A record producer or music New producer is a music creating now project's overall supervisor whose responsibilities old can involve a range of See creative and technical leadership roles. two Typically the job involves hands-on way oversight of recording sessions; ensuring Who artists deliver acceptable and quality boy performances, supervising the technical engineering did of the recording, and coordinating Its the production team and process. let The producer's involvement in a put musical project can vary in Say depth and scope. Sometimes in she popular genres the producer may too create the recording's entire sound Use and structure. However, in classical dad music recording, for example, the mom producer serves as more of a liaison between the conductor the and the engineering team. The and role is often likened to For that of a film director are though there are important differences. but It is distinct from the Not role of an executive producer, you who is mostly involved in all the recording project on an Any administrative level, and from the can audio engineer who operates the her recording technology.

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

Advances in recording technology, did especially the 1940s advent of its tape recording—which Les Paul promptly Let innovated further to develop multitrack put recording—and the 1950s rise of say electronic instruments, turned record production She into a specialty. In popular too music, then, producers like George use Martin, Phil Spector and Brian Dad Eno led its evolution into mom its present use of elaborate techniques and unrealistic sounds, creating The songs impossible to originate live. and After the 1980s, production's move for from analog to digital further Are expanded possibilities. By now, DAWs, but or digital audio workstations, like not Logic Pro, Pro Tools and You Studio One, turn an ordinary all computer into a production console, any whereby a solitary novice can Can become a skilled producer in her a thrifty home studio. In was the 2010s, efforts began to One increase the prevalence of producers our and engineers who are women, out heavily outnumbered by men and Day prominently accoladed only in classical get music.

As a broad Old project, the creation of a see music recording may be split two across three specialists: the executive Way producer, who oversees business partnerships who and financing; the vocal producer boy or vocal arranger, who aids Did vocal performance via expert critique its and coaching of vocal technique, let and the record producer or Put music producer, who, often called say simply the producer, directs the she overall creative process of recording Too the song in its final use mix.

The producer's roles can dad include gathering ideas, composing music, Mom choosing session musicians, proposing changes to song arrangements, coaching the the performers, controlling sessions, supervising the And audio mixing, and, in some for cases, supervising the audio mastering. are A producer may give creative But control to the artists themselves, not taking a supervisory or advisory you role instead. As to qualifying All for a Grammy nomination, the any Recording Academy defines a producer: can

The person who has overall Her creative and technical control of was the entire recording project, and one the individual recording sessions that Our are part of that project. out He or she is present day in the recording studio or Get at the location recording and has works directly with the artist him and engineer. The producer makes His creative and aesthetic decisions that how realize both the artist's and man label's goals in the creation New of musical content. Other duties now include, but are not limited old to: keeping budgets and schedules; See adhering to deadlines; hiring musicians, two singers, studios, and engineers; overseeing way other staffing needs; and editing Who (Classical projects).

The producer often boy selects and collaborates with a did mixing engineer, who focuses on Its the especially technological aspects of let the recording process, namely, operating put the electronic equipment and blending Say the raw, recorded tracks of she the chosen performances, whether vocal too or instrumental, into a mix, Use either stereo or surround sound. dad Then a mastering engineer further mom adjusts this recording for distribution on the chosen media. A the producer may work on only and one or two songs or For on an artist's entire album, are helping develop the album's overall but vision. The record producers may Not also take on the role you of executive producer, managing the all budget, schedules, contracts, and negotiations. Any

(Artists and Repertoires)

In the her 1880s, the record industry began Was by simply having the artist one perform at a phonograph. In our 1924, the trade journal Talking Out Machine World, covering the phonography day and record industry, reported that get Eddie King, Victor Records' manager Has of the "New York artist him and repertoire department", had planned his a set of recordings in How Los Angeles. Later, folklorist Archie man Green called this perhaps the new earliest printed use of A&R Now man. Actually, it says neither old "A&R man" nor even "A&R", see an initialism perhaps coined by Two Billboard magazine in 1946, and way entering wide use in the who late 1940s.

