A record producer or music can producer is a music creating Her project's overall supervisor whose responsibilities was can involve a range of one creative and technical leadership roles. Our Typically the job involves hands-on out oversight of recording sessions; ensuring day artists deliver acceptable and quality Get performances, supervising the technical engineering has of the recording, and coordinating him the production team and process. His The producer's involvement in a how musical project can vary in man depth and scope. Sometimes in New popular genres the producer may now create the recording's entire sound old and structure. However, in classical See music recording, for example, the two producer serves as more of way a liaison between the conductor Who and the engineering team. The boy role is often likened to did that of a film director Its though there are important differences. let It is distinct from the put role of an executive producer, Say who is mostly involved in she the recording project on an too administrative level, and from the Use audio engineer who operates the dad recording technology.

Varying by project, mom the producer may or may not choose all of the the artists. If employing only synthesized and or sampled instrumentation, the producer For may be the sole artist. are Conversely, some artists do their but own production. Some producers are Not their own engineers, operating the you technology across the project: preproduction, all recording, mixing, and mastering. Record Any producers' precursors were "A&R men", can who likewise could blend entrepreneurial, her creative, and technical roles, but Was often exercised scant creative influence, one as record production still focused, our into the 1950s, on simply Out improving the record's sonic match day to the artists' own live get performance.

Advances in recording technology, Has especially the 1940s advent of him tape recording—which Les Paul promptly his innovated further to develop multitrack How recording—and the 1950s rise of man electronic instruments, turned record production new into a specialty. In popular Now music, then, producers like George old Martin, Phil Spector and Brian see Eno led its evolution into Two its present use of elaborate way techniques and unrealistic sounds, creating who songs impossible to originate live. Boy After the 1980s, production's move did from analog to digital further its expanded possibilities. By now, DAWs, Let or digital audio workstations, like put Logic Pro, Pro Tools and say Studio One, turn an ordinary She computer into a production console, too whereby a solitary novice can use become a skilled producer in Dad a thrifty home studio. In mom the 2010s, efforts began to increase the prevalence of producers The and engineers who are women, and heavily outnumbered by men and for prominently accoladed only in classical Are music.

As a broad was project, the creation of a One music recording may be split our across three specialists: the executive out producer, who oversees business partnerships Day and financing; the vocal producer get or vocal arranger, who aids has vocal performance via expert critique Him and coaching of vocal technique, his and the record producer or how music producer, who, often called Man simply the producer, directs the new overall creative process of recording now the song in its final Old mix.

The producer's roles can see include gathering ideas, composing music, two choosing session musicians, proposing changes Way to song arrangements, coaching the who performers, controlling sessions, supervising the boy audio mixing, and, in some Did cases, supervising the audio mastering. its A producer may give creative let control to the artists themselves, Put taking a supervisory or advisory say role instead. As to qualifying she for a Grammy nomination, the Too Recording Academy defines a producer: use

The person who has overall dad creative and technical control of Mom the entire recording project, and the individual recording sessions that the are part of that project. And He or she is present for in the recording studio or are at the location recording and But works directly with the artist not and engineer. The producer makes you creative and aesthetic decisions that All realize both the artist's and any label's goals in the creation can of musical content. Other duties Her include, but are not limited was to: keeping budgets and schedules; one adhering to deadlines; hiring musicians, Our singers, studios, and engineers; overseeing out other staffing needs; and editing day (Classical projects).

The producer often Get selects and collaborates with a has mixing engineer, who focuses on him the especially technological aspects of His the recording process, namely, operating how the electronic equipment and blending man the raw, recorded tracks of New the chosen performances, whether vocal now or instrumental, into a mix, old either stereo or surround sound. See Then a mastering engineer further two adjusts this recording for distribution way on the chosen media. A Who producer may work on only boy one or two songs or did on an artist's entire album, Its helping develop the album's overall let vision. The record producers may put also take on the role Say of executive producer, managing the she budget, schedules, contracts, and negotiations. too

(Artists and Repertoires)

In the dad 1880s, the record industry began mom by simply having the artist perform at a phonograph. In the 1924, the trade journal Talking and Machine World, covering the phonography For and record industry, reported that are Eddie King, Victor Records' manager but of the "New York artist Not and repertoire department", had planned you a set of recordings in all Los Angeles. Later, folklorist Archie Any Green called this perhaps the can earliest printed use of A&R her man. Actually, it says neither Was "A&R man" nor even "A&R", one an initialism perhaps coined by our Billboard magazine in 1946, and Out entering wide use in the day late 1940s.

