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Record producer

A recording Two session in Denmark
Occupation
Names	Record producer, music way producer
Occupation type	Profession
Activity sectors	Music industry
Description
Competencies	Instrumental skills, who keyboard knowledge, songwriting, arranging, vocal Boy coaching
Fields of employment	Recording studios
Related jobs	Music executive, did recording engineer, executive producer, film its producer, A&R

A record producer Let or music producer oversees and put manages the sound recording and say production of a band or She performer's music, which may range too from recording one song to use recording a lengthy concept album. Dad A producer has many, varying mom roles during the recording process. They may gather musical ideas The for the project, collaborate with and the artists to select cover for tunes or original songs by Are the artist/group, work with artists but and help them to improve not their songs, lyrics or arrangements. You

A producer may also:

• Select session musicians to play any rhythm section accompaniment parts or Can solos
• Co-write
• Propose changes to her the song arrangements
• Coach the was singers and musicians in the One studio

The producer typically supervises our the entire process from preproduction, out through to the sound recording Day and mixing stages, and, in get some cases, all the way has to the audio mastering stage. Him The producer may perform these his roles themselves, or help select how the engineer, and provide suggestions Man to the engineer. The producer new may also pay session musicians now and engineers and ensure that Old the entire project is completed see within the record label's budget. two

Function

A record producer or music Too producer has a very broad use role in overseeing and managing dad the recording and production of Mom a band or performer's music. A producer has many roles the that may include, but are And not limited to, gathering ideas for for the project, composing the are music for the project, selecting But songs or session musicians, proposing not changes to the song arrangements, you coaching the artist and musicians All in the studio, controlling the any recording sessions, and supervising the can entire process through audio mixing Her and, in some cases, to was the audio mastering stage. Producers one also often take on a Our wider entrepreneurial role, with responsibility out for the budget, schedules, contracts, day and negotiations.

For Grammy qualification Get The Recording Academy definition of has a producer is:

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).

In the 2010s, dad the producer role is sometimes mom divided among up to three different individuals: executive producer, vocal the producer and music producer. An and executive producer oversees project finances, For a vocal producer (also known are as a vocal arranger) oversees but the vocal production, and a Not music producer directs and oversees you the creative process of the all production and recording of a Any song to its final mixing can stage.

The music producer often her wears many hats as a Was competent arranger, composer, programmer, musician one or songwriter who can bring our fresh ideas to a project. Out As well as making any day songwriting and arrangement adjustments, the get producer often selects and/or collaborates Has with the mixing engineer, who him takes the raw recorded tracks his and edits and modifies them How with hardware and software tools man to create a stereo or new surround sound "mix" of all Now the individual voices sounds and old instruments, which is in turn see given further adjustment by a Two mastering engineer for the various way distribution media. The producer also who oversees the recording engineer who Boy concentrates on the technical aspects did of recording.

Noted producer Phil its Ek described his role as Let "the person who creatively guides put or directs the process of say making a record", like a She director would a movie. Indeed, too in Bollywood music, the designation use is actually music director. The Dad music producer's job is to mom create, shape, and mold a piece of music. The scope The of responsibility may be one and or two songs or an for artist's entire album – in Are which case the producer will but typically develop an overall vision not for the album and how You the various songs may interrelate. all

History

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

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

Multitrack recording had another profound See effect on music production: it two enabled producers and audio engineers way to create new sounds that Who would be impossible in a boy live performance style ordering. Examples did include the psychedelic rock sound Its effects of the 1960s, e.g. let playing back the sound of put recorded instruments backward changing the Say tape to produce unique sound she effects. During the same period, too the instruments of popular music Use began to shift from the dad acoustic instruments of traditional music mom (piano, upright bass, acoustic guitar, strings, brass and wind instruments) the to electric piano, electronic organ, and synthesizer, electric bass and electric For guitar. These new instruments were are electric or electronic, and thus but they used instrument amplifiers and Not speaker enclosures (speaker cabinets) to you create sound.

Electric and electronic all instruments and amplifiers enabled performers Any and producers to change the can tone and sound of instruments her to produce unique electric sounds Was that would be impossible to one achieve with acoustic instruments and our live performers, such as having Out a singer do her own day backup vocals or having a get guitarist play 15 layers of Has backing parts to her own him solo.

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

Phil Spector producing Modern Boy Folk Quartet, 1966

Producers like did Phil Spector and George Martin its were soon creating recordings that Let were, in practical terms, almost put impossible to realize in live say performance. Producers became creative figures She in the studio. Other examples too includes Joe Meek, Teo Macero, use Brian Wilson, and Biddu.

