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

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

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

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

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

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

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

(Artists him and Repertoires)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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