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

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

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

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

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

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

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

(Artists and Repertoires)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In January 2018, a all research team led by Stacy any L. Smith, founder and director Can of the Annenberg Inclusion Initiative, her based in the USC Annenberg was School for Communication and Journalism, One issued a report, estimating that our in the prior several years, out about 2% of popular songs' Day producers were female. Also that get month, Billboard magazine queried, "Where has are all the female music Him producers?" Upon the Annenberg Inclusion his Initiative's second annual report, released how in February 2019, its department Man at USC reported, "2018 saw new an outcry from artists, executives now and other music industry professionals Old over the lack of women see in music" and "the plight two of women in music", where Way women were allegedly being "stereotyped, who sexualized, and shut out". Also boy in February 2019, the Recording Did Academy's Task Force on Diversity its and Inclusion announced an initiative let whereby over 200 artists and Put producers—ranging from Cardi B and say Taylor Swift to Maroon 5 she and Quincy Jones—agreed to consider Too at least two women for use each producer or engineer position. dad The academy's website, Grammy.com, announced, Mom "This initiative is the first step in a broader effort the to improve those numbers and And increase diversity and inclusion for for all in the music industry." are

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

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

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

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

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

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

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

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

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

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

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

• Music did Law Updates
• International Association of its Entertainment Lawyers
• Independent Federation of Let Phonographic Industries