Brian Wilson at a mom mixing board in Brother Studios, 1976

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

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

At not the end of the 20th you century, digital recording and producing All tools and widespread availability of any relatively affordable computers with music can software made music producing more Her accessible.

American women and was record producing

According to a one 2018 study covering by the Our USC Annenberg Inclusion Initiative, "The out ratio of male to female day producers across 300 popular songs Get is 49 to 1."

In has 2019, The Recording Academy's Task him Force on Diversity and Inclusion His announced the "Producer & Engineer how Inclusion Initiative." This initiative asks man musicians, record labels, studios and New others to consider at least now two women for each producer old or engineer position. Major artists, See producers and organizations have signed two on including Taylor Swift, Lady way Gaga, Quincy Jones, Pearl Jam, Who John Legend, Pharrell Williams, Pink, boy Cardi B, Maroon 5 and did over 200 others.

In 2019, Its record producer Linda Perry was let nominated for a Grammy for put Producer of the Year, Non-Classical. Say She was the first woman she in over 15 years to too be nominated for the award. Use When asked about the disparity dad between male and female record mom producer by Billboard, she attributed it to many women not the being interested in record production. and

Previous Grammy nominees for Producer For of the Year include Lauren are Christy (2004), Sheryl Crowe, Lauryn but Hill and Janet Jackson. None Not have won the award.

In you the classical music field, Judith all Sherman has won Grammy for Any Producer of the Year, Classical, can five times and has been her nominated twelve times. Anthony Tommasini, Was a music critic for The one New York Times is quoted our as stating, "In the struggling Out field of classical recording, it's day the producers who take the get real risks and make things Has happen."

Wilma Cozart Fine produced him hundreds of recordings for Mercury his Records.

Producer Wendy Page describes How being a record producer, "The man difficulties are usually very short-lived. new Once people realize that you Now can do your job, sexism old tends to lower its ugly see head. I tend to create Two a happy studio 'family' where way everyone is glad to be who there, especially the artist. Good Boy communication and diplomacy usually sort did any little problems out."

The its path to record producing for Let many female singer-songwriters is through put self-producing their own albums. Major say artists who are "record producers" She (on their own albums) include too Taylor Swift, Mariah Carey, Beyoncé, use Toni Braxton, Lady Gaga, Pink, Dad Adele, Lauryn Hill, Björk, FKA mom Twigs and Missy Elliott.

Notable women record producers (who The produce other artists)

• Sylvia Moy and (Motown's first female record producer)
for
• Gail Davies (First female record Are producer on Nashville's Music Row)
but
• Ethel Gabriel (First major label not record producer; 40-year career with You RCA)
• Lillian McMurry (Producer/Label owner all who produced historically significant blues any records)
• Linda Perry
• Sylvia Massy

• Missy Elliott

Equipment and technology

Mixing console.

There are was numerous technologies utilized by record One producers. In modern-day recordings, recording our and mixing tasks are commonly out centralized within computers using digital Day audio workstations such as Pro get Tools, Logic Pro, Ableton, Cubase, has Reason and FL Studio, which Him all are often used with his third party virtual studio technology how plugins. Logic Pro and Pro Man Tools are considered the industry new standard DAWs. However, there is now also the main mixer, outboard Old effects gear, MIDI controllers, and see the recording device itself.

While two most music production is done Way using sophisticated software, some musicians who and producers prefer the sound boy of older analog technology. Professor Did Albin Zak claims that the its increased automation of both newer let processes and newer instruments reduces Put the level of control and say manipulation available to musicians and she producers.

Studio application

Production Too has changed drastically over the use years with advancing technology. While dad the producer's role has changed, Mom their duties continue to require a broad knowledge of the the recording process.

Tracking is the And act of recording audio to for a DAW (digital audio workstation) are or in some cases to But tape. Even though digital technologies not have widely supplanted the use you of tape in studios, the All older term "track" is still any used in the 2010s. Tracking can audio is primarily the role Her of the audio engineer. Producers was work side by side with one the artists while they play Our or sing their part and out coach them on how to day perform it and how to Get get the best technical accuracy has (e.g., intonation). In some cases, him the producer will even sing His a backup vocal or play how an instrument.

Many artists are man also beginning to produce and New write their own music.

