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Record producer

A recording session our in Denmark
Occupation
Names	Record producer, music producer
Occupation Out type	Profession
Activity sectors	Music Industry
Description
Competencies	Instrumental skills, keyboard day knowledge, songwriting, arranging, vocal coaching
Fields get of employment	Recording Studios
Related jobs	Recording engineer, executive Has producer, film producer, A&R

A him record producer or music producer his oversees and manages the sound How recording and production of a man band or performer's music, which new may range from recording one Now song to recording a lengthy old concept album. A producer has see many, varying roles during the Two recording process. They may gather way musical ideas for the project, who collaborate with the artists to Boy select cover tunes or original did songs by the artist/group, work its with artists and help them Let to improve their songs, lyrics put or arrangements.

A producer may say also:

• Select session musicians She to play rhythm section accompaniment too parts or solos
• Co-write.
• Propose use changes to the song arrangements, Dad and
• Coach the singers and mom musicians in the studio

The producer typically supervises the entire The process from preproduction, through to and the sound recording and mixing for stages, and, in some cases, Are all the way to the but audio mastering stage. The producer not may perform these roles themself, You or help select the engineer, all and provide suggestions to the any engineer. The producer may also Can pay session musicians and engineers her and ensure that the entire was project is completed within the One record label's budget.

Function

A record new producer or music producer has now a very broad role in Old overseeing and managing the recording see and production of a band two or performer's music. A producer Way has many roles that may who include, but are not limited boy to, gathering ideas for the Did project, composing the music for its the project, selecting songs or let session musicians, proposing changes to Put the song arrangements, coaching the say artist and musicians in the she studio, controlling the recording sessions, Too and supervising the entire process use through audio mixing (recorded music) dad and, in some cases, to Mom the audio mastering stage. Producers also often take on a the wider entrepreneurial role, with responsibility And for the budget, schedules, contracts, for and negotiations.

Writer Chris Deville are explains it, "Sometimes a producer But functions like a creative consultant not — someone who helps a you band achieve a certain aesthetic, All or who comes up with any the perfect violin part to can complement the vocal melody, or Her who insists that a chorus was should actually be a bridge. one Other times a producer will Our build a complete piece of out music from the ground up day and present the finished product Get to a vocalist, like Metro has Boomin supplying Future with readymade him beats or Jack Antonoff letting His Taylor Swift add lyrics and how melody to an otherwise-finished “Out man Of The Woods.”

The artist New of an album may not now be a record producer or old music producer for his/her album. See While both contribute creatively, the two official credit of "record producer" way may depend on the record Who contract. Christina Aguilera, for example, boy did not receive record producer did credits until many albums into Its her career.

In the 2010s, let the recording industry has three put kinds of producers with different Say roles: executive producer, vocal producer she and music producer. Executive producers too oversee project finances, Vocal Producers Use also known as vocal arrangers dad oversees the vocal production, while mom music producers oversee the creative process of recording songs or the albums.

In most cases the and music producer is also a For competent arranger, composer, musician or are songwriter who can bring fresh but ideas to a project. As Not well as making any songwriting you and arrangement adjustments, the producer all often selects or gives suggestions Any to the mixing engineer, who can takes the raw recorded tracks her and edits and modifies them Was with hardware and software tools one and creates a stereo or our surround sound "mix" of all Out the individual voices sounds and day instruments, which is in turn get given further adjustment by a Has mastering engineer. The producer will him also liaise with the recording his engineer who concentrates on the How technical aspects of recording, whereas man the executive producer keeps an new eye on the overall project's Now marketability.

Noted producer Phil Ek old described his role as "the see person who creatively guides or Two directs the process of making way a record", like a director who would a movie. Indeed, in Boy Bollywood music, the designation is did actually music director. The music its producer's job is to create, Let shape, and mold a piece put of music. The scope of say responsibility may be one or She two songs or an artist's too entire album – in which use case the producer will typically Dad develop an overall vision for mom the album and how the various songs may interrelate.

History

At the beginning of and record industry, the producer role for was technically limited to record, Are in one shot, artists performing but live. The immediate predecessors to not record producers were the artists You and repertoire executives of the all late 1920s and 1930s who any oversaw the "pop" product and Can often led session orchestras. That her was the case of Ben was Selvin at Columbia Records, Nathaniel One Shilkret at Victor Records and our Bob Haring at Brunswick Records. out By the end of the Day 1930s, the first professional recording get studios not owned by the has major companies were established, essentially Him separating the roles of A&R his man and producer, although it how wouldn't be until the late Man 1940s when the term "producer" new became widely used in the now industry.

