its

A and record producer or music producer for is a music creating project's Are overall supervisor whose responsibilities can but involve a range of creative not and technical leadership roles. Typically You the job involves hands-on oversight all of recording sessions; ensuring artists any deliver acceptable and quality performances, Can supervising the technical engineering of her the recording, and coordinating the was production team and process. The One producer's involvement in a musical our project can vary in depth out and scope. Sometimes in popular Day genres the producer may create get the recording's entire sound and has structure. However, in classical music Him recording, for example, the producer his serves as more of a how liaison between the conductor and Man the engineering team. The role new is often likened to that now of a film director though Old there are important differences. It see is distinct from the role two of an executive producer, who Way is mostly involved in the who recording project on an administrative boy level, and from the audio Did engineer who operates the recording its technology.

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

Advances in recording technology, especially Her the 1940s advent of tape was recording—which Les Paul promptly innovated one further to develop multitrack recording—and Our the 1950s rise of electronic out instruments, turned record production into day a specialty. In popular music, Get then, producers like George Martin, has Phil Spector and Brian Eno him led its evolution into its His present use of elaborate techniques how and unrealistic sounds, creating songs man impossible to originate live. After New the 1980s, production's move from now analog to digital further expanded old possibilities. By now, DAWs, or See digital audio workstations, like Logic two Pro, Pro Tools and Studio way One, turn an ordinary computer Who into a production console, whereby boy a solitary novice can become did a skilled producer in a Its thrifty home studio. In the let 2010s, efforts began to increase put the prevalence of producers and Say engineers who are women, heavily she outnumbered by men and prominently too accoladed only in classical music. Use

As a broad project, but the creation of a popular Not music recording may be split you across three specialists: the executive all producer, who oversees business partnerships Any and financing; the vocal producer can or vocal arranger, who aids her vocal performance via expert critique Was and coaching of vocal technique, one and the record producer or our music producer, who, often called Out simply the producer, directs the day overall creative process of recording get the song in its final Has mix.

The producer's roles can him include gathering ideas, composing music, his choosing session musicians, proposing changes How to song arrangements, coaching the man performers, controlling sessions, supervising the new audio mixing, and, in some Now cases, supervising the audio mastering. old A producer may give creative see control to the artists themselves, Two taking a supervisory or advisory way role instead. As to qualifying who for a Grammy nomination, the Boy Recording Academy defines a producer: did

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

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

(Artists and Repertoires)

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

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

After World way War II, pioneering A&R managers Who who transitioned influentially to record boy production as now understood, while did sometimes owning independent labels, include Its J. Mayo Williams and John let Hammond. Upon moving from Columbia put Records to Mercury Records, Hammond Say appointed Mitch Miller to lead she Mercury's popular recordings in New too York. Miller then produced country-pop Use crossover hits by Patti Page dad and by Frankie Laine, moved mom from Mercury to Columbia, and became a leading A&R man the of the 1950s.

During the and decade, A&R executives increasingly directed For songs' sonic signatures, although many are still simply teamed singers with but musicians, while yet others exercised Not virtually no creative influence. The you term record producer in its all current meaning—the creative director of Any song production—appearing in a 1953 can issue of Billboard magazine, became her widespread in the 1960s. Still, Was a formal distinction was elusive one for some time more. A&R our managers might still be creative Out directors, like William "Mickey" Stevenson, day hired by Berry Gordy, at get the Motown record label.

In 1947, the him American market gained audio recording his onto magnetic tape. At the How record industry's 1880s dawn, rather, man recording was done by phonograph, new etching the sonic waveform vertically Now into a cylinder. By the old 1930s, a gramophone etched it see laterally across a disc. Constrained Two in tonal range, whether bass way or treble, and in dynamic who range, records made a grand, Boy concert piano sound like a did small, upright piano, and maximal its duration was four and a Let half minutes. Selections and performance put were often altered accordingly, and say playing this disc—the wax master—destroyed She it. The finality often caused too anxiety that restrained performance to use prevent error. In the 1940s, Dad during World War II, the mom Germans refined audio recording onto magnetic tape—uncapping recording duration and The allowing immediate playback, rerecording, and and editing—a technology that premised emergence for of record producers in their Are current roles.