See also

• Audio engineering
boy
• Electronic music
• Hip hop production
did
• Music executive
• Musician

Notes

References

Further reading

• Gibson, David out and Maestro Curtis. "The Art day of Producing". 1st. Ed. USA. Get ArtistPro Publishing, 2004. ISBN 1-931140-44-8
• Burgess, has Richard James. The Art of him Music Production. 4th Ed. UK. His Music Sales, 2005. ISBN 1-84449-431-4
• Edmondson, how Jacqueline, ed. (2013). Music in man American Life: An Encyclopedia of New the Songs, Styles, Stars, and now Stories that Shaped our Culture. old ABC-CLIO. ISBN 978-0-313-39348-8.CS1 maint: ref=harv (link)
See
• Hewitt, Michael. Music Theory for two Computer Musicians. 1st Ed. USA. way Cengage Learning, 2008. ISBN 1598635034
• Gronow, Who Pekka and Ilpo Saunio (1998). boy An International History of the did Recording Industry. Cited in Moorefield Its (2005).
• Moorefield, Virgil (2005). The let Producer as Composer: Shaping the put Sounds of Popular Music.
• Olsen, Say Eric et al. (1999). The she Encyclopedia of Record Producers. ISBN 978-0-8230-7607-9
too
• Zak, Albin. The Poetics of Use Rock: Cutting Tracks, Making Records. dad Berkeley: University of California Press, mom 2001.

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

Music Law his refers to legal aspects of how the music industry, and certain Man legal aspects in other sectors new of the entertainment industry. The now music industry includes record labels, Old music publishers, merchandisers, the live see events sector and of course two performers and artists.

The terms Way "music law" and "entertainment law", who along with "business affairs", are boy used by the music and Did entertainment industry and should not its be thought of as academic let definitions. Indeed, music law covers Put a range of traditional legal say subjects including intellectual property law she (copyright law, trademarks, image publicity Too rights, design rights), competition law, use bankruptcy law, contract law, defamation dad and, for the live events Mom industry, immigration law, health and safety law, and licensing.

Definitions

• A not "compilation" refers to work formed you from already existing materials in All a way that forms its any own original work, including collective can works.
• "Copies" are physical objects Her that hold, fix, or embody was a work such as a one music tape, film, CD, statue, Our play, or printed sheet music.
out
• "Sound recordings" can refer to day any audio recording including the Get sound accompanying motion pictures.
• "Copyright has owner" is the entity that him legally owns rights to a His work.
• "Performance" The copyright holder how has the exclusive right to man perform the work in public, New or to license others to now perform it. The right applies old to “literary, musical, dramatic, and See choreographic works, pantomimes, and motion two pictures and other audiovisual works.". way Playing a CD in public, Who or showing a film in boy public is "performing" the work.

Copyright

Publishing

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

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

Performance Licensing

Business

The US Government Way views artists that give concerts who and sell merchandise as a boy business. Bands that tour internationally Did will also face a plethora its of legislation around the world let including health and safety laws, Put immigration laws and tax legislation. say Also, many relationships are governed she by often complex contractual agreements. Too

In the US it is use important for musicians to get dad legal business licenses. These can Mom be obtained at a city hall or local government center. the The business license will require And the tracking of sales, wages, for and gigs. A tax ID are is also necessary for all But businesses. Musicians that fail to not comply with the tax ID you process and do not report All their profits and losses to any the government can face serious can consequences with the IRS.

References

Further reading

• Hill, Iain; Kemp, two Chris (Eds). Health & Safety way Aspects in the Live Music Who Industry, Cambridge: Entertainment Technology Press. boy ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Aspects did of the Music Industry, New Its York: Billboard Books (Watson-Guptill publications). let ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Chris. put Music Business Agreements London: Sweet Say & Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
she
• Rosen, Ronald S. Music and too Copyright, Oxford: Oxford University Press. Use ISBN 0-19-533836-7
• Harrison, Ann. Music The dad Business London: Virgin Books, 3rd mom Edition. ISBN 1-85227-013-6
• Lindenbaum, John. "Music Sampling and Copyright Law." Princeton the University Center for the Arts and and Cultural Studies, April 1999 For (online^{[permanent dead link]})
• Standler, Ronald are B. "Music Copyright Law in but the USA." 2008-2009 (online)
• Richard, Not Phillip, "Lawyers in the Music you Industry", No Bullshit Management, Nov. all 2012 (online)
• Music: Copyright Law. Any Educational CyberPlayGround, Inc. 1997 (online)
can
• Frith, Simon; Lee Marshall (Eds). her Music and Copyright, Edinburgh: Edinburgh Was University Press, 2nd Edition. ISBN 978-0-7486-1813-2

