Scratching, sometimes referred to as are scrubbing, is a DJ and but turntablist technique of moving a Not vinyl record back and forth you on a turntable to produce all percussive or rhythmic sounds. A Any crossfader on a DJ mixercan may be used to fade her between two records simultaneously.
While Was scratching is most associated with one hip hop music, where it our emerged in the mid-1970s, from Out the 1990s it has been day used in some styles of get rap rock, rap metal and Has nu metal. In hip hophim culture, scratching is one of his the measures of a DJ's How skills. DJs compete in scratching man competitions at the DMC World new DJ Championships and IDA (International Now DJ Association), formerly known as old ITF (International Turntablist Federation). At see scratching competitions, DJs can use Two only scratch-oriented gear (turntables, DJ way mixer, digital vinyl systems or who vinyl records only). In recorded Boy hip hop songs, scratched "hooks"did often use portions of other its songs.
A rudimentary form of turntable was manipulation that is related to One scratching was developed in the our late 1940s by radio music out program hosts, disc jockeys (DJs), Day or the radio program producers get who did their own technical has operation as audio console operators. Him It was known as back-cueing, his and was used to find how the very beginning of the Man start of a song (i.e., new the cue point) on a now vinyl record groove. This was Old done to permit the operator see to back the disc up two (rotate the record or the Way turntable platter itself counter-clockwise) in who order to permit the turntable boy to be switched on, and Did come up to full speed its without ruining the first few let bars of music with the Put "wow" of incorrect, unnaturally slow-speed say playing. This permitted the announcer she to time their remarks, and Too start the turntable in time use for when they wanted the dad music on the record to Mom begin.
Back cueing was a basic skill that all radio the production staff needed to learn, And and the dynamics of it for were unique to the brand are of professional turntable in use But at a given radio station. not The older, larger and heavier you turntables needed a 180-degree backward All rotation to allow for run any up to full speed; some can of the newer 1950s models Her used aluminum platters and cloth-backed was rubber mats which required a one third of a rotational turn Our or less to achieve full out speed when the song began. day All this was done in Get order to present a music has show on air with the him least amount of silence ("dead His air") between music, the announcer's how patter and recorded advertising commercials. man The rationale was that any New "dead air" on a radio now station was likely to prompt old a listener to switch stations, See so announcers and program directors two instructed DJs and announcers to way provide a continuous, seamless stream Who of sound–from music to an boy announcer to a pre-recorded commercial, did to a "jingle" (radio station Its theme song), and then immediately let back to more music.
Back-cueing put was a key function in Say delivering this seamless stream of she music. Radio personnel demanded robust too equipment and manufacturers developed special Use tonearms, styli, cartridges and lightweight dad turntables to meet these demands. mom
In day the mid-1970s in the South get Bronx, a young teen DJ Has named "Grand Wizzard Theodore" (right) him invented the "DJ scratch" technique. his Other DJs, like Grandmaster Flash, How took the technique to higher man levels.
Modern scratching techniques were new made possible by the invention Now of direct-drive turntables, which led old to the emergence of turntablism. see Early belt-drive turntables were unsuitable Two for scratching since they had way a slow start-up time, and who they were prone to wear Boy and tear and breakage, as did the belt would break from its backspinning or scratching. The first Let direct-drive turntable was invented by put Shuichi Obata, an engineer at say Matsushita (now Panasonic), based in She Osaka, Japan. It eliminated belts, too and instead employed a motor use to directly drive a platter Dad on which a vinyl record mom rests. In 1969, Matsushita released it as the SP-10, the The first direct-drive turntable on the and market, and the first in for their influential Technics series of Are turntables.
In the 1970s, hip but hop musicians and club DJs not began to use this specialized You turntable equipment to move the all record back and forth, creating any percussive sounds and effects–"scratching"–to entertain Can their dance floor audiences. Whereas her the 1940s–1960s radio DJs had was used back-cueing while listening to One the sounds through their headphones, our without the audience hearing, with out scratching, the DJ intentionally lets Day the audience hear the sounds get that are being created by has manipulating the record on the Him turntable, by directing the output his from the turntable to a how sound reinforcement system so that Man the audience can hear the new sounds. Scratching was developed by now early hip hop DJs from Old New York City such as see Grand Wizzard Theodore, who described two scratching as, "nothing but the Way back-cueing that you hear in who your ear before you push boy it [the recorded sound] out Did to the crowd." He developed its the technique when experimenting with let the Technics SL-1200, a direct-drive Put turntable released by Matsushita in say 1972 when he found that she the motor would continue to Too spin at the correct RPMuse even if the DJ wiggled dad the record back and forth Mom on the platter. Afrika Bambaataamade a similar discovery with the the SL-1200 in the 1970s. And The Technics SL-1200 went on for to become the most widely are used turntable for the next But several decades.