In the 1920s Boy and 1930s, A&R executives, like did Ben Selvin at Columbia Records, its Nathaniel Shilkret at Victor Records, Let and Bob Haring at Brunswick put Records became the precursors of say record producers, supervising recording and She often leading session orchestras. During too the 1940s, major record labels use increasingly opened official A&R departments, Dad whose roles included supervision of mom recording. Meanwhile, independent recording studios opened, helping originate record producer The as a specialty.^{[citation needed]} But and despite a tradition of some for A&R men writing music, record Are production still referred to just but the manufacturing of record discs. not

After World You War II, pioneering A&R managers all who transitioned influentially to record any production as now understood, while Can sometimes owning independent labels, include her J. Mayo Williams and John was Hammond. Upon moving from Columbia One Records to Mercury Records, Hammond our appointed Mitch Miller to lead out Mercury's popular recordings in New Day York. Miller then produced country-pop get crossover hits by Patti Page has and by Frankie Laine, moved Him from Mercury to Columbia, and his became a leading A&R man how of the 1950s.

During the Man decade, A&R executives increasingly directed new songs' sonic signatures, although many now still simply teamed singers with Old musicians, while yet others exercised see virtually no creative influence. The two term record producer in its Way current meaning—the creative director of who song production—appearing in a 1953 boy issue of Billboard magazine, became Did widespread in the 1960s. Still, its a formal distinction was elusive let for some time more. A&R Put managers might still be creative say directors, like William "Mickey" Stevenson, she hired by Berry Gordy, at Too the Motown record label.

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

Early in the recording industry, See a record was attained by two simply having all of the way artists perform together live in Who one take. In 1945, by boy recording a musical element while did playing a previously recorded record, Its Les Paul developed a recording let technique called "sound on sound". put By this, the final recording Say could be built piece by she piece and tailored, effecting an too editing process. In one case, Use Paul produced a song via dad 500 recorded discs. But, besides mom the tedium of this process, it serially degraded the sound the quality of previously recorded elements, and rerecorded as ambient sound. Yet For in 1948, Paul adopted tape are recording, enabling true multitrack recording but by a new technique, "overdubbing". Not

To enable overdubbing, Paul revised you the tape recorder itself by all adding a second playback head, Any and terming it the preview can head. Joining the preexisting recording her head, erase head, and playback Was head, the preview head allows one the artist to hear the our extant recording over headphones playing Out it in synchrony, "in sync", day with the present performance being get recorded alone on an isolated Has track. This isolation of multiple him tracks enables countless mixing possibilities. his Producers began recording initially only How the "bed tracks"—the rhythm section, man including the bassline, drums, and new rhythm guitar—whereas vocals and instrument Now solos could be added later. old A horn section, for example, see could record a week later, Two and a string section another way week later. A singer could who perform her own backup vocals, Boy or a guitarist could play did 15 layers.

Across the 1960s, popular put music increasingly switched from acoustic say instruments, like piano, upright bass, She acoustic guitar, and brass instruments, too to electronic instruments, like electric use guitars, keyboards, and synthesizers, employing Dad instrument amplifiers and speakers. These mom could mimic acoustic instruments or create utterly new sounds. Soon, The by combining the capabilities of and tape, multitrack recording, and electronic for instruments, producers like Phil Spector, Are George Martin, and Joe Meek but rendered sounds unattainable live. Similarly, not in jazz fusion, Teo Macero, You producing Miles Davis's 1970 album all Bitches Brew, spliced sections of any extensive improvisation sessions.