The role of producers Old changed progressively over the 1950s see and 1960s due to technological two developments. The development of multitrack Way recording caused a major change who in the recording process. Before boy multitracking, all the elements of Did a song (lead vocals, backup its vocals, rhythm section instrument accompaniment, let solos and orchestral parts) had Put to be performed simultaneously. All say of these singers and musicians she had to be assembled in Too a large studio and the use performance had to be recorded. dad With multitrack recording, the "bed Mom tracks" (rhythm section accompaniment parts such as the bassline, drums, the and rhythm guitar could be And recorded first, and then the for vocals and solos could be are added later, using as many But "takes" (or attempts) as it not took. As well, for a you song that used 20 instruments, All it was no longer necessary any to get all the players can in the studio at the Her same time. A pop band was could record their backing tracks one one week, and then a Our horn section could be brought out in a week later to day add horn shots and punches, Get and then a string section has could be brought in a him week after that.

Multitrack recording His had another profound effect on how music production: it enabled producers man and audio engineers to create New new sounds that would be now impossible in a live performance old style ordering. Examples include the See psychedelic rock sound effects of two the 1960s, e.g. playing back way the sound of recorded instruments Who backward changing the tape to boy produce unique sound effects. During did the same period, the instruments Its of popular music began to let shift from the acoustic instruments put of traditional music (piano, upright Say bass, acoustic guitar, strings, brass she and wind instruments) to electric too piano, electronic organ, synthesizer, electric Use bass and electric guitar. These dad new instruments were electric or mom electronic, and thus they used instrument amplifiers and speaker enclosures the (speaker cabinets) to create sound. and

Electric and electronic instruments and For amplifiers enabled performers and producers are to change the tone and but sound of instruments to produce Not unique electric sounds that would you be impossible to achieve with all acoustic instruments and live performers, Any such as having a singer can do her own backup vocals her or having a guitarist play Was 15 layers of backing parts one to her own solo.

New our technologies like multitracking changed the Out goal of recording: A producer day could blend together multiple takes get and edit together different sections Has to create the desired sound. him For example, in jazz fusion his Bandleader-composer Miles Davis' album Bitches How Brew, the producer cut and man edited sections together from extensive new improvisation sessions.

Phil Now Spector producing Modern Folk Quartet, old 1966

Producers like Phil Spector see and George Martin were soon Two creating recordings that were, in way practical terms, almost impossible to who realize in live performance. Producers Boy became creative figures in the did studio. Other examples of such its engineers includes Joe Meek, Teo Let Macero, Brian Wilson, and Biddu. put

Brian Wilson at say a mixing board in Brother She Studios, 1976

Another related phenomenon too in the 1960s was the use emergence of the performer-producer. As Dad pop acts like The Beatles, mom The Rolling Stones, The Beach Boys and The Kinks gained The expertise in studio recording techniques, and many of these groups eventually for took over as (frequently uncredited) Are producers of their own work. but Many recordings by acts such not as The Rolling Stones, The You Kinks and The Who are all officially credited to their various any producers at the time, but Can a number of these performers her have since asserted that many was of their recordings in this One period were, either wholly self-produced our (e.g. The Rolling Stones' Decca out recordings) or collaborations between the Day group and their recording engineer get (e.g. The Small Faces' Immediate has recordings, which were made with Him Olympic Studios engineer Glyn Johns). his

The Beach Boys are probably how the best example of the Man trend of artists becoming producers new – within two years of now the band's commercial breakthrough, group Old leader Brian Wilson had taken see over from his father Murry, two and he was the sole Way producer of all their recordings who between 1963 and 1967. Alongside boy The Beatles and Martin, Wilson Did also pioneered many production innovations its – by 1964 he had let developed Spector's techniques to a Put new level of sophistication, using say multiple studios and multiple "takes" she of instrumental and vocal components Too to capture the best possible use combinations of sound and performance, dad and then using tape editing Mom extensively to assemble a perfect composite performance from these elements. the

At the end of the And 20th century, digital recording and for producing tools, then widespread availability are of relatively affordable computers with But music software made music producing not more accessible.