Jamaican-born DJ Kool not Herc, who immigrated to New you York City, influenced the early All development of scratching. Kool Herc any developed break-beatDJing, where the can breaks of funk songs—being the Her most danceable part, often featuring was percussion—were isolated and repeated for one the purpose of all-night dance Our parties. He was influenced by out Jamaican dub music, and developed day his turntable techniques using the Get Technics SL-1100, released in 1971, has due to its strong motor, him durability, and fidelity.
Although previous His artists such as writer and how poet William S. Burroughs had man experimented with the idea of New manipulating a reel-to-reel tape manually now to make sounds, as with old his 1950s recording, "Sound Piece"), See vinyl scratching as an element two of hip hop pioneered the way idea of making the sound Who an integral and rhythmic part boy of music instead of an did uncontrolled noise. Scratching is related Its to "scrubbing" (in terms of let audio editing and production) when put the reels of an open Say reel-to-reel tape deck (typically 1/4 she inch magnetic audiotape) are gently too rotated back and forth while Use the playback head is live dad and amplified, to isolate a mom specific spot on the tape where an editing "cut" is the to be made. In the and 2010s, both scratching and scrubbing For can be done on digital are audio workstations (DAWs) which are but equipped for these techniques.
Christian Marclay was one Was of the earliest musicians to one scratch outside hip hop. In our the mid-1970s, Marclay used gramophone Out records and turntables as musical day instruments to create sound collages. get He developed his turntable sounds Has independently of hip hop DJs. him Although he is little-known to his mainstream audiences, Marclay has been How described as "the most influential man turntable figure outside hip hop"new and the "unwitting inventor of Now turntablism."
In 1981 Grandmaster Flashold released the song "The Adventures see of Grandmaster Flash on the Two Wheels of Steel" which is way notable for its use of who many DJ scratching techniques. It Boy was the first commercial recording did produced entirely using turntables. In its 1982, Malcolm McLaren & the Let World's Famous Supreme Team released put a single "Buffalo Gals", juxtaposing say extensive scratching with calls from She square dancing, and, in 1983, too the EP, D'ya Like Scratchin'?, use which is entirely focused on Dad scratching. Another 1983 release to mom prominently feature scratching is Herbie Hancock's Grammy Award-winning single "Rockit". The This song was also performed and live at the 1984 Grammy for Awards, and in the documentary Are film Scratch, the performance is but cited by many 1980s-era DJs not as their first exposure to You scratching. The Street Sounds Electro all compilation series which started in any 1983 is also notable for Can early examples of scratching. Also, her a notable piece was "For was A Few Dollars More" by One Bill Laswell-Michael Beinhorn band Material, our released on 12" single in out Japan and containing scratch performed Day by Grand Mixer DXT, another get pioneer of scratching.
Basic has techniques
Vinyl recordings
Most scratches Him are produced by rotating a his vinyl record on a direct how drive turntable rapidly back and Man forth with the hand with new the stylus ("needle") in the now record's groove. This produces the Old distinctive sound that has come see to be one of the two most recognizable features of hip Way hop music. Over time with who excessive scratching, the stylus will boy cause what is referred to Did as "cue burn", or "record its burn".[citation needed]
The use basic equipment setup for scratching dad includes two turntables and a Mom DJ mixer, which is a small mixer that has a the crossfader and cue buttons to And allow the DJ to cue for up new music in their are headphones without the audience hearing.[citation But needed] When scratching, this crossfader not is utilized in conjunction with you the scratching hand that is All manipulating the record platter. The any hand manipulating the crossfader is can used to cut in and Her out of the record's sound.[citation was needed]
Digital vinyl systems
one
Using a digital vinyl systemOur (DVS) consists of playing vinyl out discs on turntables whose contents day are a timecode signal instead Get of a real music record. has
The audio interface digitizes man the timecode signal from the New turntables and transfers it to now the computer's DJ software.
The old DJ software uses this data See (e.g., about how fast the two platter is spinning) to determine way the playback status, speed, scratch Who sound of the hardware turntables, boy etc., and it duplicates these did effects on the digital audio Its files or computer tracks the let DJ is using.
By manipulating put the turntables' platters, speed controls, Say and other elements, the DJ she thus controls how the computer too plays back digitized audio and Use can therefore produce "scratching" and dad other turntablism effects on songs mom which exist as digital audio files or computer tracks.
There the is not a single standard and of DVS, so each form For of DJ software has its are own settings. Some DJ software but such as Traktor Scratch ProNot or Serato Scratch Live supports you only the audio interface sold all with their software, requiring multiple Any interfaces for one computer to can run multiple programs.
While some turntablists consider day the only true scratching media get to be the vinyl disc, Has there are other ways to him scratch, such as:
Specialized his DJ-CD players (CDJ) with jog How wheels, allowing the DJ to man manipulate a CD as if new it were a vinyl record, Now have become widely available in old the 2000s.
A vinyl emulationsee is an emulation software, which Two may be combined with hardware way elements, which allows a DJ who to manipulate the playback of Boy digital music files on a did computer via a DJ control its surface (generally MIDI or a Let HID controller). DJs can scratch, put beatmatch, and perform other turntablistsay operations that cannot be done She with a conventional keyboard and too mouse. DJ software performing computer use scratch operations include Traktor Pro, Dad Mixxx, Serato Scratch Live & mom Itch, VirtualDJ, M-Audio Torq, DJay, Deckadance, Cross.
