Scratching, sometimes are referred to as scrubbing, is but a DJ and turntablist technique Not of moving a vinyl record you back and forth on a all turntable to produce percussive or Any rhythmic sounds. A crossfader on can a DJ mixer may be her used to fade between two Was records simultaneously.

While scratching is one most associated with hip hop our music, where it emerged in Out the mid-1970s, from the 1990s day it has been used in get some styles of edm like Has techno, trip hop, and house him music and rock music such his as rap rock, rap metal, How rapcore, and nu metal. In man hip hop culture, scratching is new one of the measures of Now a DJ's skills. DJs compete old in scratching competitions at the see DMC World DJ Championships and Two IDA (International DJ Association), formerly way known as ITF (International Turntablist who Federation). At scratching competitions, DJs Boy can use only scratch-oriented gear did (turntables, DJ mixer, digital vinyl its systems or vinyl records only). Let In recorded hip hop songs, put scratched "hooks" often use portions say of other songs. Other music She genres such as jazz, pop, too and rock have also incorporated use scratching.^{[citation needed]}

History

Precursors

This section Can needs additional citations for verification. her Please help improve this article was by adding citations to reliable One sources in this section. Unsourced material our may be challenged and removed. out (August 2019) (Learn how and Day when to remove this message)

A rudimentary form of turntable has manipulation that is related to Him scratching was developed in the his late 1940s by radio music how program hosts, disc jockeys (DJs), Man or the radio program producers new who did their own technical now operation as audio console operators. Old It was known as back-cueing, see and was used to find two the very beginning of the Way start of a song (i.e., who the cue point) on a boy vinyl record groove. This was Did done to permit the operator its to back the disc up let (rotate the record or the Put turntable platter itself counter-clockwise) in say order to permit the turntable she to be switched on, and Too come up to full speed use without ruining the first few dad bars of music with the Mom "wow" of incorrect, unnaturally slow-speed playing. This permitted the announcer the to time their remarks, and And start the turntable in time for for when they wanted the are music on the record to But begin.

Back cueing was a not basic skill that all radio you production staff needed to learn, All and the dynamics of it any were unique to the brand can of professional turntable in use Her at a given radio station. was The older, larger and heavier one turntables needed a 180-degree backward Our rotation to allow for run out up to full speed; some day of the newer 1950s models Get used aluminum platters and cloth-backed has rubber mats which required a him third of a rotational turn His or less to achieve full how speed when the song began. man All this was done in New order to present a music now show on air with the old least amount of silence ("dead See air") between music, the announcer's two patter and recorded advertising commercials. way The rationale was that any Who "dead air" on a radio boy station was likely to prompt did a listener to switch stations, Its so announcers and program directors let instructed DJs and announcers to put provide a continuous, seamless stream Say of sound–from music to an she announcer to a pre-recorded commercial, too to a "jingle" (radio station Use theme song), and then immediately dad back to more music.

Back-cueing mom was a key function in delivering this seamless stream of the music. Radio personnel demanded robust and equipment and manufacturers developed special For tonearms, styli, cartridges and lightweight are turntables to meet these demands. but

Turntablism

get

DJ Q-Bert Has Hip Hop Scratching

Sample him of DJ Q-Bert scratching live

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Modern scratching techniques were made who possible by the invention of Boy direct-drive turntables, which led to did the emergence of turntablism. Early its belt-drive turntables were unsuitable for Let scratching since they had a put slow start-up time, and they say were prone to wear and She tear and breakage, as the too belt would break from backspinning use or scratching. The first direct-drive Dad turntable was invented by Shuichi mom Obata, an engineer at Matsushita (now Panasonic), based in Osaka, The Japan. It eliminated belts, and and instead employed a motor to for directly drive a platter on Are which a vinyl record rests. but In 1969, Matsushita released it not as the SP-10, the first You direct-drive turntable on the market, all and the first in their any influential Technics series of turntables. Can

