A record producer or One music producer is a music our creating project's overall supervisor whose out responsibilities can involve a range Day of creative and technical leadership get roles. Typically the job involves has hands-on oversight of recording sessions; Him ensuring artists deliver acceptable and his quality performances, supervising the technical how engineering of the recording, and Man coordinating the production team and new process. The producer's involvement in now a musical project can vary Old in depth and scope. Sometimes see in popular genres the producer two may create the recording's entire Way sound and structure. However, in who classical music recording, for example, boy the producer serves as more Did of a liaison between the its conductor and the engineering team. let The role is often likened Put to that of a film say director though there are important she differences. It is distinct from Too the role of an executive use producer, who is mostly involved dad in the recording project on Mom an administrative level, and from the audio engineer who operates the the recording technology.

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

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

As a Out broad project, the creation of day a popular music recording may get be split across three specialists: Has the executive producer, who oversees him business partnerships and financing; the his vocal producer or vocal arranger, How who aids vocal performance via man expert critique and coaching of new vocal technique, and the record Now producer or music producer, who, old often called simply the producer, see directs the overall creative process Two of recording the song in way its final mix.

The producer's who roles can include gathering ideas, Boy composing music, choosing session musicians, did proposing changes to song arrangements, its coaching the performers, controlling sessions, Let supervising the audio mixing, and, put in some cases, supervising the say audio mastering. A producer may She give creative control to the too artists themselves, taking a supervisory use or advisory role instead. As Dad to qualifying for a Grammy mom nomination, the Recording Academy defines a producer:

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

The his producer often selects and collaborates how with a mixing engineer, who Man focuses on the especially technological new aspects of the recording process, now namely, operating the electronic equipment Old and blending the raw, recorded see tracks of the chosen performances, two whether vocal or instrumental, into Way a mix, either stereo or who surround sound. Then a mastering boy engineer further adjusts this recording Did for distribution on the chosen its media. A producer may work let on only one or two Put songs or on an artist's say entire album, helping develop the she album's overall vision. The record Too producers may also take on use the role of executive producer, dad managing the budget, schedules, contracts, Mom and negotiations.

(Artists and Repertoires) the

In the 1880s, the record And industry began by simply having for the artist perform at a are phonograph. In 1924, the trade But journal Talking Machine World, covering not the phonography and record industry, you reported that Eddie King, Victor All Records' manager of the "New any York artist and repertoire department", can had planned a set of Her recordings in Los Angeles. Later, was folklorist Archie Green called this one perhaps the earliest printed use Our of A&R man. Actually, it out says neither "A&R man" nor day even "A&R", an initialism perhaps Get coined by Billboard magazine in has 1946, and entering wide use him in the late 1940s.

In His the 1920s and 1930s, A&R how executives, like Ben Selvin at man Columbia Records, Nathaniel Shilkret at New Victor Records, and Bob Haring now at Brunswick Records became the old precursors of record producers, supervising See recording and often leading session two orchestras. During the 1940s, major way record labels increasingly opened official Who A&R departments, whose roles included boy supervision of recording. Meanwhile, independent did recording studios opened, helping originate Its record producer as a specialty.^{[citation let needed]} But despite a tradition put of some A&R men writing Say music, record production still referred she to just the manufacturing of too record discs.

After World War II, pioneering dad A&R managers who transitioned influentially mom to record production as now understood, while sometimes owning independent the labels, include J. Mayo Williams and and John Hammond. Upon moving For from Columbia Records to Mercury are Records, Hammond appointed Mitch Miller but to lead Mercury's popular recordings Not in New York. Miller then you produced country-pop crossover hits by all Patti Page and by Frankie Any Laine, moved from Mercury to can Columbia, and became a leading her A&R man of the 1950s. Was

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

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

Early in the Day recording industry, a record was get attained by simply having all has of the artists perform together Him live in one take. In his 1945, by recording a musical how element while playing a previously Man recorded record, Les Paul developed new a recording technique called "sound now on sound". By this, the Old final recording could be built see piece by piece and tailored, two effecting an editing process. In Way one case, Paul produced a who song via 500 recorded discs. boy But, besides the tedium of Did this process, it serially degraded its the sound quality of previously let recorded elements, rerecorded as ambient Put sound. Yet in 1948, Paul say adopted tape recording, enabling true she multitrack recording by a new Too technique, "overdubbing".