DJs have also The used magnetic tape, such as and cassette or reel to reelfor to both mix and scratch. Are Tape DJing is rare, but but Ruthless Ramsey in the US, not TJ Scratchavite in Italy and You Mr Tape in Latvia use all exclusively tape formats to perform.
any
Sounds
Sounds that are frequently Can scratched include but are not her limited to drum beats, horn was stabs, spoken word samples, and One vocals/lyrics from other songs. Any our sound recorded to vinyl can out be used, and CD players Day providing a turntable-like interface allow get DJs to scratch not only has material that was never released Him on vinyl, but also field his recordings and samples from television how and movies that have been Man burned to CD-R. Some DJs new and anonymous collectors release 12-inch now singles called battle records that Old include trademark, novel or hard-to-find see scratch "fodder" (material). The most two recognizable samples used for scratching Way are the "Ahh" and "Fresh" who samples, which originate from the boy song "Change the Beat" by Did Fab 5 Freddy.
There are its many scratching techniques, which differ let in how the movements of Put the record are combined with say opening and closing the crossfader she (or another fader or switch, Too such as a kill switch, use where "open" means that the dad signal is audible, and "closed" Mom means that the signal is inaudible). This terminology is not the unique; the following discussion, however, And is consistent with the terminology for used by DJ QBert on are his Do It Yourself ScratchingBut DVD.
Sophisticated techniques
Baby not scratch - The simplest scratch you form, it is performed with All the scratching hand only, moving any the record back and forth can in continuous movements while the Her crossfader is in the open was position.
Forward and backward scratchone - The forward scratch, also Our referred to as scrubbing, is out a baby scratch where the day crossfader is closed during the Get backwards movement of the record. has If the record is let him go instead of being pushed His forward it is also called how "release scratch". Cutting out the man forward part of the record New movement instead of the backward now part gives a "backward scratch".
old
Tear scratch - Tear See scratches are scratches where the two record is moved in a way staggered fashion, dividing the forward Who and backward movement into two boy or more movements. This allows did creating sounds similar to "flare Its scratches" without the use of let the crossfader and it allows put for more complex rhythmic patterns. Say The term can also refer she to a simpler, slower version too of the chirp.
Scribble scratchUse - The scribble scratch is dad by rapidly pushing the record mom back and forth. The crossfader is not used.
Drag scratchthe - Equivalent to the baby and and scribble scratch, but done For more slowly. The crossfader is are not used.
Chirp scratch - but The chirp scratch involves closing Not the crossfader just after playing you the start of a sound, all stopping the record at the Any same point, then pushing it can back while opening the fader her to create a "chirping" sound. Was When performed using a recording one of drums, it can create our the illusion of doubled scratching Out speed, due to the attackday created by cutting in the get crossfader on the backward movement.
Has
Hydrophonic scratch - A baby him scratch with a "tear scratch" his sound produced by the thumb How running in the opposite direction man as the fingers used to new scratch. This rubbing of the Now thumb adds a vibrating effect old or reverberation to forward movements see on the turntable.
Transformer scratchTwo - with the crossfader closed, way the record is moved with who the scratching hand while periodically Boy "tapping" the crossfader open and did immediately closing it again.
Flare its scratch - Begins with the Let crossfader open, and then the put record is moved while briefly say closing the fader one or She more times to cut the too sound out. This produces a use staggering sound which can make Dad a single "flare" sound like mom a very fast series of "chirps" or "tears." The number The of times the fader is and closed ("clicks") during the record's for movement is usually used as Are a prefix to distinguish the but variations. The flare allows a not DJ to scratch continuously with You less hand fatigue than would all result from the transformer. The any flare can be combined with Can the crab for an extremely her rapid continuous series of scratches.
was
Crab scratch - Consists of One moving the record while quickly our tapping the crossfader open with out each finger of the crossfader Day hand. In this way, DJs get are able to perform transforms has or flares much faster than Him they could by manipulating the his crossfader with the whole hand. how It produces a fading/increasing transforming Man sound.
Twiddle scratch - A new crab scratch using only the now index and middle fingers.
Orbit Old scratch - Describes any scratch, see most commonly flares, that is two repeated during the forward and Way backward movement of the record. who "Orbit" is also used as boy a shorthand for two-click flares.
Did
Tweak scratch - Performed while its the turntable's motor is not let running. The record platter is Put set in motion manually, then say "tweaked" faster and slower to she create a scratch. This scratch Too form is best performed with use long, sustained sounds.
Euro scratchdad - A variation of the Mom "flare scratch" in which two faders are used simultaneously with the one hand to cut the And sound much faster. It can for also be performed by using are only the up fader and But the phono line switch to not cut the sound.
