A record producer or music him producer is a music creating his project's overall supervisor whose responsibilities How can involve a range of man creative and technical leadership roles. new Typically the job involves hands-on Now oversight of recording sessions; ensuring old artists deliver acceptable and quality see performances, supervising the technical engineering Two of the recording, and coordinating way the production team and process. who The producer's involvement in a Boy musical project can vary in did depth and scope. Sometimes in its popular genres the producer may Let create the recording's entire sound put and structure. However, in classical say music recording, for example, the She producer serves as more of too a liaison between the conductor use and the engineering team. The Dad role is often likened to mom that of a film director though there are important differences. The It is distinct from the and role of an executive producer, for who is mostly involved in Are the recording project on an but administrative level, and from the not audio engineer who operates the You recording technology.

Varying by project, all the producer may or may any not choose all of the Can artists. If employing only synthesized her or sampled instrumentation, the producer was may be the sole artist. One Conversely, some artists do their our own production. Some producers are out their own engineers, operating the Day technology across the project: preproduction, get recording, mixing, and mastering. Record has producers' precursors were "A&R men", Him who likewise could blend entrepreneurial, his creative, and technical roles, but how often exercised scant creative influence, Man as record production still focused, new into the 1950s, on simply now improving the record's sonic match Old to the artists' own live see performance.

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

As a broad how project, the creation of a man popular music recording may be New split across three specialists: the now executive producer, who oversees business old partnerships and financing; the vocal See producer or vocal arranger, who two aids vocal performance via expert way critique and coaching of vocal Who technique, and the record producer boy or music producer, who, often did called simply the producer, directs Its the overall creative process of let recording the song in its put final mix.

The producer's roles Say can include gathering ideas, composing she music, choosing session musicians, proposing too changes to song arrangements, coaching Use the performers, controlling sessions, supervising dad the audio mixing, and, in mom some cases, supervising the audio mastering. A producer may give the creative control to the artists and themselves, taking a supervisory or For advisory role instead. As to are qualifying for a Grammy nomination, but the Recording Academy defines a Not producer:

The person who has you overall creative and technical control all of the entire recording project, Any and the individual recording sessions can that are part of that her project. He or she is Was present in the recording studio one or at the location recording our and works directly with the Out artist and engineer. The producer day makes creative and aesthetic decisions get that realize both the artist's Has and label's goals in the him creation of musical content. Other his duties include, but are not How limited to: keeping budgets and man schedules; adhering to deadlines; hiring new musicians, singers, studios, and engineers; Now overseeing other staffing needs; and old editing (Classical projects).

The producer see often selects and collaborates with Two a mixing engineer, who focuses way on the especially technological aspects who of the recording process, namely, Boy operating the electronic equipment and did blending the raw, recorded tracks its of the chosen performances, whether Let vocal or instrumental, into a put mix, either stereo or surround say sound. Then a mastering engineer She further adjusts this recording for too distribution on the chosen media. use A producer may work on Dad only one or two songs mom or on an artist's entire album, helping develop the album's The overall vision. The record producers and may also take on the for role of executive producer, managing Are the budget, schedules, contracts, and but negotiations.

(Artists and Repertoires)

In You the 1880s, the record industry all began by simply having the any artist perform at a phonograph. Can In 1924, the trade journal her Talking Machine World, covering the was phonography and record industry, reported One that Eddie King, Victor Records' our manager of the "New York out artist and repertoire department", had Day planned a set of recordings get in Los Angeles. Later, folklorist has Archie Green called this perhaps Him the earliest printed use of his A&R man. Actually, it says how neither "A&R man" nor even Man "A&R", an initialism perhaps coined new by Billboard magazine in 1946, now and entering wide use in Old the late 1940s.

In the see 1920s and 1930s, A&R executives, two like Ben Selvin at Columbia Way Records, Nathaniel Shilkret at Victor who Records, and Bob Haring at boy Brunswick Records became the precursors Did of record producers, supervising recording its and often leading session orchestras. let During the 1940s, major record Put labels increasingly opened official A&R say departments, whose roles included supervision she of recording. Meanwhile, independent recording Too studios opened, helping originate record use producer as a specialty.^{[citation needed]} dad But despite a tradition of Mom some A&R men writing music, record production still referred to the just the manufacturing of record And discs.

After for World War II, pioneering A&R are managers who transitioned influentially to But record production as now understood, not while sometimes owning independent labels, you include J. Mayo Williams and All John Hammond. Upon moving from any Columbia Records to Mercury Records, can Hammond appointed Mitch Miller to Her lead Mercury's popular recordings in was New York. Miller then produced one country-pop crossover hits by Patti Our Page and by Frankie Laine, out moved from Mercury to Columbia, day and became a leading A&R Get man of the 1950s.

