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

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

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

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

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

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

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

(Artists and Repertoires) how

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

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

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

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

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

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

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

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

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

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

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

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

Conventionally, tape is more forgiving old of overmodulation, whereby dynamic peaks See exceed the maximal recordable signal two level: tape's limitation, a physical way property, is magnetic capacity, which Who tapers off, smoothing the overmodulated boy waveform even at a signal did nearly 15 decibels too "hot", Its whereas a digital recording is let ruined by harsh distortion of put "clipping" at any overshoot. In Say digital recording, however, a recent she advancement, 32-bit float, enables DAWs too to undo clipping. Still, some Use criticize digital instruments and workflows dad for excess automation, allegedly impairing mom creative or sonic control. In any case, as production technology the has drastically changed, so have and the knowledge demands, although DAWs For enables novices, even teenagers at are home, to learn production independently. but Some have attained professional competence Not before ever working with an you artist.

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

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

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

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

• Audio engineering
• Electronic and music
• Hip hop production
• Music For executive
• Musician

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

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

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

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

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

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

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

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

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

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

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