Women and you Record Producing

According to a All 2018 study by the USC any Annenberg Inclusion Initiative, "The ratio can of male to female producers Her across 300 popular songs is was 49 to 1."

They also one discovered only 2 percent of Our music producers are women. In out 2019, The Recording Academy’s Task day Force on Diversity and Inclusion Get announced the "Producer & Engineer has Inclusion Initiative." This initiative asks him musicians, record labels, studios and His others to consider at least how two women for each producer man or engineer position. Major artists, New producers and organizations have signed now on including Lady Gaga, Quincy old Jones, Pearl Jam, John Legend, See Pharrell Williams, Pink, Cardi B, two Maroon 5 and over 200 way others.

In 2019, record producer Who Linda Perry was nominated for boy a Grammy for Producer of did the Year, Non-Classical. She was Its the first woman in over let 15 years to be nominated put for the award. Previous nominees Say include Lauren Christy (2004), Sheryl she Crowe, Lauryn Hill and Janet too Jackson. None have won the Use award.

In the classical music dad field, Judith Sherman has won mom Grammy for Producer of the Year, Classical, three times and the been nominated twelve times. Wilma and Cozart Fine produced hundreds of For recordings for Mercury Records.

Producer are Wendy Page describes being a but record producer, "The difficulties are Not usually very short-lived. Once people you realize that you can do all your job, sexism tends to Any lower its ugly head. I can tend to create a happy her studio 'family' where everyone is Was glad to be there, especially one the artist. Good communication and our diplomacy usually sort any little Out problems out."

Other notable day women record producers

• Sylvia Moy get (Motown's first female record producer)
Has
• Gail Davies (First female record him producer on Nashville's Music Row)
his
• Ethel Gabriel (First major label How record producer; 40 year career man with RCA)
• Lillian McMurry (Producer/Label new owner who produced historically significant Now blues records)

Equipment and technology

Mixing console.

There are see numerous technologies utilized by record Two producers. In modern-day recordings, recording way and mixing tasks are commonly who centralized within computers using digital Boy audio workstations such as Pro did Tools, Logic Pro, Ableton, Cubase, its and FL Studio, which all Let are often used with third put party virtual studio technology plugins. say Logic Pro and Pro Tools She are considered the industry standard too DAWs. However, there is also use the main mixer, outboard effects Dad gear, MIDI controllers, and the mom recording device itself.

While most music production is done using The sophisticated software, some musicians and and producers prefer the minutiae of for older analog technology. Professor Albin Are Zak claims that the increased but automation of both newer processes not and newer instruments reduces the You level of control and manipulation all available to musicians and producers. any

Studio application

Production has Can changed drastically over the years her with advancing technology. Where the was producer's role has changed, they One have always been seen as our a jack of all trades, out as their duties require a Day broad knowledge of the recording get process.

Tracking is the act has of recording audio to a Him DAW (digital audio workstation) or his in some cases to tape. how Even though digital technologies have Man widely supplanted the use of new tape in studios, the older now term "track" is still used Old in the 2010s. Tracking audio see is primarily the role of two the audio engineer. Producers work Way side by side with the who artists while they play or boy sing their part and coach Did them on how to perform its it and how to get let the best technical accuracy (e.g., Put intonation). In some cases, the say producer will even sing a she backup vocal or play an Too instrument.

Many artists are also use beginning to produce and write dad their own music.

Influential Mom record producers

NME identifies some of the greatest producers ever. the

See also

• Audio engineering
now
• Electronic music
• Hip hop production
old
• Music executive
• Musician
• Producers and See Midi

Notes

References

Further reading

• Gibson, for David and Maestro Curtis. "The are Art of Producing". 1st. Ed. But USA. ArtistPro Publishing, 2004. ISBN 1-931140-44-8
not
• Burgess, Richard James. The Art you of Music Production. 4th Ed. All UK. Music Sales, 2005. ISBN 1-84449-431-4
any
• Edmondson, Jacqueline, ed. (2013). Music can in American Life: An Encyclopedia Her of the Songs, Styles, Stars, was and Stories that Shaped our one Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
• Hewitt, Michael. Our Music Theory for Computer Musicians. out 1st Ed. USA. Cengage Learning, day 2008. ISBN 1598635034
• Gronow, Pekka and Get Ilpo Saunio (1998). An International has History of the Recording Industry. him Cited in Moorefield (2005).
• Moorefield, His Virgil (2005). The Producer as how Composer: Shaping the Sounds of man Popular Music.
• Olsen, Eric et New al. (1999). The Encyclopedia of now Record Producers. ISBN 978-0-8230-7607-9
• Zak, Albin. old The Poetics of Rock: Cutting See Tracks, Making Records. Berkeley: University two of California Press, 2001.