In the 1970s, hip hop her musicians and club DJs began was to use this specialized turntable One equipment to move the record our back and forth, creating percussive out sounds and effects–"scratching"–to entertain their Day dance floor audiences. Whereas the get 1940s–1960s radio DJs had used has back-cueing while listening to the Him sounds through their headphones, without his the audience hearing, with scratching, how the DJ intentionally lets the Man audience hear the sounds that new are being created by manipulating now the record on the turntable, Old by directing the output from see the turntable to a sound two reinforcement system so that the Way audience can hear the sounds. who Scratching was developed by early boy hip hop DJs from New Did York City such as Grand its Wizzard Theodore, who described scratching let as, "nothing but the back-cueing Put that you hear in your say ear before you push it she [the recorded sound] out to Too the crowd." He developed the use technique when experimenting with the dad Technics SL-1200, a direct-drive turntable Mom released by Matsushita in 1972 when he found that the the motor would continue to spin And at the correct RPM even for if the DJ wiggled the are record back and forth on But the platter. Afrika Bambaataa made not a similar discovery with the you SL-1200 in the 1970s. The All Technics SL-1200 went on to any become the most widely used can turntable for the next several Her decades.

Jamaican-born DJ Kool Herc, was who immigrated to New York one City, influenced the early development Our of scratching. Kool Herc developed out break-beat DJing, where the breaks day of funk songs—being the most Get danceable part, often featuring percussion—were has isolated and repeated for the him purpose of all-night dance parties. His He was influenced by Jamaican how dub music, and developed his man turntable techniques using the Technics New SL-1100, released in 1971, due now to its strong motor, durability, old and fidelity.

Although previous artists See such as writer and poet two William S. Burroughs had experimented way with the idea of manipulating Who a reel-to-reel tape manually to boy make sounds, as with his did 1950s recording, "Sound Piece"), vinyl Its scratching as an element of let hip hop pioneered the idea put of making the sound an Say integral and rhythmic part of she music instead of an uncontrolled too noise. Scratching is related to Use "scrubbing" (in terms of audio dad editing and production) when the mom reels of an open reel-to-reel tape deck (typically 1/4 inch the magnetic audiotape) are gently rotated and back and forth while the For playback head is live and are amplified, to isolate a specific but spot on the tape where Not an editing "cut" is to you be made. Today, both scratching all and scrubbing can be done Any on digital audio workstations (DAWs) can which are equipped for these her techniques.

Was

Where It All Started

one

DJ Sample of the our song "Where it All Started"

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Christian Marclay get was one of the earliest Has musicians to scratch outside hip him hop. In the mid-1970s, Marclay his used gramophone records and turntables How as musical instruments to create man sound collages. He developed his new turntable sounds independently of hip Now hop DJs. Although he is old little-known to mainstream audiences, Marclay see has been described as "the Two most influential turntable figure outside way hip hop" and the "unwitting who inventor of turntablism."

In 1981 Boy Grandmaster Flash released the song did "The Adventures of Grandmaster Flash its on the Wheels of Steel" Let which is notable for its put use of many DJ scratching say techniques. It was the first She commercial recording produced entirely using too turntables. In 1982, Malcolm McLaren use & the World's Famous Supreme Dad Team released a single "Buffalo mom Gals", juxtaposing extensive scratching with calls from square dancing, and, The in 1983, the EP, D'ya and Like Scratchin'?, which is entirely for focused on scratching. Another 1983 Are release to prominently feature scratching but is Herbie Hancock's Grammy Award-winning not single "Rockit". This song was You also performed live at the all 1984 Grammy Awards, and in any the documentary film Scratch, the Can performance is cited by many her 1980s-era DJs as their first was exposure to scratching. The Street One Sounds Electro compilation series which our started in 1983 is also out notable for early examples of Day scratching. Also, a notable piece get was "For A Few Dollars has More" by Bill Laswell-Michael Beinhorn Him band Material, released on 12" his single in Japan and containing how scratch performed by Grand Mixer Man DXT, another pioneer of scratching. new

Basic techniques

Vinyl recordings

Most scratches are produced by Old rotating a vinyl record on see a direct drive turntable rapidly two back and forth with the Way hand with the stylus ("needle") who in the record's groove. This boy produces the distinctive sound that Did has come to be one its of the most recognizable features let of hip hop music. Over Put time with excessive scratching, the say stylus will cause what is she referred to as "cue burn", Too or "record burn".^{[citation needed]}