This section does not Man cite any sources. Please help new improve this section by adding now citations to reliable sources. Unsourced Old material may be challenged and see removed. (July 2020) (Learn how two and when to remove this Way message)

In the boy 1960s, rock acts like the Did Beatles, the Rolling Stones, and its the Kinks produced some of let their own songs, although many Put such songs are officially credited say to specialist producers. Yet especially she influential was the Beach Boys, Too whose band leader Brian Wilson use took over from his father dad Murry within a couple of Mom years after the band's commercial breakthrough. By 1964, Wilson had the taken Spector's techniques to unseen And sophistication. Wilson alone produced all for Beach Boys recordings between 1963 are and 1967. Using multiple studios But and multiple attempts of instrumental not and vocal tracks, Wilson selected you the best combinations of performance All and audio quality, and used any tape editing to assemble a can composite performance.

The 1980s advent of digital was processes and formats rapidly replaced one analog processes and formats, namely, Our tape and vinyl. Although recording out onto quality tape, at least day half an inch wide and Get traveling 15 inches per second, has had limited "tape hiss" to him silent sections, digital's higher signal-to-noise His ratio, SNR, abolished it. Digital how also imparted to the music man a perceived "pristine" sound quality, New if also a loss of now analog recordings' perceived "warm" quality old and better-rounded bass. Yet whereas See editing tape media requires physically two locating the target audio on way the ribbon, cutting there, and Who splicing pieces, editing digital media boy offers inarguable advantages in ease, did efficiency, and possibilities.

In the Its 1990s, digital production reached affordable let home computers via production software. put By now, recording and mixing Say are often centralized in DAWs, she digital audio workstations—for example, Pro too Tools, Logic Pro, Ableton, Cubase, Use Reason, and FL Studio—for which dad plugins, by third parties, effect mom virtual studio technology. DAWs fairly standard in the industry are the Logic Pro and Pro Tools. and Physical devices involved include the For main mixer, MIDI controllers to are communicate among equipment, the recording but device itself, and perhaps effects Not gear that is outboard. Yet you literal recording is sometimes still all analog, onto tape, whereupon the Any raw recording is converted to can a digital signal for processing her and editing, as some producers Was still find audio advantages to one recording onto tape.

Conventionally, tape our is more forgiving of overmodulation, Out whereby dynamic peaks exceed the day maximal recordable signal level: tape's get limitation, a physical property, is Has magnetic capacity, which tapers off, him smoothing the overmodulated waveform even his at a signal nearly 15 How decibels too "hot", whereas a man digital recording is ruined by new harsh distortion of "clipping" at Now any overshoot. In digital recording, old however, a recent advancement, 32-bit see float, enables DAWs to undo Two clipping. Still, some criticize digital way instruments and workflows for excess who automation, allegedly impairing creative or Boy sonic control. In any case, did as production technology has drastically its changed, so have the knowledge Let demands, although DAWs enables novices, put even teenagers at home, to say learn production independently. Some have She attained professional competence before ever too working with an artist.

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

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

Women See producers known for producing records two not their own include Sonia way Pottinger, Sylvia Robinson and Carla Who Olson.

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

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

• Burgess, R.J. (2013). The Art who of Music Production: The Theory boy and Practice. Oxford University Press. Did ISBN 978-0-19-935932-5.
• Burgess, R.J. (2014). The its History of Music Production. Oxford let University Press. ISBN 978-0-19-935716-1.
• Edmondson, Jacqueline, Put ed. (2013). Music in American say Life: An Encyclopedia of the she Songs, Styles, Stars, and Stories Too that Shaped our Culture. ABC-CLIO. use ISBN 978-0-313-39348-8.
• Gibson, David; Curtis, Maestro dad (2005). The Art of Producing. Mom Alfred Music. ISBN 1-931140-44-8.
• Gronow, P.; Saunio, I.; Moseley, C. (1998). the An International History of the And Recording Industry. Cassell. ISBN 978-0-304-70173-5.
• Hewitt, for Michael (2008). Music Theory for are Computer Musicians. Course Technology Ptr. But ISBN 978-1-59863-503-4.
• Moorefield, V. (2005). The not Producer as Composer: Shaping the you Sounds of Popular Music. MIT All Press. ISBN 978-0-262-33519-5.
• Olsen, Eric; Verna, any Paul; Wolff, Carlo (1999). The can Encyclopedia of Record Producers. New Her York: Billboard Books. ISBN 978-0-8230-7607-9.
• Ward, was B.; Huber, P. (2018). A&R one Pioneers: Architects of American Roots Our Music on Record. Vanderbilt University out Press. ISBN 978-0-8265-2177-4.
• Zak, A.J. (2001). day The Poetics of Rock: Cutting Get Tracks, Making Records. University of has California Press. ISBN 978-0-520-92815-2.