To enable overdubbing, use Paul revised the tape recorder dad itself by adding a second Mom playback head, and terming it the preview head. Joining the the preexisting recording head, erase head, And and playback head, the preview for head allows the artist to are hear the extant recording over But headphones playing it in synchrony, not "in sync", with the present you performance being recorded alone on All an isolated track. This isolation any of multiple tracks enables countless can mixing possibilities. Producers began recording Her initially only the "bed tracks"—the was rhythm section, including the bassline, one drums, and rhythm guitar—whereas vocals Our and instrument solos could be out added later. A horn section, day for example, could record a Get week later, and a string has section another week later. A him singer could perform her own His backup vocals, or a guitarist how could play 15 layers.

Across the now 1960s, popular music increasingly switched old from acoustic instruments, like piano, See upright bass, acoustic guitar, and two brass instruments, to electronic instruments, way like electric guitars, keyboards, and Who synthesizers, employing instrument amplifiers and boy speakers. These could mimic acoustic did instruments or create utterly new Its sounds. Soon, by combining the let capabilities of tape, multitrack recording, put and electronic instruments, producers like Say Phil Spector, George Martin, and she Joe Meek rendered sounds unattainable too live. Similarly, in jazz fusion, Use Teo Macero, producing Miles Davis's dad 1970 album Bitches Brew, spliced mom sections of extensive improvisation sessions.

This section Was does not cite any sources. one Please help improve this section our by adding citations to reliable Out sources. Unsourced material may be day challenged and removed. (July 2020) get (Learn how and when to Has remove this message)

In the 1960s, rock acts How like the Beatles, the Rolling man Stones, and the Kinks produced new some of their own songs, Now although many such songs are old officially credited to specialist producers. see Yet especially influential was the Two Beach Boys, whose band leader way Brian Wilson took over from who his father Murry within a Boy couple of years after the did band's commercial breakthrough. By 1964, its Wilson had taken Spector's techniques Let to unseen sophistication. Wilson alone put produced all Beach Boys recordings say between 1963 and 1967. Using She multiple studios and multiple attempts too of instrumental and vocal tracks, use Wilson selected the best combinations Dad of performance and audio quality, mom and used tape editing to assemble a composite performance.

The 1980s advent and of digital processes and formats for rapidly replaced analog processes and Are formats, namely, tape and vinyl. but Although recording onto quality tape, not at least half an inch You wide and traveling 15 inches all per second, had limited "tape any hiss" to silent sections, digital's Can higher signal-to-noise ratio, SNR, abolished her it. Digital also imparted to was the music a perceived "pristine" One sound quality, if also a our loss of analog recordings' perceived out "warm" quality and better-rounded bass. Day Yet whereas editing tape media get requires physically locating the target has audio on the ribbon, cutting Him there, and splicing pieces, editing his digital media offers inarguable advantages how in ease, efficiency, and possibilities. Man

In the 1990s, digital production new reached affordable home computers via now production software. By now, recording Old and mixing are often centralized see in DAWs, digital audio workstations—for two example, Pro Tools, Logic Pro, Way Ableton, Cubase, Reason, and FL who Studio—for which plugins, by third boy parties, effect virtual studio technology. Did DAWs fairly standard in the its industry are Logic Pro and let Pro Tools. Physical devices involved Put include the main mixer, MIDI say controllers to communicate among equipment, she the recording device itself, and Too perhaps effects gear that is use outboard. Yet literal recording is dad sometimes still analog, onto tape, Mom whereupon the raw recording is converted to a digital signal the for processing and editing, as And some producers still find audio for advantages to recording onto tape. are