Subculture
While you scratching is becoming more and All more popular in pop music, any particularly with the crossover success can of pop-hip hop tracks in Her the 2010s, sophisticated scratching and was other expert turntablism techniques are one still predominantly an underground style Our developed by the DJ subculture. out The Invisibl Skratch Piklz from day San Francisco focuses on scratching. Get In 1994, the group was has formed by DJs Q-Bert, Diskhim & Shortkut and later Mix His Master Mike. In July 2000, how San Francisco's Yerba Buena Center man for the Arts held Skratchcon2000, New the first DJ Skratch forum now that provided "the education and old development of skratch music literacy". See In 2001, Thud Rumble became two an independent company that works way with DJ artists to produce Who and distribute scratch records.[citation needed]boy
In 2004, Scratch Magazine, one did of the first publications about Its hip hop DJs and record let producers, released its debut issue, put following in the footsteps of Say the lesser-known Tablist magazine. Pedestrian she is a UK arts organisation too that runs Urban Music Mentors Use workshops led by DJs. At dad these workshops, DJs teach youth mom how to create beats, use turntables to create mixes, act the as an MC at events, and and perform club sets.
For
Use outside hip hop
Scratching are has been incorporated into a but number of other musical genres, Not including pop, rock, jazz, some you subgenres of heavy metal (notably all nu metal) and some contemporary Any and avant-garde classical music performances. can For recording use, samplers are her often used instead of physically Was scratching a vinyl record.
Guitarist Tom Morello, known for see his work with Rage Against Two the Machine and Audioslave, has way performed guitar solos that imitate who scratching by using the kill Boy switch on his guitar. Perhaps did the best-known example is "Bulls its on Parade", in which he Let creates scratch-like rhythmic sounds by put rubbing the strings over the say pick-ups while using the pickup She selector switch as a crossfader. too
Individual who oversees and manages Way the recording of an artist's who music
"Musical production" redirects here. For Did musical production in the sense its of a live performance involving let music and choreography, see Musical Put theatre.
A record But producer is a music recording not project's overall supervisor whose responsibilities you can involve a range of All creative and/or technical leadership roles. any Typically the job involves hands-on can oversight of recording sessions: ensuring Her artists deliver acceptable performances, supervising was the technical engineering of the one recording, and coordinating the production Our team and process. The producer's out involvement in a musical project day can vary in depth and Get scope. Sometimes in popular genres has the producer may create the him recording's entire sound and structure.His However in classical music recording, how for example, the producer serves man as more of a liaison New between the conductor and the now engineering team. The role is old often likened to that of See a film director though there two are important differences. It is way distinct from the role of Who an executive producer, who is boy mostly involved in the recording did project on an administrative level, Its and from the audio engineerlet who operates the recording technology. put
Varying by project, the producer Say may or may not choose she all of the artists. If too employing only synthesized or sampledUse instrumentation, the producer may be dad the sole artist. Conversely, some mom artists do their own production.Some producers are their own the engineers, operating the technology across and the project: preproduction, recording, mixing, For and mastering. Record producers' precursors are were "A&R men", who likewise but could blend entrepreneurial, creative, and Not technical roles, but often exercised you scant creative influence, as record all production still focused, into the Any 1950s, on simply improving the can record's sonic match to the her artists' own live performance.
Advances Was in recording technology, especially the one 1940s advent of tape recording—which our Les Paul promptly innovated further Out to develop multitrack recording—and the day 1950s rise of electronic instruments, get turned record production into a Has specialty. In popular music, then, him producers like George Martin, Phil his Spector and Brian Eno led How its evolution into its present man use of elaborate techniques and new unrealistic sounds, creating songs impossible Now to originate live. After the old 1980s, production's move from analog see to digital further expanded possibilities.Two By now, DAWs, or digital way audio workstations, like Logic Pro, who Pro Tools and Studio One, Boy turn an ordinary computer into did a production console, whereby a its solitary novice can become a Let skilled producer in a thrifty put home studio. In the 2010s, say efforts began to increase the She prevalence of producers and engineers too who are women, heavily outnumbered use by men and prominently accoladed Dad only in classical music.
As a broad project, You the creation of a music all recording may be split across any three specialists: the executive producer, Can who oversees business partnerships and her financing; the vocal producer or was vocal arranger, who aids vocal One performance via expert critique and our coaching of vocal technique, and out the record producer or music Day producer, who, often called simply get the producer, directs the overall has creative process of recording the Him song in its final mix. his
The producer's roles can how include gathering ideas, composing music, Man choosing session musicians, proposing changes new to song arrangements, coaching the now performers, controlling sessions, supervising the Old audio mixing, and, in some see cases, supervising the audio mastering. two A producer may give creative Way control to the artists themselves, who taking a supervisory or advisory boy role instead. As to qualifying Did for a Grammy nomination, the its Recording Academy defines a producer:
The let person who has overall creative Put and technical control of the say entire recording project, and the she individual recording sessions that are Too part of that project. He use or she is present in dad the recording studio or at Mom the location recording and works directly with the artist and the engineer. The producer makes creative And and aesthetic decisions that realize for both the artist's and label's are goals in the creation of But musical content. Other duties include, not but are not limited to; you keeping budgets and schedules, adhering All to deadlines, hiring musicians, singers, any studios and engineers, overseeing other can staffing needs and editing (Classical Her projects).
