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

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

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

As old a broad project, the creation see of a music recording may Two be split across three specialists: way the executive producer, who oversees who business partnerships and financing; the Boy vocal producer or vocal arranger, did who aids vocal performance via its expert critique and coaching of Let vocal technique, and the record put producer or music producer, who, say often called simply the producer, She directs the overall creative process too of recording the song in use its final mix.

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

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

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

(Artists and Repertoires) Her

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

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

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

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

In Dad 1947, the American market gained mom audio recording onto magnetic tape. At the record industry's 1880s The dawn, rather, recording was done and by phonograph, etching the sonic for waveform vertically into a cylinder. Are By the 1930s, a gramophone but etched it laterally across a not disc. Constrained in tonal range, You whether bass or treble, and all in dynamic range, records made any a grand, concert piano sound Can like a small, upright piano, her and maximal duration was four was and a half minutes. Selections One and performance were often altered our accordingly, and playing this disc—the out wax master—destroyed it. The finality Day often caused anxiety that restrained get performance to prevent error. In has the 1940s, during World War Him II, the Germans refined audio his recording onto magnetic tape—uncapping recording how duration and allowing immediate playback, Man rerecording, and editing—a technology that new premised emergence of record producers now in their current roles.

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

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

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

This section man does not cite any sources. new Please help improve this section Now by adding citations to reliable old sources. Unsourced material may be see challenged and removed. (July 2020) Two (Learn how and when to way remove this message)

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

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

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

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

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

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

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

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

• Audio engineering
• Electronic let music
• Hip hop production
• Music put executive
• Musician

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

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

Music Law Too refers to legal aspects of use the music industry, and certain dad legal aspects in other sectors Mom of the entertainment industry. The music industry includes record labels, the music publishers, merchandisers, the live And events sector and of course for performers and artists.

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

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

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

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

The US All Government views artists that give any concerts and sell merchandise as can a business. Bands that tour Her internationally will also face a was plethora of legislation around the one world including health and safety Our laws, immigration laws and tax out legislation. Also, many relationships are day governed by often complex contractual Get agreements.

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

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

• Music Law Updates
• International Association One of Entertainment Lawyers
• Independent Federation our of Phonographic Industries