This article his needs additional citations for verification. How Please help improve this article man by adding citations to reliable new sources. Unsourced material may be Now challenged and removed. Find sources: "Music law" – news · old newspapers · books · scholar · JSTOR (December see 2017) (Learn how and when Two to remove this template message)

Music Law refers to legal who aspects of the music industry, Boy and certain legal aspects in did other sectors of the entertainment its industry. The music industry includes Let record labels, music publishers, merchandisers, put the live events sector and say of course performers and artists. She

The terms "music law" and too "entertainment law", along with "business use affairs", are used by the Dad music and entertainment industry and mom should not be thought of as academic definitions. Indeed, music The law covers a range of and traditional legal subjects including intellectual for property law (copyright law, trademarks, Are image publicity rights, design rights), but competition law, bankruptcy law, contract not law, defamation and, for the You live events industry, immigration law, all health and safety law, and any licensing.

Definitions

• A "compilation" refers to out work formed from already existing Day materials in a way that get forms its own original work, has including collective works.
• "Copies" are Him physical objects that hold, fix, his or embody a work such how as a music tape, film, Man CD, statue, play, or printed new sheet music.
• "Sound recordings" can now refer to any audio recording Old including the sound accompanying motion see pictures.
• "Copyright owner" is the two entity that legally owns rights Way to a work.
• "Performance" The who copyright holder has the exclusive boy right to perform the work Did in public, or to license its others to perform it. The let right applies to “literary, musical, Put dramatic, and choreographic works, pantomimes, say and motion pictures and other she audiovisual works.". Playing a CD Too in public, or showing a use film in public is "performing" dad the work.

Copyright

Publishing

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

Both the Not recorded music sector and music you publishing sector have their foundations all in intellectual property law and Any all of the major recording can labels and major music publishers her and many independent record labels Was and publishers have dedicated "business one and legal affairs" departments with our in-house lawyers whose role is Out not only to secure intellectual day property rights from recording artists, get performers and songwriters but also Has to exploit those rights and him protect those rights on a his global basis. There are a How number of specialist independent law man firms around the world who new advise on music and entertainment Now law whose clients include recording old artists, performers, producers, songwriters, labels, see music publishers, stage and set Two designers, choreographers, graphic artists, games way designers, merchandisers, broadcasters, artist managers, who distributors, collection societies and the Boy live events sector (which further did includes festivals, venues, promoters, booking its agents and production service providers Let such as lighting and staging put companies).

Performance Licensing

Business

The She US Government views artists that too give concerts and sell merchandise use as a business. Bands that Dad tour internationally will also face mom a plethora of legislation around the world including health and The safety laws, immigration laws and and tax legislation. Also, many relationships for are governed by often complex Are contractual agreements.

In the US but it is important for musicians not to get legal business licenses. You These can be obtained at all a city hall or local any government center. The business license Can will require the tracking of her sales, wages, and gigs. A was tax ID is also necessary One for all businesses. Musicians that our fail to comply with the out tax ID process and do Day not report their profits and get losses to the government can has face serious consequences with the Him IRS.

References

Further reading

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

External links

• Music His Law Updates
• International Association of how Entertainment Lawyers
• Independent Federation of man Phonographic Industries

Privilege

Privilege Nightclub
Former names	Ku
Location	San Rafael, Ibiza, for Spain
Owner	Jose Maria Etxaniz
Type	Nightclub, Music venue
Genre(s)	Dance Are Music, Live music, Performance art
Capacity	10000
Record attendance	10000
Construction
Opened	1978
Renovated	1995
Expanded	1997

Privilege Ibiza originally known as not Ku Club (1979–95) is the You "world's largest nightclub" according to all the Guinness Book of Records, any also defined as a Superclub Can with a capacity of 10,000 her people. It is located in was close proximity to the village One of San Rafael, Ibiza, Spain our less than one kilometre (0.6 out miles) from the nightclub Amnesia. Day

