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

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

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

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

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

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

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

(Artists and Repertoires)

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

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

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

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

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

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

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

Across the 1960s, All popular music increasingly switched from any acoustic instruments, like piano, upright can bass, acoustic guitar, and brass Her instruments, to electronic instruments, like was electric guitars, keyboards, and synthesizers, one employing instrument amplifiers and speakers. Our These could mimic acoustic instruments out or create utterly new sounds. day Soon, by combining the capabilities Get of tape, multitrack recording, and has electronic instruments, producers like Phil him Spector, George Martin, and Joe His Meek rendered sounds unattainable live. how Similarly, in jazz fusion, Teo man Macero, producing Miles Davis's 1970 New album Bitches Brew, spliced sections now of extensive improvisation sessions.

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

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

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

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

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

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

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

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

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

• Audio engineering
• Electronic music
you
• Hip hop production
• Music executive
All
• Musician

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

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

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

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

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

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

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

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

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

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

• Music Two Law Updates
• International Association of way Entertainment Lawyers
• Independent Federation of who Phonographic Industries