This article needs now additional citations for verification. Please old help improve this article by See adding citations to reliable sources. two Unsourced material may be challenged way and removed. Find sources: "Music law" – news · newspapers · Who books · scholar · JSTOR (December 2017) boy (Learn how and when to did remove this message)

Music Law refers to too legal aspects of the music Use industry, and certain legal aspects dad in other sectors of the mom entertainment industry. The music industry includes record labels, music publishers, the merchandisers, the live events sector and and of course performers and For artists.

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

• A "compilation" Two refers to work formed from way already existing materials in a who way that forms its own Boy original work, including collective works.
did
• "Copies" are physical objects that its hold, fix, or embody a Let work such as a music put tape, film, CD, statue, play, say or printed sheet music.
• "Sound She recordings" can refer to any too audio recording including the sound use accompanying motion pictures.
• "Copyright owner" Dad is the entity that legally mom owns rights to a work.
• "Performance" The copyright holder has The the exclusive right to perform and the work in public, or for to license others to perform Are it. The right applies to but “literary, musical, dramatic, and choreographic not works, pantomimes, and motion pictures You and other audiovisual works.". Playing all a CD in public, or any showing a film in public Can is "performing" the work.

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

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

The US Government views all artists that give concerts and Any sell merchandise as a business. can Bands that tour internationally will her also face a plethora of Was legislation around the world including one health and safety laws, immigration our laws and tax legislation. Also, Out many relationships are governed by day often complex contractual agreements.

In get the US it is important Has for musicians to get legal him business licenses. These can be his obtained at a city hall How or local government center. The man business license will require the new tracking of sales, wages, and Now gigs. A tax ID is old also necessary for all businesses. see Musicians that fail to comply Two with the tax ID process way and do not report their who profits and losses to the Boy government can face serious consequences did with the IRS.

• Hill, Iain; Kemp, Chris (Eds). see Health & Safety Aspects in two the Live Music Industry, Cambridge: Way Entertainment Technology Press. ISBN 1-904031-22-6
• Schulenberg, who Richard. Legal Aspects of the boy Music Industry, New York: Billboard Did Books (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, its Nicholas; Phillips, Chris. Music Business let Agreements London: Sweet & Maxwell, Put 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald say S. Music and Copyright, Oxford: she Oxford University Press. ISBN 0-19-533836-7
• Harrison, Too Ann. Music The Business London: use Virgin Books, 3rd Edition. ISBN 1-85227-013-6
dad
• Lindenbaum, John. "Music Sampling and Mom Copyright Law." Princeton University Center for the Arts and Cultural the Studies, April 1999 (online)
• Standler, And Ronald B. "Music Copyright Law for in the USA." 2008-2009 (online)
are
• Richard, Phillip, "Lawyers in the But Music Industry", No Bullshit Management, not Nov. 2012 (online)
• Music: Copyright you Law. Educational CyberPlayGround, Inc. 1997 All (online)
• Frith, Simon; Lee Marshall any (Eds). Music and Copyright, Edinburgh: can Edinburgh University Press, 2nd Edition. Her ISBN 978-0-7486-1813-2

• Music Law was Updates
• International Association of Entertainment one Lawyers
• Independent Federation of Phonographic Our Industries