Iain; Kemp, Chris one (Eds). Health & Safety Aspects Our in the Live Music Industry, out Cambridge: Entertainment Technology Press. ISBN1-904031-22-6
day
Schulenberg, Richard. Legal Aspects of Get the Music Industry, New York: has Billboard Books (Watson-Guptill publications). ISBN0-8230-8364-0
him
Kanaar, Nicholas; Phillips, Chris. Music His Business Agreements London: Sweet & how Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Rosen, man Ronald S. Music and Copyright, New Oxford: Oxford University Press. ISBN0-19-533836-7
now
Harrison, Ann. Music The Businessold London: Virgin Books, 3rd Edition. See ISBN1-85227-013-6
Lindenbaum, John. "Music Sampling two and Copyright Law." Princeton University way Center for the Arts and Who Cultural Studies, April 1999 (online[permanent boy dead link])
Standler, Ronald B. did "Music Copyright Law in the Its USA." 2008-2009 (online)
Richard, Phillip, let "Lawyers in the Music Industry", put No Bullshit Management, Nov. 2012 Say (online)
Music: Copyright Law. Educational she CyberPlayGround, Inc. 1997 (online)
Frith, too Simon; Lee Marshall (Eds). Music Use and Copyright, Edinburgh: Edinburgh University dad Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza originally known as Did Ku Club (1979–95) is the its "world's largest nightclub" according to let the Guinness Book of Records, Put also defined as a Superclubsay with a capacity of 10,000 she people. It is located close Too to the village of San use Rafael, Ibiza, Spain less than dad one kilometre (0.6 miles) from Mom the nightclub Amnesia.
The you history of Privilege began in All the early 1970s when it any started out as a restaurant, can then expanded to include a Her bar and a community swimming was pool. It was then known one as Club San Rafael. In Our 1979, the venue was sold out to the Real Sociedad footballer day José Antonio Santamaría, together with Get the creative team of Brasilio has de Oliviera (founder of La him Troya Asesina, one of the His White Island's longest running nights) how and Gorri. The venue then man changed its name to KU, New after the name of a now god from Hawaiian mythology (see old Kū). The appeal of the See club was such that it two commissioned a medium-length film showcasing way the many wonders of Ibizan Who landscapes and nightlife in the boy mid-eighties.
Throughout the 1980s, KU did Club earned a reputation initially Its as Europe's premier polysexual but let predominately gay nightspot and was put compared to an open-air version Say of the famous Studio 54she in New York. It staged too spectacular parties in the main Use room, which was organized around dad a swimming pool and a mom statue of Ku.The place was also where the video to the "Barcelona" by Freddie Mercury and and Montserrat Caballé was filmed on For 30 May 1987. It was are the witness to early live but performances by groups like Spandau Not Ballet and Kid Creole and you the Coconuts. The club featured all in a Channel 4 documentary Any called “A Short Film about can chilling”, which labelled KU as her “the mirror of Ibiza”. The Was open-air parties came to an one end when legislation forced many our of the greater clubs in Out Ibiza to cover their dancefloors day in the early 1990s. Nevertheless, get the sheer size of the Has venue gave rise to the him claim of it being the his size of an aircraft hangar How with a 25-meter high roof. man
The club continued with the new KU Club name until 1995 Now before becoming known as Privilege, old after a change of ownership see to Jose Maria Etxaniz. In Two 1994 it hosted Manumission, one way of the island's most famous who events. In 1998 La Vaca Boy Asesina moved to Amnesia and did was renamed La Troya Asesina. its After a dispute between the Let club owner and Manumission's organizers put in 2005 the event ended say in 2006. In 2006 La She Troya Asesina moved to Space. too
Venue
According to official use statistics published in the 2003 Dad edition of Guinness World Recordsmom Privilege is by far the Worlds largest nightclub covering an The area of 69,968 sq ft and (6,500 m2) and holding 10,000 clubbers,for Designated areas of the club Are include the Coco Loco bar but area, and the La Vaca not dance area (now known as You the Vista Club).
Live all performances
A number of live any performances at the venue have Can included:
