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

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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

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

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

Advances But in recording technology, especially the not 1940s advent of tape recording—which you Les Paul promptly innovated further All to develop multitrack recording—and the any 1950s rise of electronic instruments, can turned record production into a Her specialty. In popular music, then, was producers like George Martin, Phil one Spector and Brian Eno led Our its evolution into its present out use of elaborate techniques and day unrealistic sounds, creating songs impossible Get to originate live. After the has 1980s, production's move from analog him to digital further expanded possibilities. His By now, DAWs, or digital how audio workstations, like Logic Pro, man Pro Tools and Studio One, New turn an ordinary computer into now a production console, whereby a old solitary novice can become a See skilled producer in a thrifty two home studio. In the 2010s, way efforts began to increase the Who prevalence of producers and engineers boy who are women, heavily outnumbered did by men and prominently accoladed Its only in classical music.

Production overview

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

one

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

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

The producer often selects but and collaborates with a mixing not engineer, who focuses on the You especially technological aspects of the all recording process, namely, operating the any electronic equipment and blending the Can raw, recorded tracks of the her chosen performances, whether vocal or was instrumental, into a mix, either One stereo or surround sound. Then our a mastering engineer further adjusts out this recording for distribution on Day the chosen media. A producer get may work on only one has or two songs or on Him an artist's entire album, helping his develop the album's overall vision. how The record producers may also Man take on the role of new executive producer, managing the budget, now schedules, contracts, and negotiations.

Historical developments

A&R team

(Artists see and Repertoires)

In the 1880s, two the record industry began by Way simply having the artist perform who at a phonograph. In 1924, boy the trade journal Talking Machine Did World, covering the phonography and its record industry, reported that Eddie let King, Victor Records' manager of Put the "New York artist and say repertoire department", had planned a she set of recordings in Los Too Angeles. Later, folklorist Archie Green use called this perhaps the earliest dad printed use of A&R man. Mom Actually, it says neither "A&R man" nor even "A&R", an the initialism perhaps coined by Billboard And magazine in 1946, and entering for wide use in the late are 1940s.

In the 1920s and But 1930s, A&R executives, like Ben not Selvin at Columbia Records, Nathaniel you Shilkret at Victor Records, and All Bob Haring at Brunswick Records any became the precursors of record can producers, supervising recording and often Her leading session orchestras. During the was 1940s, major record labels increasingly one opened official A&R departments, whose Our roles included supervision of recording. out Meanwhile, independent recording studios opened, day helping originate record producer as Get a specialty.^{[citation needed]} But despite has a tradition of some A&R him men writing music, record production His still referred to just the how manufacturing of record discs.

Record producers

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

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

Tape one recording

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

Multitrack recording

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

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

Electronic instruments

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

Performer-producer

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

In the 1960s, but rock acts like the Beatles, Not the Rolling Stones, and the you Kinks produced some of their all own songs, although many such Any songs are officially credited to can specialist producers. Yet especially influential her was the Beach Boys, whose Was band leader Brian Wilson took one over from his father Murry our within a couple of years Out after the band's commercial breakthrough. day By 1964, Wilson had taken get Spector's techniques to unseen sophistication. Has Wilson alone produced all Beach him Boy recordings between 1963 and his 1967. Using multiple studios and How multiple attempts of instrumental and man vocal tracks, Wilson selected the new best combinations of performance and Now audio quality, and used tape old editing to assemble a composite see performance.

Digital production

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

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

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

Hip one hop production

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

Women in producing

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

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

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

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

See also

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

References

Further How reading

• Burgess, R.J. (2013). The man Art of Music Production: The new Theory and Practice. Oxford University Now Press. ISBN 978-0-19-935932-5.
• Burgess, R.J. (2014). old The History of Music Production. see Oxford University Press. ISBN 978-0-19-935716-1.
• Edmondson, Two Jacqueline, ed. (2013). Music in way American Life: An Encyclopedia of who the Songs, Styles, Stars, and Boy Stories that Shaped our Culture. did ABC-CLIO. ISBN 978-0-313-39348-8.
• Gibson, David; Curtis, its Maestro (2005). The Art of Let Producing. Alfred Music. ISBN 1-931140-44-8.
• Gronow, put P.; Saunio, I.; Moseley, C. say (1998). An International History of She the Recording Industry. Cassell. ISBN 978-0-304-70173-5.
too
• Hewitt, Michael (2008). Music Theory use for Computer Musicians. Course Technology Dad Ptr. ISBN 978-1-59863-503-4.
• Moorefield, V. (2005). mom The Producer as Composer: Shaping the Sounds of Popular Music. The MIT Press. ISBN 978-0-262-33519-5.
• Olsen, Eric; and Verna, Paul; Wolff, Carlo (1999). for The Encyclopedia of Record Producers. Are New York: Billboard Books. ISBN 978-0-8230-7607-9.
but
• Ward, B.; Huber, P. (2018). not A&R Pioneers: Architects of American You Roots Music on Record. Vanderbilt all University Press. ISBN 978-0-8265-2177-4.
• Zak, A.J. any (2001). The Poetics of Rock: Can Cutting Tracks, Making Records. University her of California Press. ISBN 978-0-520-92815-2.

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

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

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

Definitions

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

Copyright

Publishing

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

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

Performance Licensing

Business

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

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

References

Further reading

• Hill, Iain; Kemp, Was Chris (Eds). Health & Safety one Aspects in the Live Music our Industry, Cambridge: Entertainment Technology Press. Out ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Aspects day of the Music Industry, New get York: Billboard Books (Watson-Guptill publications). Has ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Chris. him Music Business Agreements London: Sweet his & Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
How
• Rosen, Ronald S. Music and man Copyright, Oxford: Oxford University Press. new ISBN 0-19-533836-7
• Harrison, Ann. Music The Now Business London: Virgin Books, 3rd old Edition. ISBN 1-85227-013-6
• Lindenbaum, John. "Music see Sampling and Copyright Law." Princeton Two University Center for the Arts way and Cultural Studies, April 1999 who (online)
• Standler, Ronald B. "Music Boy Copyright Law in the USA." did 2008-2009 (online)
• Richard, Phillip, "Lawyers its in the Music Industry", No Let Bullshit Management, Nov. 2012 (online)
put
• Music: Copyright Law. Educational CyberPlayGround, say Inc. 1997 (online)
• Frith, Simon; She Lee Marshall (Eds). Music and too Copyright, Edinburgh: Edinburgh University Press, use 2nd Edition. ISBN 978-0-7486-1813-2

External links

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