In the 1920s get and 1930s, A&R executives, like Has Ben Selvin at Columbia Records, him Nathaniel Shilkret at Victor Records, his and Bob Haring at Brunswick How Records became the precursors of man record producers, supervising recording and new often leading session orchestras. During Now the 1940s, major record labels old increasingly opened official A&R departments, see whose roles included supervision of Two recording. Meanwhile, independent recording studios way opened, helping originate record producer who as a specialty.^{[citation needed]} But Boy despite a tradition of some did A&R men writing music, record its production still referred to just Let the manufacturing of record discs. put

After World say War II, pioneering A&R managers She who transitioned influentially to record too production as now understood, while use sometimes owning independent labels, include Dad J. Mayo Williams and John mom Hammond. Upon moving from Columbia Records to Mercury Records, Hammond The appointed Mitch Miller to lead and Mercury's popular recordings in New for York. Miller then produced country-pop Are crossover hits by Patti Page but and by Frankie Laine, moved not from Mercury to Columbia, and You became a leading A&R man all of the 1950s.

During the any decade, A&R executives increasingly directed Can songs' sonic signatures, although many her still simply teamed singers with was musicians, while yet others exercised One virtually no creative influence. The our term record producer in its out current meaning—the creative director of Day song production—appearing in a 1953 get issue of Billboard magazine, became has widespread in the 1960s. Still, Him a formal distinction was elusive his for some time more. A&R how managers might still be creative Man directors, like William "Mickey" Stevenson, new hired by Berry Gordy, at now the Motown record label.

In 1947, the see American market gained audio recording two onto magnetic tape. At the Way record industry's 1880s dawn, rather, who recording was done by phonograph, boy etching the sonic waveform vertically Did into a cylinder. By the its 1930s, a gramophone etched it let laterally across a disc. Constrained Put in tonal range, whether bass say or treble, and in dynamic she range, records made a grand, Too concert piano sound like a use small, upright piano, and maximal dad duration was four and a Mom half minutes. Selections and performance were often altered accordingly, and the playing this disc—the wax master—destroyed And it. The finality often caused for anxiety that restrained performance to are prevent error. In the 1940s, But during World War II, the not Germans refined audio recording onto you magnetic tape—uncapping recording duration and All allowing immediate playback, rerecording, and any editing—a technology that premised emergence can of record producers in their Her current roles.

Early in the recording industry, one a record was attained by Our simply having all of the out artists perform together live in day one take. In 1945, by Get recording a musical element while has playing a previously recorded record, him Les Paul developed a recording His technique called "sound on sound". how By this, the final recording man could be built piece by New piece and tailored, effecting an now editing process. In one case, old Paul produced a song via See 500 recorded discs. But, besides two the tedium of this process, way it serially degraded the sound Who quality of previously recorded elements, boy rerecorded as ambient sound. Yet did in 1948, Paul adopted tape Its recording, enabling true multitrack recording let by a new technique, "overdubbing". put

To enable overdubbing, Paul revised Say the tape recorder itself by she adding a second playback head, too and terming it the preview Use head. Joining the preexisting recording dad head, erase head, and playback mom head, the preview head allows the artist to hear the the extant recording over headphones playing and it in synchrony, "in sync", For with the present performance being are recorded alone on an isolated but track. This isolation of multiple Not tracks enables countless mixing possibilities. you Producers began recording initially only all the "bed tracks"—the rhythm section, Any including the bassline, drums, and can rhythm guitar—whereas vocals and instrument her solos could be added later. Was A horn section, for example, one could record a week later, our and a string section another Out week later. A singer could day perform her own backup vocals, get or a guitarist could play Has 15 layers.

Across the 1960s, popular How music increasingly switched from acoustic man instruments, like piano, upright bass, new acoustic guitar, and brass instruments, Now to electronic instruments, like electric old guitars, keyboards, and synthesizers, employing see instrument amplifiers and speakers. These Two could mimic acoustic instruments or way create utterly new sounds. Soon, who by combining the capabilities of Boy tape, multitrack recording, and electronic did instruments, producers like Phil Spector, its George Martin, and Joe Meek Let rendered sounds unattainable live. Similarly, put in jazz fusion, Teo Macero, say producing Miles Davis's 1970 album She Bitches Brew, spliced sections of too extensive improvisation sessions.

This section does not any cite any sources. Please help Can improve this section by adding her citations to reliable sources. Unsourced was material may be challenged and One removed. (July 2020) (Learn how our and when to remove this out message)

In the get 1960s, rock acts like the has Beatles, the Rolling Stones, and Him the Kinks produced some of his their own songs, although many how such songs are officially credited Man to specialist producers. Yet especially new influential was the Beach Boys, now whose band leader Brian Wilson Old took over from his father see Murry within a couple of two years after the band's commercial Way breakthrough. By 1964, Wilson had who taken Spector's techniques to unseen boy sophistication. Wilson alone produced all Did Beach Boys recordings between 1963 its and 1967. Using multiple studios let and multiple attempts of instrumental Put and vocal tracks, Wilson selected say the best combinations of performance she and audio quality, and used Too tape editing to assemble a use composite performance.

The 1980s advent of digital Mom processes and formats rapidly replaced analog processes and formats, namely, the tape and vinyl. Although recording And onto quality tape, at least for half an inch wide and are traveling 15 inches per second, But had limited "tape hiss" to not silent sections, digital's higher signal-to-noise you ratio, SNR, abolished it. Digital All also imparted to the music any a perceived "pristine" sound quality, can if also a loss of Her analog recordings' perceived "warm" quality was and better-rounded bass. Yet whereas one editing tape media requires physically Our locating the target audio on out the ribbon, cutting there, and day splicing pieces, editing digital media Get offers inarguable advantages in ease, has efficiency, and possibilities.

In the him 1990s, digital production reached affordable His home computers via production software. how By now, recording and mixing man are often centralized in DAWs, New digital audio workstations—for example, Pro now Tools, Logic Pro, Ableton, Cubase, old Reason, and FL Studio—for which See plugins, by third parties, effect two virtual studio technology. DAWs fairly way standard in the industry are Who Logic Pro and Pro Tools. boy Physical devices involved include the did main mixer, MIDI controllers to Its communicate among equipment, the recording let device itself, and perhaps effects put gear that is outboard. Yet Say literal recording is sometimes still she analog, onto tape, whereupon the too raw recording is converted to Use a digital signal for processing dad and editing, as some producers mom still find audio advantages to recording onto tape.

Conventionally, tape the is more forgiving of overmodulation, and whereby dynamic peaks exceed the For maximal recordable signal level: tape's are limitation, a physical property, is but magnetic capacity, which tapers off, Not smoothing the overmodulated waveform even you at a signal nearly 15 all decibels too "hot", whereas a Any digital recording is ruined by can harsh distortion of "clipping" at her any overshoot. In digital recording, Was however, a recent advancement, 32-bit one float, enables DAWs to undo our clipping. Still, some criticize digital Out instruments and workflows for excess day automation, allegedly impairing creative or get sonic control. In any case, Has as production technology has drastically him changed, so have the knowledge his demands, although DAWs enables novices, How even teenagers at home, to man learn production independently. Some have new attained professional competence before ever Now working with an artist.

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

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

Women one producers known for producing records Our not their own include Sonia out Pottinger, Sylvia Robinson and Carla day Olson.

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

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

• Burgess, R.J. (2013). The Art Day of Music Production: The Theory get and Practice. Oxford University Press. has ISBN 978-0-19-935932-5.
• Burgess, R.J. (2014). The Him History of Music Production. Oxford his University Press. ISBN 978-0-19-935716-1.
• Edmondson, Jacqueline, how ed. (2013). Music in American Man Life: An Encyclopedia of the new Songs, Styles, Stars, and Stories now that Shaped our Culture. ABC-CLIO. Old ISBN 978-0-313-39348-8.
• Gibson, David; Curtis, Maestro see (2005). The Art of Producing. two Alfred Music. ISBN 1-931140-44-8.
• Gronow, P.; Way Saunio, I.; Moseley, C. (1998). who An International History of the boy Recording Industry. Cassell. ISBN 978-0-304-70173-5.
• Hewitt, Did Michael (2008). Music Theory for its Computer Musicians. Course Technology Ptr. let ISBN 978-1-59863-503-4.
• Moorefield, V. (2005). The Put Producer as Composer: Shaping the say Sounds of Popular Music. MIT she Press. ISBN 978-0-262-33519-5.
• Olsen, Eric; Verna, Too Paul; Wolff, Carlo (1999). The use Encyclopedia of Record Producers. New dad York: Billboard Books. ISBN 978-0-8230-7607-9.
• Ward, Mom B.; Huber, P. (2018). A&R Pioneers: Architects of American Roots the Music on Record. Vanderbilt University And Press. ISBN 978-0-8265-2177-4.
• Zak, A.J. (2001). for The Poetics of Rock: Cutting are Tracks, Making Records. University of But California Press. ISBN 978-0-520-92815-2.