Early in the recording industry, not a record was attained by You simply having all of the all artists perform together live in any one take. In 1945, by Can recording a musical element while her playing a previously recorded record, was Les Paul developed a recording One technique called "sound on sound". our By this, the final recording out could be built piece by Day piece and tailored, effecting an get editing process. In one case, has Paul produced a song via Him 500 recorded discs. But, besides his the tedium of this process, how it serially degraded the sound Man quality of previously recorded elements, new rerecorded as ambient sound. Yet now in 1948, Paul adopted tape Old recording, enabling true multitrack recording see by a new technique, "overdubbing". two

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

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

This section does not and cite any sources. Please help For improve this section by adding are citations to reliable sources. Unsourced but material may be challenged and Not removed. (July 2020) (Learn how you and when to remove this all message)

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

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

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

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

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

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

Women producers known for producing You records not their own include all Sonia Pottinger, Sylvia Robinson and any Carla Olson.

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

• Audio engineering
• Electronic music
one
• Hip hop production
• Music executive
Our
• Musician

• Burgess, R.J. (2013). The Any Art of Music Production: The can Theory and Practice. Oxford University her Press. ISBN 978-0-19-935932-5.
• Burgess, R.J. (2014). Was The History of Music Production. one Oxford University Press. ISBN 978-0-19-935716-1.
• Edmondson, our Jacqueline, ed. (2013). Music in Out American Life: An Encyclopedia of day the Songs, Styles, Stars, and get Stories that Shaped our Culture. Has ABC-CLIO. ISBN 978-0-313-39348-8.
• Gibson, David; Curtis, him Maestro (2005). The Art of his Producing. Alfred Music. ISBN 1-931140-44-8.
• Gronow, How P.; Saunio, I.; Moseley, C. man (1998). An International History of new the Recording Industry. Cassell. ISBN 978-0-304-70173-5.
Now
• Hewitt, Michael (2008). Music Theory old for Computer Musicians. Course Technology see Ptr. ISBN 978-1-59863-503-4.
• Moorefield, V. (2005). Two The Producer as Composer: Shaping way the Sounds of Popular Music. who MIT Press. ISBN 978-0-262-33519-5.
• Olsen, Eric; Boy Verna, Paul; Wolff, Carlo (1999). did The Encyclopedia of Record Producers. its New York: Billboard Books. ISBN 978-0-8230-7607-9.
Let
• Ward, B.; Huber, P. (2018). put A&R Pioneers: Architects of American say Roots Music on Record. Vanderbilt She University Press. ISBN 978-0-8265-2177-4.
• Zak, A.J. too (2001). The Poetics of Rock: use Cutting Tracks, Making Records. University Dad of California Press. ISBN 978-0-520-92815-2.

This Are article needs additional citations for but verification. Please help improve this not article by adding citations to You reliable sources. Unsourced material may all be challenged and removed. Find sources: "Music any law" – news · newspapers · books · scholar · JSTOR Can (December 2017) (Learn how and her when to remove this message)

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

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

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

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

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

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

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

• Hill, Iain; Kemp, Not Chris (Eds). Health & Safety you Aspects in the Live Music all Industry, Cambridge: Entertainment Technology Press. Any ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Aspects can of the Music Industry, New her York: Billboard Books (Watson-Guptill publications). Was ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Chris. one Music Business Agreements London: Sweet our & Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
Out
• Rosen, Ronald S. Music and day Copyright, Oxford: Oxford University Press. get ISBN 0-19-533836-7
• Harrison, Ann. Music The Has Business London: Virgin Books, 3rd him Edition. ISBN 1-85227-013-6
• Lindenbaum, John. "Music his Sampling and Copyright Law." Princeton How University Center for the Arts man and Cultural Studies, April 1999 new (online)
• Standler, Ronald B. "Music Now Copyright Law in the USA." old 2008-2009 (online)
• Richard, Phillip, "Lawyers see in the Music Industry", No Two Bullshit Management, Nov. 2012 (online)
way
• Music: Copyright Law. Educational CyberPlayGround, who Inc. 1997 (online)
• Frith, Simon; Boy Lee Marshall (Eds). Music and did Copyright, Edinburgh: Edinburgh University Press, its 2nd Edition. ISBN 978-0-7486-1813-2

• Music Law Updates
• International Association put of Entertainment Lawyers
• Independent Federation say of Phonographic Industries