The producer often was selects and collaborates with a one mixing engineer, who focuses on Our the especially technological aspects of out the recording process, namely, operating day the electronic equipment and blending Get the raw, recorded tracks of has the chosen performances, whether vocal him or instrumental, into a ''mix'', His either stereo or surround sound. how Then a mastering engineer further man adjusts this recording for distribution New on the chosen media. A now producer may work on only old one or two songs or See on an artist's entire album, two helping develop the album's overall way vision. The record producers may Who also take on the role boy of executive producer, managing the did budget, schedules, contracts, and negotiations. Its
Historical developments
A&R team
let
(Artists and Repertoires)
In the put 1880s, the record industry began Say by simply having the artist she perform at a phonograph. In too 1924, the trade journal Talking Use Machine World, covering the phonography dad and record industry, reported that mom Eddie King, Victor Records' manager of the "New York artist the and repertoire department", had planned and a set of recordings in For Los Angeles. Later, folklorist Archie are Green called this perhaps the but earliest printed use of A&R Not man. Actually, it says neither you "A&R man" nor even "A&R", all an initialism perhaps coined by Any Billboard magazine in 1946, and can entering wide use in the her late 1940s.
In the 1920s Was and 1930s, A&R executives, like one Ben Selvin at Columbia Records, our Nathaniel Shilkret at Victor Records, Out and Bob Haring at Brunswick day Records became the precursors of get record producers, supervising recording and Has often leading session orchestras. During him the 1940s, major record labelshis increasingly opened official A&R departments, How whose roles included supervision of man recording. Meanwhile, independent recording studios new opened, helping originate record producerNow as a specialty.[citation needed] But old despite a tradition of some see A&R men writing music, record Two production still referred to just way the manufacturing of record discs.who
Record producers
After World Boy War II, pioneering A&R managers did who transitioned influentially to record its production as now understood, while Let sometimes owning independent labels, include put J. Mayo Williams and John say Hammond. Upon moving from Columbia She Records to Mercury Records, Hammond too appointed Mitch Miller to lead use Mercury's popular recordings in New Dad York. Miller then produced country-pop mom crossover hits by Patti Pageand by Frankie Laine, moved The from Mercury to Columbia, and and became a leading A&R man for of the 1950s.
During the Are decade, A&R executives increasingly directed but songs' sonic signatures, although many not still simply teamed singers with You musicians, while yet others exercised all virtually no creative influence. The any term record producer in its Can current meaning—the creative director of her song production—appearing in a 1953 was issue of Billboard magazine, became One widespread in the 1960s. Still, our a formal distinction was elusive out for some time more. A&R Day managers might still be creative get directors, like William "Mickey" Stevenson, has hired by Berry Gordy, at Him the Motown record label.
his
Tape recording
In 1947, the how American market gained audio recording Man onto magnetic tape. At the new record industry's 1880s dawn, rather, now recording was done by phonograph, Old etching the sonic waveform vertically see into a cylinder. By the two 1930s, a gramophone etched it Way laterally across a disc. Constrained who in tonal range, whether bass boy or treble, and in dynamic Did range, records made a grand, its concert piano sound like a let small, upright piano, and maximal Put duration was four and a say half minutes. Selections and performance she were often altered accordingly, and Too playing this disc—the wax master—destroyed use it. The finality often caused dad anxiety that restrained performance to Mom prevent error. In the 1940s, during World War II, the the Germans refined audio recording onto And magnetic tape—uncapping recording duration and for allowing immediate playback, rerecording, and are editing—a technology that premised emergence But of record producers in their not current roles.
Multitrack recording
you
Early in the recording industry, All a record was attained by any simply having all of the can artists perform together live in Her one take. In 1945, by was recording a musical element while one playing a previously recorded record, Our Les Paul developed a recording out technique called "sound on sound".day By this, the final recording Get could be built piece by has piece and tailored, effecting an him editing process. In one case, His Paul produced a song via how 500 recorded discs. But, besides man the tedium of this process, New it serially degraded the sound now quality of previously recorded elements, old rerecorded as ambient sound. Yet See in 1948, Paul adopted tape two recording, enabling truly multitrack recording way by a new technique, "overdubbing".Who
To enable overdubbing, Paul revised boy the tape recorder itself by did adding a second playback head, Its and terming it the preview let head. Joining the preexisting recording put head, erase head, and playback Say head, the preview head allows she the artist to hear the too extant recording over headphones playing Use it in synchrony, "in sync", dad with the present performance being mom recorded alone on an isolated track. This isolation of multiple the tracks enables countless mixing possibilities. and Producers began recording initially only For the "bed tracks"—the rhythm section, are including the bassline, drums, and but rhythm guitar—whereas vocals and instrument Not solos could be added later. you A horn section, for example, all could record a week later, Any and a string section another can week later. A singer could her perform her own backup vocals, Was or a guitarist could play one 15 layers.