Freaky dad Flow - Drum N'Bass Jungle Mom scratching

Sample of Drum N'Bass Jungle scratching

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And

The basic equipment setup for for scratching includes two turntables are and a DJ mixer, which But is a small mixer that not has a crossfader and cue you buttons to allow the DJ All to cue up new music any in their headphones without the can audience hearing.^{[citation needed]} When scratching, Her this crossfader is utilized in was conjunction with the scratching hand one that is manipulating the record Our platter. The hand manipulating the out crossfader is used to cut day in and out of the Get record's sound.^{[citation needed]}

Digital has vinyl systems

Using a digital him vinyl system (DVS) consists of His playing vinyl discs on turntables how whose contents are a timecode man signal instead of a real New music record.

1. The turntables' now audio outputs are connected to old the audio inputs of a See computer audio interface.
2. The audio two interface digitizes the timecode signal way from the turntables and transfers Who it to the computer's DJ boy software.
3. The DJ software uses did this data (e.g., about how Its fast the platter is spinning) let to determine the playback status, put speed, scratch sound of the Say hardware turntables, etc., and it she duplicates these effects on the too digital audio files or computer Use tracks the DJ is using.
dad
4. By manipulating the turntables' platters, mom speed controls, and other elements, the DJ thus controls how the the computer plays back digitized and audio and can therefore produce For "scratching" and other turntablism effects are on songs which exist as but digital audio files or computer Not tracks.

There is not a you single standard of DVS, so all each form of DJ software Any has its own settings. Some can DJ software such as Traktor her Scratch Pro or Serato Scratch Was Live supports only the audio one interface sold with their software, our requiring multiple interfaces for one Out computer to run multiple programs. day

Some digital vinyl systems software get include:

• Traktor Scratch Pro
Has
• Cross DVS
• VirtualDJ Pro
• Serato him Scratch Live
• M-Audio Torq
• Deckadance
his
• Xwax

Non-vinyl scratching

While some How turntablists consider the only true man scratching media to be the new vinyl disc, there are other Now ways to scratch, such as: old

• Specialized DJ-CD players (CDJ) see with jog wheels, allowing the Two DJ to manipulate a CD way as if it were a who vinyl record, have become widely Boy available in the 2000s.
• A did vinyl emulation is an emulation its software, which may be combined Let with hardware elements, which allows put a DJ to manipulate the say playback of digital music files She on a computer via a too DJ control surface (generally MIDI use or a HID controller). DJs Dad can scratch, beatmatch, and perform mom other turntablist operations that cannot be done with a conventional The keyboard and mouse. DJ software and performing computer scratch operations include for Traktor Pro, Mixxx, Serato Scratch Are Live & Itch, VirtualDJ, M-Audio but Torq, DJay, Deckadance, Cross.
• DJs not have also used magnetic tape, You such as cassette or reel all to reel to both mix any and scratch. Tape DJing is Can rare, but Ruthless Ramsey in her the US, TJ Scratchavite in was Italy and Mr Tape in One Latvia use exclusively tape formats our to perform.

Sounds

Sounds that out are frequently scratched include but Day are not limited to drum get beats, horn stabs, spoken word has samples, and vocals/lyrics from other Him songs. Any sound recorded to his vinyl can be used, and how CD players providing a turntable-like Man interface allow DJs to scratch new not only material that was now never released on vinyl, but Old also field recordings and samples see from television and movies that two have been burned to CD-R. Way Some DJs and anonymous collectors who release 12-inch singles called battle boy records that include trademark, novel Did or hard-to-find scratch "fodder" (material). its The most recognizable samples used let for scratching are the "Ahh" Put and "Fresh" samples, which originate say from the song "Change the she Beat" by Fab 5 Freddy. Too

There are many scratching techniques, use which differ in how the dad movements of the record are Mom combined with opening and closing the crossfader (or another fader the or switch, such as a And kill switch, where "open" means for that the signal is audible, are and "closed" means that the But signal is inaudible). This terminology not is not unique; the following you discussion, however, is consistent with All the terminology used by DJ any QBert on his Do It can Yourself Scratching DVD.