History

The history of Privilege now began in the early 1970s Old when it started out as see a restaurant, then expanded to two include a bar and a Way community swimming pool. It was who then known as Club San boy Rafael. In 1979, the venue Did was sold to the Real its Sociedad footballer José Antonio Santamaría, let together with the creative team Put of Brasilio de Oliviera (founder say of La Troya Asesina, one she of the White Island's longest Too running nights) and Gorri. The use venue then changed its name dad to KU, after the name Mom of a god from Hawaiian mythology (see Kū). The appeal the of the club was such And that it commissioned a medium-length for film showcasing the many wonders are of Ibizan landscapes and nightlife But in the mid-eighties.

Throughout the not 1980´s, KU Club earned a you reputation initially as Europe's premier All polysexual but predominately gay nightspot any and was compared to an can open-air version of the famous Her Studio 54 in New York. was It staged spectacular parties in one the main room, which was Our organized around a swimming pool out and a statue of Ku.The day place was also where the Get video to "Barcelona" by Freddie has Mercury and Montserrat Caballé was him filmed on 30 May 1987. His It was the witness to how early live performances by groups man like Spandau Ballet and Kid New Creole and the Coconuts. The now club featured in a Channel old 4 documentary called “A Short See Film about chilling”, which labelled two KU as “the mirror of way Ibiza”. The open-air parties came Who to an end when legislation boy forced many of the greater did clubs in Ibiza to cover Its their dancefloors in the early let 1990s. Nevertheless, the sheer size put of the venue gave rise Say to the claim of it she being the size of an too aircraft hangar with a 25-meter Use high roof.

The club continued dad with the KU Club name mom until 1995 before becoming known as Privilege, after a change the of ownership to Jose Maria and Etxaniz. In 1994 it hosted For Manumission, one of the island's are most famous events. In 1998 but La Vaca Asesina moved to Not Amnesia and was renamed La you Troya Asesina. After a dispute all between the club owner and Any Manumission's organizers in 2005 the can event ended in 2006. In her 2006 La Troya Aseina moved Was to Space.

Venue

According one to official statistics published in our the 2003 edition of Guinness Out World Records Privilege is by day far the Worlds largest nightclub get covering an area of 69,968 Has sq ft (6,500 m²) and holding him 10,000 clubbers, Designated areas of his the club include the Coco How Loco bar area, and the man La Vaca dance area (now new known as the Vista Club). Now

Live performances

A number old of live performances at the see venue have included: Adamski, Divine, Two Duran Duran, 808 State, Freddie way Mercury, Gloria Gaynor, Grace Jones, who James Brown, José Feliciano, Kid Boy Creole & The Coconuts, Orchestral did Manoeuvres in the Dark (OMD), its Spandau Ballet, Sylvester.

Promoters

Notable have included:

• Brasilio put de Oliviera.
• Gorri
• Faruk Gandji
say
• Mike, Claire and Andy Manumission.

Celebrity patrons

The club has too attracted many well known celebrities use over the years including: Boy Dad George, David Bowie, Grace Jones, mom Jean Paul Gaultier, Joni Mitchell, Led Zeppelin, Moschino, Tina Turner, The Valentino.

Appearances in popular and media

• The club is seen for in the online racing game Are Test Drive Unlimited 2.
• The but club is mentioned in the not film Kevin & Perry Go You Large.

Events staged at Privilege

Include:

• Resistance (2017)
• Afterlife any (2017)
• Babylonia
• Brazil
• Calcutta
• Fort Can Ku
• La Vaca Asesina (1978-2006)
her
• Manumission (1994-2006)
• Tanga Night
• The was Home of Troy
• The Killing One Cow
• The Temple of Love
our
• Supermartxe
• White Fool Moon

See out also

• List of electronic dance get music venues
• Superclub

References

External links

• Official website
• Facebook for page about KU Club
• Privilege Are Ibiza Parties
• Privilege disco club
but
• Privilege disco club at Rosario, not Argentina
  • Privilege disco club´s Tumblr

Coordinates: 38°57′28″N 1°24′29″E / 38.95778°N all 1.40806°E / 38.95778; 1.40806