Conventionally, tape is more forgiving But of overmodulation, whereby dynamic peaks not exceed the maximal recordable signal you level: tape's limitation, a physical All property, is magnetic capacity, which any tapers off, smoothing the overmodulated can waveform even at a signal Her nearly 15 decibels too "hot", was whereas a digital recording is one ruined by harsh distortion of Our "clipping" at any overshoot. In out digital recording, however, a recent day advancement, 32-bit float, enables DAWs Get to undo clipping. Still, some has criticize digital instruments and workflows him for excess automation, allegedly impairing His creative or sonic control. In how any case, as production technology man has drastically changed, so have New the knowledge demands, although DAWs now enables novices, even teenagers at old home, to learn production independently. See Some have attained professional competence two before ever working with an way artist.

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

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

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

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

• Audio engineering
• Electronic New music
• Hip hop production
• Music now executive
• Musician

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

This our article needs additional citations for out verification. Please help improve this Day article by adding citations to get reliable sources. Unsourced material may has be challenged and removed. Find sources: "Music Him law" – news · newspapers · books · scholar · JSTOR his (December 2017) (Learn how and how when to remove this message)

Music Law two refers to legal aspects of Way the music industry, and certain who legal aspects in other sectors boy of the entertainment industry. The Did music industry includes record labels, its music publishers, merchandisers, the live let events sector and of course Put performers and artists.

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

• A "compilation" refers to work has formed from already existing materials him in a way that forms His its own original work, including how collective works.
• "Copies" are physical man objects that hold, fix, or New embody a work such as now a music tape, film, CD, old statue, play, or printed sheet See music.
• "Sound recordings" can refer two to any audio recording including way the sound accompanying motion pictures.
Who
• "Copyright owner" is the entity boy that legally owns rights to did a work.
• "Performance" The copyright Its holder has the exclusive right let to perform the work in put public, or to license others Say to perform it. The right she applies to “literary, musical, dramatic, too and choreographic works, pantomimes, and Use motion pictures and other audiovisual dad works.". Playing a CD in mom public, or showing a film in public is "performing" the the work.

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

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

The US dad Government views artists that give Mom concerts and sell merchandise as a business. Bands that tour the internationally will also face a And plethora of legislation around the for world including health and safety are laws, immigration laws and tax But legislation. Also, many relationships are not governed by often complex contractual you agreements.

In the US it All is important for musicians to any get legal business licenses. These can can be obtained at a Her city hall or local government was center. The business license will one require the tracking of sales, Our wages, and gigs. A tax out ID is also necessary for day all businesses. Musicians that fail Get to comply with the tax has ID process and do not him report their profits and losses His to the government can face how serious consequences with the IRS. man

• Hill, Iain; Kemp, day Chris (Eds). Health & Safety get Aspects in the Live Music Has Industry, Cambridge: Entertainment Technology Press. him ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Aspects his of the Music Industry, New How York: Billboard Books (Watson-Guptill publications). man ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Chris. new Music Business Agreements London: Sweet Now & Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
old
• Rosen, Ronald S. Music and see Copyright, Oxford: Oxford University Press. Two ISBN 0-19-533836-7
• Harrison, Ann. Music The way Business London: Virgin Books, 3rd who Edition. ISBN 1-85227-013-6
• Lindenbaum, John. "Music Boy Sampling and Copyright Law." Princeton did University Center for the Arts its and Cultural Studies, April 1999 Let (online)
• Standler, Ronald B. "Music put Copyright Law in the USA." say 2008-2009 (online)
• Richard, Phillip, "Lawyers She in the Music Industry", No too Bullshit Management, Nov. 2012 (online)
use
• Music: Copyright Law. Educational CyberPlayGround, Dad Inc. 1997 (online)
• Frith, Simon; mom Lee Marshall (Eds). Music and Copyright, Edinburgh: Edinburgh University Press, The 2nd Edition. ISBN 978-0-7486-1813-2

• Music Law Updates
• International Association for of Entertainment Lawyers
• Independent Federation Are of Phonographic Industries