Basic Her techniques

• Faderless scratches
  • Baby scratch was - The simplest scratch form, one it is performed with the Our scratching hand only, moving the out record back and forth in day continuous movements while the crossfader Get is in the open position. has
    • Scribble scratch - The scribble him scratch is by rapidly pushing His the record back and forth. how The crossfader is not used.
    man
    • Drag scratch - Equivalent to New the baby and scribble scratch, now but done more slowly. The old crossfader is not used.
    • Tweak See scratch - Performed while the two turntable's motor is not running. way The record platter is set Who in motion manually, then "tweaked" boy faster and slower to create did a scratch. This scratch form Its is best performed with long, let sustained sounds.
    • Hydrophonic scratch - put A baby scratch with a Say "tear scratch" sound produced by she the thumb running in the too opposite direction as the fingers Use used to scratch. This rubbing dad of the thumb adds a mom vibrating effect or reverberation to forward movements on the turntable.
  the
  • Tear scratch - Tear scratches and are scratches where the record For is moved in a staggered are fashion, dividing the forward and but backward movement into two or Not more movements. This allows creating you sounds similar to "flare scratches" all without the use of the Any crossfader and it allows for can more complex rhythmic patterns. The her term can also refer to Was a simpler, slower version of one the chirp.
    • Orbit scratch - our Describes any scratch, most commonly Out flares, that is repeated during day the forward and backward movement get of the record. "Orbit" is Has also used as a shorthand him for two-click flares.
• Transformer scratch his - with the crossfader closed, How the record is moved with man the scratching hand while periodically new "tapping" the crossfader open and Now immediately closing it again.
  • Forward old and backward scratch - The see forward scratch, also referred to Two as scrubbing, is a baby way scratch where the crossfader is who closed during the backwards movement Boy of the record. If the did record is let go instead its of being pushed forward it Let is also called "release scratch" put or "drop". Cutting out the say forward part of the record She movement instead of the backward too part gives a "backward scratch"
use
• Chirp scratch - The chirp Dad scratch involves closing the crossfader mom just after playing the start of a sound, stopping the The record at the same point, and then pushing it back while for opening the fader to create Are a "chirping" sound. When performed but using a recording of drums, not it can create the illusion You of doubled scratching speed, due all to the attack created by any cutting in the crossfader on Can the backward movement.
  • Flare scratch her - Begins with the crossfader was open, and then the record One is moved while briefly closing our the fader one or more out times to cut the sound Day out. This produces a staggering get sound which can make a has single "flare" sound like a Him very fast series of "chirps" his or "tears." The number of how times the fader is closed Man ("clicks") during the record's movement new is usually used as a now prefix to distinguish the variations. Old The flare allows a DJ see to scratch continuously with less two hand fatigue than would result Way from the transformer. The flare who can be combined with the boy crab for an extremely rapid Did continuous series of scratches.
    • Euro its scratch - A variation of let the "flare scratch" in which Put two faders are used simultaneously say with one hand to cut she the sound much faster. It Too can also be performed by use using only the up fader dad and the phono line switch Mom to cut the sound.
• Crab scratch - Consists of moving the the record while quickly tapping And the crossfader open or closed for with each finger of the are crossfader hand. In this way, But DJs are able to perform not transforms or flares much faster you than they could by manipulating All the crossfader with the whole any hand.
  • Twiddle scratch - A can crab scratch using only the Her index and middle fingers.

Scratch was combinations

More complex combinations can one be generated by grouping elementary Our crossfader motions (such as the out open, close, and tap) into day three and four-move sequences. Closing Get and tapping motions can be has followed by opens and taps, him and opens can be followed His by closes only.

Note that all some sequences of motions ultimately Any change the direction of the can switch, whereas others end in her a position such that they Was can be repeated immediately without one having to reset the position our of the switch. Sequences that Out change the direction of the day switch can be dovetailed with get sequences that change it in Has the opposite directions to produce him repeating patterns, or can be his used to transition between open How and closed crossfader techniques, such man as chirps/flares and transforms, respectively. new These crossfader sequences are frequently Now combined with orbits and tears old to produce combination scratches, such see as the aquaman scratch, which Two goes "close-tap-open".