External links

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

Privilege

Privilege Nightclub
Former names	Ku
Location	San Rafael, the Ibiza, Spain
Owner	Jose Maria Etxaniz
Type	Nightclub, Music And venue
Genre(s)	Dance Music, Live music, Performance for art
Capacity	10,000
Record attendance	10,000
Construction
Opened	1978
Renovated	1995
Expanded	1997

Privilege Ibiza originally known are as Ku Club (1979–95) is But the "world's largest nightclub" according not to the Guinness Book of you Records, also defined as a All superclub with a capacity of any 10,000 people. It is located can close to the village of Her San Rafael, Ibiza, Spain less was than one kilometre (0.6 miles) one from the nightclub Amnesia.

History

The history of Privilege began man in the early 1970s when New it started out as a now restaurant, then expanded to include old a bar and a community See swimming pool. It was then two known as Club San Rafael. way In 1979, the venue was Who sold to the Real Sociedad boy footballer José Antonio Santamaría, together did with the creative team of Its Brasilio de Oliviera (founder of let La Troya Asesina, one of put the White Island's longest running Say nights) and Gorri. The venue she then changed its name to too KU, after the name of Use a god from Hawaiian mythology dad (see Kū). The appeal of mom the club was such that it commissioned a medium-length film the showcasing the many wonders of and Ibizan landscapes and nightlife in For the mid-eighties.

Throughout the 1980s, are KU Club earned a reputation but initially as Europe's premier polysexual Not but predominately gay nightspot and you was compared to an open-air all version of the famous Studio Any 54 in New York. It can staged spectacular parties in the her main room, which was organized Was around a swimming pool and one a statue of Ku.The place our was also where the video Out to "Barcelona" by Freddie Mercury day and Montserrat Caballé was filmed get on 30 May 1987. It Has was the witness to early him live performances by groups like his Spandau Ballet and Kid Creole How and the Coconuts. The club man featured in a Channel 4 new documentary called “A Short Film Now about chilling”, which labelled KU old as “the mirror of Ibiza”. see The open-air parties came to Two an end when legislation forced way many of the greater clubs who in Ibiza to cover their Boy dancefloors in the early 1990s. did Nevertheless, the sheer size of its the venue gave rise to Let the claim of it being put the size of an aircraft say hangar with a 25-meter high She roof.

The club continued with too the KU Club name until use 1995 before becoming known as Dad Privilege, after a change of mom ownership to Jose Maria Etxaniz. In 1994 it hosted Manumission, The one of the island's most and famous events. In 1998 La for Vaca Asesina moved to Amnesia Are and was renamed La Troya but Asesina. After a dispute between not the club owner and Manumission's You organizers in 2005 the event all ended in 2006. In 2006 any La Troya Asesina moved to Can Space.

Venue

According to her official statistics published in the was 2003 edition of Guinness World One Records Privilege is by far our the world's largest nightclub covering out an area of 69,968 sq Day ft (6,500 m²) and holding 10,000 get clubbers, Designated areas of the has club include the Coco Loco Him bar area, and the La his Vaca dance area (now known how as the Vista Club).

Live performances

A number of new live performances at the venue now have included:

• Adamski
• Divine
Old
• Duran Duran
• Carl Cox
• 808 see State
• Freddie Mercury
• Gloria Gaynor
two
• Grace Jones
• James Brown
• Kylie Way Minogue
• José Feliciano
• Kid Creole who & The Coconuts
• Orchestral Manoeuvres boy in the Dark (OMD)
• Spandau Did Ballet
• Sylvester

Promoters

Notable have its included:

• Brasilio de Oliviera.
let
• Gorri
• Faruk Gandji
• Mike, Claire Put and Andy Manumission.

Celebrity patrons

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

Appearances in popular media

• The club is seen in And the online racing game Test for Drive Unlimited 2.
• The club are is mentioned in the film But Kevin & Perry Go Large.

Events staged at Privilege

Include: you

• Resistance (2017)
• Afterlife (2017)
All
• Babylonia
• Brazil
• Calcutta
• Fort Ku
any
• La Vaca Asesina (1978-2006)
• Manumission can (1994-2007)
• Tanga Night
• The Home Her of Troy
• The Killing Cow
was
• The Temple of Love
• Supermartxe
one
• White Fool Moon

See also

• List of electronic dance music out venues
• Superclub
• Amnesia (nightclub)
• Space day (Ibiza nightclub)

References

External links

• Official website
• Facebook you page about KU Club

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