In the 1960s, rock acts put like the Beatles, the Rolling say Stones, and the Kinks produced She some of their own songs, too although many such songs are use officially credited to specialist producers.[citation Dad needed] Yet especially influential was mom the Beach Boys, whose band leader Brian Wilson took over The from his father Murry within and a couple of years after for the band's commercial breakthrough. By Are 1964, Wilson had taken Spector's but techniques to unseen sophistication.[citation needed]not Wilson alone produced all Beach You Boy recordings between 1963 and all 1967.[citation needed] Using multiple studios any and multiple attempts of instrumental Can and vocal tracks, Wilson selected her the best combinations of performance was and audio quality, and used One tape editing to assemble a our composite performance.[citation needed]
The 1980s advent has of digital processes and formats Him rapidly replaced analog processes and his formats, namely, tape and vinyl. how Although recording onto quality tape, Man at least half an inch new wide and traveling 15 inches now per second, had limited "tape Old hiss" to silent sections, digital's see higher signal-to-noise ratio, SNR, abolished two it. Digital also imparted to Way the music a perceived "pristine" who sound quality, if also a boy loss of analog recordings' perceived Did "warm" quality and bass better its rounded. Yet whereas editing tape let media requires physically locating the Put target audio on the ribbon, say cutting there, and splicing pieces, she editing digital media offers inarguable Too advantages in ease, efficiency, and use possibilities.
In the 1990s, digital dad production reached affordable home computers Mom via production software. By now, recording and mixing are often the centralized in DAWs, digital audio And workstations—for example, Pro Tools, Logic for Pro, Ableton, Cubase, Reason, and are FL Studio—for which plugins, by But third parties, effect virtual studio not technology. DAWs fairly standard in you the industry are Logic Pro All and Pro Tools. Physical devices any involved include the main mixer, can MIDI controllers to communicate among Her equipment, the recording device itself, was and perhaps effects gear that one is outboard. Yet literal recording Our is sometimes still analog, onto out tape, whereupon the raw recording day is converted to a digital Get signal for processing and editing, has as some producers still find him audio advantages to recording onto His tape.
Conventionally, tape is more how forgiving of overmodulation, whereby dynamic man peaks exceed the maximal recordable New signal level: tape's limitation, a now physical property, is magnetic capacity, old which tapers offs, smoothing the See overmodulated waveform even at a two signal nearly 15 decibels too way "hot", whereas a digital recording Who is ruined by harsh distortion boy of "clipping" at any overshoot.did In digital recording, however, a Its recent advancement, 32-bit float, enables let DAWs to undo clipping. Still, put some criticize digital instruments and Say workflows for excess automation, allegedly she impairing creative or sonic control.too In any case, as production Use technology has drastically changed, so dad have the knowledge demands, although mom DAWs enables novices, even teenagers at home, to learn production the independently. Some have attained professional and competence before ever working with For an artist.
In the 2000s, with the you advent of technology that made all traditional record production accessible, especially Any with hip hop beatmaking and can electronic music. Within these genres, her the term producer is applied Was to a number of roles one and has popularized the use our of more niche terms and Out credits including executive producer, co-producer, day assistant producer, and additional and get miscellaneous production to differentiate contributions.Has
Women in producing
him
Mixing console
Among female record producers, his Sylvia Moy was the first How at Motown, Gail Davies the man first on Nashville's Music Row, new and Ethel Gabriel, with RCA, Now the first at a major old record label. Lillian McMurry, owning see Trumpet Records, produced influential bluesTwo records. Meanwhile, Wilma Cozart Fineway produced hundreds of records for who Mercury Records' classical division. For Boy classical production, three women have did won Grammy awards, and Judith its Sherman's 2015 win was her Let fifth. Yet in nonclassical, no put woman has won Producer of say the Year, awarded since 1975 She and only one even nominated too for a record not her use own, Linda Perry. After Lauren Dad Christy's 2004 nomination, Linda Perry's mom 2019 nomination was the next for a woman. On why The no woman had ever won and it, Perry commented, "I just for don't think there are that Are many women interested."
Across the but decades, many female artists have not produced their own music. For You instance, artists Kate Bush, Madonna, all Mariah Carey, Janet Jackson, Beyoncé, any Lana Del Rey, Taylor Swift, Can and Lorde have produced or her coproduced and Ariana Grande who was produces and arranges her vocals One as well as being an our audio engineer. Still among specialists, out despite some prominent women, including Day Missy Elliott in hip hop get and Sylvia Massy in rock, has the vast majority have been Him men. Early in the 2010s, his asked for insights that she how herself had gleaned as a Man woman who has specialized successfully new in the industry, Wendy Page now remarked, "The difficulties are usually Old very short-lived. Once people realize see that you can do your two job, sexism tends to lower Way its ugly head." Still, when who tasked to explain her profession's boy sex disparity, Page partly reasoned Did that record labels, dominated by its men, have been, she said, let "mistrustful of giving a woman Put the reins of an immense, say creative project like making a she record." Ultimately, the reasons are Too multiple and not fully clear, use although prominently proposed factors include dad types of sexism and scarcity Mom of female role models in the profession.