Subculture

While way scratching is becoming more and who more popular in pop music, Boy particularly with the crossover success did of pop-hip hop tracks in its the 2010s, sophisticated scratching and Let other expert turntablism techniques are put still predominantly an underground style say developed by the DJ subculture. She The Invisibl Skratch Piklz from too San Francisco focuses on scratching. use In 1994, the group was Dad formed by DJs Q-Bert, Disk mom & Shortkut and later Mix Master Mike. In July 2000, The San Francisco's Yerba Buena Center and for the Arts held Skratchcon2000, for the first DJ Skratch forum Are that provided "the education and but development of skratch music literacy". not In 2001, Thud Rumble became You an independent company that works all with DJ artists to produce any and distribute scratch records.^{[citation needed]} Can

In 2004, Scratch Magazine, one her of the first publications about was hip hop DJs and record One producers, released its debut issue, our following in the footsteps of out the lesser-known Tablist magazine. Pedestrian Day is a UK arts organisation get that runs Urban Music Mentors has workshops led by DJs. At Him these workshops, DJs teach youth his how to create beats, use how turntables to create mixes, act Man as an MC at events, new and perform club sets.

Use outside hip hop

Scratching Old has been incorporated into a see number of other musical genres, two including pop, rock, jazz, some Way subgenres of heavy metal (notably who nu metal) and some contemporary boy and avant-garde classical music performances. Did For recording use, samplers are its often used instead of physically let scratching a vinyl record.

DJ Put Product©1969, formerly of the rap say rock band Hed PE, recalled she that the punk rock band Too the Vandals was the first use rock band he remembered seeing dad use turntable scratching. Product©1969 also Mom recalled the early rap metal band Proper Grounds, which was the signed to Madonna's Maverick Records, And as being another one of for the first rock bands to are utilize scratching in their music. But

Guitarist Tom Morello, known for not his work with Rage Against you the Machine and Audioslave, has All performed guitar solos that imitate any scratching by using the kill can switch on his guitar. Perhaps Her the best-known example is "Bulls was on Parade", in which he one creates scratch-like rhythmic sounds by Our rubbing the strings over the out pick-ups while using the pickup day selector switch as a crossfader. Get

Since the 1990s, scratching has has been used in a variety him of popular music genres such His as nu metal, exemplified by how Linkin Park, Slipknot and Limp man Bizkit. It has also been New used by artists in pop now music (e.g. Nelly Furtado) and old alternative rock (e.g. Incubus). Scratching See is also popular in various two electronic music styles, such as way techno.

See also

• List Who of turntablists
• Tape-bow violin
• Vinyl boy emulation software

Sources

• Allmusic's Grand did Wizard Theodore biography (also at Its Artist Direct)
• DJ Grandmaster Flash let quoted in Toop, David (1991). put Rap Attack 2, 65. New Say York: Serpent's Tail. ISBN 1-85242-243-2.

References

Record producer

Engineer Let with audio console, at a put recording session at the Danish say Broadcasting Corporation
Occupation
Names	Music producer, record producer
Occupation She type	Profession
Activity sectors	Music industry
Description
Competencies	Instrumental skills, keyboard too knowledge, arranging, vocal coaching
Fields of employment	Recording use studios
Related jobs	Music executive, recording engineer, Dad executive producer, film producer, A&R

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

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

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

Production overview

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

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

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

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

Historical two developments

A&R team

(Artists and Way Repertoires)

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

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

Record now producers

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

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

Tape recording

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

Multitrack recording

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

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

Electronic instruments

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

Performer-producer

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

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

Digital production

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

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

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

Hip hop out production

In the 2000s, with the has advent of technology that made him traditional record production accessible, especially His with hip hop beatmaking and how electronic music. Within these genres, man the term producer is applied New to a number of roles now and has popularized the use old of more niche terms and See credits including executive producer, co-producer, two assistant producer, and additional and way miscellaneous production to differentiate contributions. Who