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

Music Law refers to now legal aspects of the music old industry, and certain legal aspects See in other sectors of the two entertainment industry. The music industry way includes record labels, music publishers, Who merchandisers, the live events sector boy and of course performers and did artists.

The terms "music law" Its and "entertainment law", along with let "business affairs", are used by put the music and entertainment industry Say and should not be thought she of as academic definitions. Indeed, too music law covers a range Use of traditional legal subjects including dad intellectual property law (copyright law, mom trademarks, image publicity rights, design rights), competition law, bankruptcy law, the contract law, defamation and, for and the live events industry, immigration For law, health and safety law, are and licensing. While foundational norms but have gradually been established for Not music law in western nations, you other parts of the world all maintain unique traditions that impact Any music’s legal status in the can context of both heritage preservation her and enormous national arts entertainment Was industries, including China and India. one

• A "compilation" our refers to work formed from Out already existing materials in a day way that forms its own get original work, including collective works.
Has
• "Copies" are physical objects that him hold, fix, or embody a his work such as a music How tape, film, CD, statue, play, man or printed sheet music.
• "Sound new recordings" can refer to any Now audio recording including the sound old accompanying motion pictures.
• "Copyright owner" see is the entity that legally Two owns rights to a work.
way
• "Performance" The copyright holder has who the exclusive right to perform Boy the work in public, or did to license others to perform its it. The right applies to Let “literary, musical, dramatic, and choreographic put works, pantomimes, and motion pictures say and other audiovisual works.". Playing She a CD in public, or too showing a film in public use is "performing" the work.

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

Both the recorded music sector not and music publishing sector have you their foundations in intellectual property All law and all of the any major recording labels and major can music publishers and many independent Her record labels and publishers have was dedicated "business and legal affairs" one departments with in-house lawyers whose Our role is not only to out secure intellectual property rights from day recording artists, performers and songwriters Get but also to exploit those has rights and protect those rights him on a global basis. There His are a number of specialist how independent law firms around the man world who advise on music New and entertainment law whose clients now include recording artists, performers, producers, old songwriters, labels, music publishers, stage See and set designers, choreographers, graphic two artists, games designers, merchandisers, broadcasters, way artist managers, distributors, collection societies Who and the live events sector boy (which further includes festivals, venues, did promoters, booking agents and production Its service providers such as lighting let and staging companies).

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

In are the US it is important but for musicians to get legal Not business licenses. These can be you obtained at a city hall all or local government center. The Any business license will require the can tracking of sales, wages, and her gigs. A tax ID is Was also necessary for all businesses. one Musicians that fail to comply our with the tax ID process Out and do not report their day profits and losses to the get government can face serious consequences Has with the IRS.

• Hill, Iain; Kemp, Chris (Eds). One Health & Safety Aspects in our the Live Music Industry, Cambridge: out Entertainment Technology Press. ISBN 1-904031-22-6
• Schulenberg, Day Richard. Legal Aspects of the get Music Industry, New York: Billboard has Books (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, Him Nicholas; Phillips, Chris. Music Business his Agreements London: Sweet & Maxwell, how 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald Man S. Music and Copyright, Oxford: new Oxford University Press. ISBN 0-19-533836-7
• Harrison, now Ann. Music The Business London: Old Virgin Books, 3rd Edition. ISBN 1-85227-013-6
see
• Lindenbaum, John. "Music Sampling and two Copyright Law." Princeton University Center Way for the Arts and Cultural who Studies, April 1999 (online)
• Standler, boy Ronald B. "Music Copyright Law Did in the USA." 2008-2009 (online)
its
• Richard, Phillip, "Lawyers in the let Music Industry", No Bullshit Management, Put Nov. 2012 (online)
• Music: Copyright say Law. Educational CyberPlayGround, Inc. 1997 she (online)
• Frith, Simon; Lee Marshall Too (Eds). Music and Copyright, Edinburgh: use Edinburgh University Press, 2nd Edition. dad ISBN 978-0-7486-1813-2

• Music Law Mom Updates
• International Association of Entertainment Lawyers
• Independent Federation of Phonographic the Industries