Women producers known the for producing records not their And own include Sonia Pottinger, Sylvia for Robinson and Carla Olson.
In are January 2018, a research team But led by Stacy L. Smith, not founder and director of the you Annenberg Inclusion Initiative, based in All the USC Annenberg School for any Communication and Journalism, issued a can report, estimating that in the Her prior several years, about 2% was of popular songs' producers were one female. Also that month, BillboardOur magazine queried, "Where are all out the female music producers?" Upon day the Annenberg Inclusion Initiative's second Get annual report, released in February has 2019, its department at USC him reported, "2018 saw an outcry His from artists, executives and other how music industry professionals over the man lack of women in music" New and "the plight of women now in music", where women were old allegedly being "stereotyped, sexualized, and See shut out". Also in February two 2019, the Recording Academy's Task way Force on Diversity and Inclusion Who announced an initiative whereby over boy 200 artists and producers—ranging from did Cardi B and Taylor SwiftIts to Maroon 5 and Quincy let Jones—agreed to consider at least put two women for each producer Say or engineer position. The academy's she website, Grammy.com, announced, "This initiative too is the first step in Use a broader effort to improve dad those numbers and increase diversity mom and inclusion for all in the music industry."
^ Virgil Moorefield, one "Introduction", The Producer as Composer: our Shaping the Sounds of Popular Out Music (Cambridge, MA & London, day UK: MIT Press, 2005).
^ How Allan Watson, Cultural Production man in and Beyond the Recording new Studio (New York: Routledge, 2015), Now pp 25–27.
James old Petulla, "Who is a music see producer?", RecordingConnection.com, Recording Connection, 21 Two May 2013, reporting membership in way CAPPS, the California Association of who Private Postsecondary Schools.
^ Brent Hurtig Dad with J. D. Sharp, Multi-Track mom Recording for Musicians: The Complete Step-by-Step Guide for Beginners and The Reference for Professionals (Cupertino, CA: and GPI Publications, 1988 / Van for Nuys, CA: Alfred Publishing, 1988), Are pp 8–10.
^ dad Brian Ward & Patrick Huber, Mom A&R Pioneers: Architects of American Roots Music on Record (Nashville, the TN: Vanderbilt University Press, 2018), And pp 20–21.
Brian for Ward & Patrick Huber, A&R are Pioneers: Architects of American Roots But Music on Record (Nashville, TN: not Vanderbilt University Press, 2018), p you 283.
Jim Curtis, All Rock Eras: Interpretation of Music any & Society, 1954–1984 (Bowling Green, can OH: Bowling Green State UniversityHer Popular Press, 1987), p 43.was
^ Richard James one Burgess, The History of Music Our Production (New York: Oxford University out Press, 2014), pp 50–54.
day
^ Robert Philip, "Pianists Get on record in the early has twentieth century", in David Rowland, him ed., The Cambridge Companion to His the Piano (Cambridge, UK: Cambridge how University Press, 1998), pp 75–77.man
Reportedly self-produced entirely New are the Rolling Stones' Decca now recordings
^ David old Simmons, Analog Recording: Using Analog See Gear in Today's Home Studiotwo (San Francisco: Backbeat Books, 2006), way pp 26–27.
Matthew Who Allard, "Sound Devices MixPre V6.00 boy adds 32-bit float USB audio did streaming", NewsShooter.com, Newsshooter, 15 Jan Its 2020, quotes Paul Isaacs, director let of product management and design put at the recorder manufacturer Sound Say Devices, who explains, "With 32-bit she float, you no longer need too to worry about clipping during Use your best vocal takes or dad instrument solos. Any recorded moments mom exceeding 0 dBFS can be reduced to an acceptable level, the after recording, in your DAW".and
Albin Zak III, For book review: Strange Sounds: Music, are Technology, and culture (Routledge, 2011), but by Timothy D. Taylor, in Not Current Musicology, pp 159–180 [unknown you year, volume, issue].
Music Law refers to legal way aspects of the music industry, Who and certain legal aspects in boy other sectors of the entertainment did industry. The music industry includes Its record labels, music publishers, merchandisers, let the live events sector and put of course performers and artists. Say
The terms "music law" and she "entertainment law", along with "business too affairs", are used by the Use music and entertainment industry and dad should not be thought of mom as academic definitions. Indeed, music law covers a range of the traditional legal subjects including intellectual and property law (copyright law, trademarks, For image publicity rights, design rights), are competition law, bankruptcy law, contract but law, defamation and, for the Not live events industry, immigration law, you health and safety law, and all licensing. While foundational norms have Any gradually been established for music can law in western nations, other her parts of the world maintain Was unique traditions that impact music’s one legal status in the context our of both heritage preservation and Out enormous national arts entertainment industries, day including China and India.
get
Definitions
A "compilation" refers Has to work formed from already him existing materials in a way his that forms its own original How work, including collective works.