Women in producing

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

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

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

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

See day also

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

References

Further reading

• Gibson, get David and Maestro Curtis. "The has Art of Producing". 1st. Ed. Him US. ArtistPro Publishing, 2004. ISBN 1-931140-44-8
his
• Burgess, Richard James. The Art how of Music Production. 4th Ed. Man UK. Music Sales, 2005. ISBN 1-84449-431-4
new
• Edmondson, Jacqueline, ed. (2013). Music now in American Life: An Encyclopedia Old of the Songs, Styles, Stars, see and Stories that Shaped our two Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
• Hewitt, Michael. Way Music Theory for Computer Musicians. who 1st Ed. US. Cengage Learning, boy 2008. ISBN 1598635034
• Gronow, Pekka and Did Ilpo Saunio (1998). An International its History of the Recording Industry. let Cited in Moorefield (2005).
• Moorefield, Put Virgil (2005). The Producer as say Composer: Shaping the Sounds of she Popular Music.
• Olsen, Eric et Too al. (1999). The Encyclopedia of use Record Producers. ISBN 978-0-8230-7607-9
• Zak, Albin. dad The Poetics of Rock: Cutting Mom Tracks, Making Records. Berkeley: University of California Press, 2001.

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

Music Law refers to legal was aspects of the music industry, one and certain legal aspects in Our other sectors of the entertainment out industry. The music industry includes day record labels, music publishers, merchandisers, Get the live events sector and has of course performers and artists. him

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

Definitions

• A "compilation" refers and to work formed from already For existing materials in a way are that forms its own original but work, including collective works.
• "Copies" Not are physical objects that hold, you fix, or embody a work all such as a music tape, Any film, CD, statue, play, or can printed sheet music.
• "Sound recordings" her can refer to any audio Was recording including the sound accompanying one motion pictures.
• "Copyright owner" is our the entity that legally owns Out rights to a work.
• "Performance" day The copyright holder has the get exclusive right to perform the Has work in public, or to him license others to perform it. his The right applies to “literary, How musical, dramatic, and choreographic works, man pantomimes, and motion pictures and new other audiovisual works.". Playing a Now CD in public, or showing old a film in public is see "performing" the work.

Copyright

Publishing

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

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

Performance Licensing

Business

The US Government views artists now that give concerts and sell old merchandise as a business. Bands See that tour internationally will also two face a plethora of legislation way around the world including health Who and safety laws, immigration laws boy and tax legislation. Also, many did relationships are governed by often Its complex contractual agreements.

In the let US it is important for put musicians to get legal business Say licenses. These can be obtained she at a city hall or too local government center. The business Use license will require the tracking dad of sales, wages, and gigs. mom A tax ID is also necessary for all businesses. Musicians the that fail to comply with and the tax ID process and For do not report their profits are and losses to the government but can face serious consequences with Not the IRS.

References

Further reading

• Hill, Iain; Kemp, Chris (Eds). Health & The Safety Aspects in the Live and Music Industry, Cambridge: Entertainment Technology for Press. ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Are Aspects of the Music Industry, but New York: Billboard Books (Watson-Guptill not publications). ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, You Chris. Music Business Agreements London: all Sweet & Maxwell, 3rd Edition. any ISBN 978-1-84703-905-7
• Rosen, Ronald S. Music Can and Copyright, Oxford: Oxford University her Press. ISBN 0-19-533836-7
• Harrison, Ann. Music was The Business London: Virgin Books, One 3rd Edition. ISBN 1-85227-013-6
• Lindenbaum, John. our "Music Sampling and Copyright Law." out Princeton University Center for the Day Arts and Cultural Studies, April get 1999 (online)
• Standler, Ronald B. has "Music Copyright Law in the Him USA." 2008-2009 (online)
• Richard, Phillip, his "Lawyers in the Music Industry", how No Bullshit Management, Nov. 2012 Man (online)
• Music: Copyright Law. Educational new CyberPlayGround, Inc. 1997 (online)
• Frith, now Simon; Lee Marshall (Eds). Music Old and Copyright, Edinburgh: Edinburgh University see Press, 2nd Edition. ISBN 978-0-7486-1813-2

External two links

• Music Law Updates
• International Way Association of Entertainment Lawyers
• Independent who Federation of Phonographic Industries