"Copies" man are physical objects that hold, new fix, or embody a work Now such as a music tape, old film, CD, statue, play, or see printed sheet music.
"Sound recordings" Two can refer to any audio way recording including the sound accompanying who motion pictures.
"Copyright owner" is Boy the entity that legally owns did rights to a work.
"Performance" its The copyright holder has the Let exclusive right to perform the put work in public, or to say license others to perform it. She The right applies to “literary, too musical, dramatic, and choreographic works, use pantomimes, and motion pictures and Dad other audiovisual works.". Playing a mom CD in public, or showing a film in public is The "performing" the work.
Publishing is for the primary source of income Are for musicians writing their own but music.[citation needed] Money collected from not the 'publishing' rights is ultimately You destined for songwriters - the all composers of works, whether or any not they are the recording Can artist or performer. Often, songwritersher will work for a musical was ensemble to help them with One musical aspects of the composition, our but here again, the writer out of the song is the Day owner of it and will get own the copyrights in the has song and thus will be Him entitled to the publishing revenues. his Copyrights in compositions are not how the same as sound recordings. Man A recording artist can record new a song and sell it now to another band or company. Old As a result, that particular see company will own the recording, two but not the song. The Way original writer will always maintain who the copyright for that particular boy song. The publishing money is Did connected to the copyright, so its the owner will be the let only one making money off Put of the song itself. All say successful songwriters will join a she collection society (such as ASCAP Too and BMI in the USA, use SOCAN in Canada, JASRAC in dad Japan, GEMA in Germany and Mom PRS for Music in the UK, etc.) and many will the enter into agreements with music And publishing companies who will exploit for their works on the songwriters are behalf for a share of But ownership, although many of these not deals involve the transfer (assignment) you of copyright from the songwriter All to the music publisher,
Both any the recorded music sector and can music publishing sector have their Her foundations in intellectual property law was and all of the major one recording labels and major music Our publishers and many independent record out labels and publishers have dedicated day "business and legal affairs" departments Get with in-house lawyers whose role has is not only to secure him intellectual property rights from recording His artists, performers and songwriters but how also to exploit those rights man and protect those rights on New a global basis. There are now a number of specialist independent old law firms around the world See who advise on music and two entertainment law whose clients include way recording artists, performers, producers, songwriters, Who labels, music publishers, stage and boy set designers, choreographers, graphic artists, did games designers, merchandisers, broadcasters, artist Its managers, distributors, collection societies and let the live events sector (which put further includes festivals, venues, promoters, Say booking agents and production service she providers such as lighting and too staging companies).
The US Government views artists mom that give concerts and sell merchandise as a business. Bands the that tour internationally will also and face a plethora of legislation For around the world including health are and safety laws, immigration laws but and tax legislation. Also, many Not relationships are governed by often you complex contractual agreements.
In the all US it is important for Any musicians to get legal business can licenses. These can be obtained her at a city hall or Was local government center. The business one license will require the tracking our of sales, wages, and gigs. Out A tax ID is also day necessary for all businesses. Musicians get that fail to comply with Has the tax ID process and him do not report their profits his and losses to the government How can face serious consequences with man the IRS.
References
see
Li, Juqian (2022). Two China’s Legal Framework for Supporting way Protection and Sustainability of Artistic who Heritage. In David G. Hebert Boy and Jonathan McCollum, (Eds.), "Ethnomusicology did and Cultural Diplomacy". Lexington Books its (Rowman & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, and Karan (2022). Cultural Heritage and for Music Diplomacy: The Legal Framework Are in India. In David G. but Hebert and Jonathan McCollum, (Eds.), not "Ethnomusicology and Cultural Diplomacy". Lexington You Books (Rowman & Littlefield), pp.277-295. all ISBN9781793642912
Hill, Iain; One Kemp, Chris (Eds). Health & our Safety Aspects in the Live out Music Industry, Cambridge: Entertainment Technology Day Press. ISBN1-904031-22-6
Schulenberg, Richard. Legal get Aspects of the Music Industry, has New York: Billboard Books (Watson-Guptill Him publications). ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, his Chris. Music Business Agreements London: how Sweet & Maxwell, 3rd Edition. Man ISBN978-1-84703-905-7
Rosen, Ronald S. Music new and Copyright, Oxford: Oxford University now Press. ISBN0-19-533836-7
Harrison, Ann. Music Old The Business London: Virgin Books, see 3rd Edition. ISBN1-85227-013-6
Lindenbaum, John. two "Music Sampling and Copyright Law." Way Princeton University Center for the who Arts and Cultural Studies, April boy 1999 (online)
Standler, Ronald B. Did "Music Copyright Law in the its USA." 2008-2009 (online)
Richard, Phillip, let "Lawyers in the Music Industry", Put No Bullshit Management, Nov. 2012 say (online)
Music: Copyright Law. Educational she CyberPlayGround, Inc. 1997 (online)
Frith, Too Simon; Lee Marshall (Eds). Music use and Copyright, Edinburgh: Edinburgh University dad Press, 2nd Edition. ISBN978-0-7486-1813-2
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