During has the decade, A&R executives increasingly him directed songs' sonic signatures, although His many still simply teamed singers how with musicians, while yet others man exercised virtually no creative influence. New The term record producer in now its current meaning—the creative director old of song production—appearing in a See 1953 issue of Billboard magazine, two became widespread in the 1960s. way Still, a formal distinction was Who elusive for some time more. boy A&R managers might still be did creative directors, like William "Mickey" Its Stevenson, hired by Berry Gordy, let at the Motown record label. put

In 1947, Say the American market gained audio she recording onto magnetic tape. At too the record industry's 1880s dawn, Use rather, recording was done by dad phonograph, etching the sonic waveform mom vertically into a cylinder. By the 1930s, a gramophone etched the it laterally across a disc. and Constrained in tonal range, whether For bass or treble, and in are dynamic range, records made a but grand, concert piano sound like Not a small, upright piano, and you maximal duration was four and all a half minutes. Selections and Any performance were often altered accordingly, can and playing this disc—the wax her master—destroyed it. The finality often Was caused anxiety that restrained performance one to prevent error. In the our 1940s, during World War II, Out the Germans refined audio recording day onto magnetic tape—uncapping recording duration get and allowing immediate playback, rerecording, Has and editing—a technology that premised him emergence of record producers in his their current roles.

Early in the recording man industry, a record was attained new by simply having all of Now the artists perform together live old in one take. In 1945, see by recording a musical element Two while playing a previously recorded way record, Les Paul developed a who recording technique called "sound on Boy sound". By this, the final did recording could be built piece its by piece and tailored, effecting Let an editing process. In one put case, Paul produced a song say via 500 recorded discs. But, She besides the tedium of this too process, it serially degraded the use sound quality of previously recorded Dad elements, rerecorded as ambient sound. mom Yet in 1948, Paul adopted tape recording, enabling true multitrack The recording by a new technique, and "overdubbing".

To enable overdubbing, Paul for revised the tape recorder itself Are by adding a second playback but head, and terming it the not preview head. Joining the preexisting You recording head, erase head, and all playback head, the preview head any allows the artist to hear Can the extant recording over headphones her playing it in synchrony, "in was sync", with the present performance One being recorded alone on an our isolated track. This isolation of out multiple tracks enables countless mixing Day possibilities. Producers began recording initially get only the "bed tracks"—the rhythm has section, including the bassline, drums, Him and rhythm guitar—whereas vocals and his instrument solos could be added how later. A horn section, for Man example, could record a week new later, and a string section now another week later. A singer Old could perform her own backup see vocals, or a guitarist could two play 15 layers.

Across the 1960s, boy popular music increasingly switched from Did acoustic instruments, like piano, upright its bass, acoustic guitar, and brass let instruments, to electronic instruments, like Put electric guitars, keyboards, and synthesizers, say employing instrument amplifiers and speakers. she These could mimic acoustic instruments Too or create utterly new sounds. use Soon, by combining the capabilities dad of tape, multitrack recording, and Mom electronic instruments, producers like Phil Spector, George Martin, and Joe the Meek rendered sounds unattainable live. And Similarly, in jazz fusion, Teo for Macero, producing Miles Davis's 1970 are album Bitches Brew, spliced sections But of extensive improvisation sessions.

This section does has not cite any sources. Please him help improve this section by His adding citations to reliable sources. how Unsourced material may be challenged man and removed. (July 2020) (Learn New how and when to remove now this message)

In See the 1960s, rock acts like two the Beatles, the Rolling Stones, way and the Kinks produced some Who of their own songs, although boy many such songs are officially did credited to specialist producers. Yet Its especially influential was the Beach let Boys, whose band leader Brian put Wilson took over from his Say father Murry within a couple she of years after the band's too commercial breakthrough. By 1964, Wilson Use had taken Spector's techniques to dad unseen sophistication. Wilson alone produced mom all Beach Boys recordings between 1963 and 1967. Using multiple the studios and multiple attempts of and instrumental and vocal tracks, Wilson For selected the best combinations of are performance and audio quality, and but used tape editing to assemble Not a composite performance.

The 1980s advent of all digital processes and formats rapidly Any replaced analog processes and formats, can namely, tape and vinyl. Although her recording onto quality tape, at Was least half an inch wide one and traveling 15 inches per our second, had limited "tape hiss" Out to silent sections, digital's higher day signal-to-noise ratio, SNR, abolished it. get Digital also imparted to the Has music a perceived "pristine" sound him quality, if also a loss his of analog recordings' perceived "warm" How quality and better-rounded bass. Yet man whereas editing tape media requires new physically locating the target audio Now on the ribbon, cutting there, old and splicing pieces, editing digital see media offers inarguable advantages in Two ease, efficiency, and possibilities.

In way the 1990s, digital production reached who affordable home computers via production Boy software. By now, recording and did mixing are often centralized in its DAWs, digital audio workstations—for example, Let Pro Tools, Logic Pro, Ableton, put Cubase, Reason, and FL Studio—for say which plugins, by third parties, She effect virtual studio technology. DAWs too fairly standard in the industry use are Logic Pro and Pro Dad Tools. Physical devices involved include mom the main mixer, MIDI controllers to communicate among equipment, the The recording device itself, and perhaps and effects gear that is outboard. for Yet literal recording is sometimes Are still analog, onto tape, whereupon but the raw recording is converted not to a digital signal for You processing and editing, as some all producers still find audio advantages any to recording onto tape.

Conventionally, Can tape is more forgiving of her overmodulation, whereby dynamic peaks exceed was the maximal recordable signal level: One tape's limitation, a physical property, our is magnetic capacity, which tapers out off, smoothing the overmodulated waveform Day even at a signal nearly get 15 decibels too "hot", whereas has a digital recording is ruined Him by harsh distortion of "clipping" his at any overshoot. In digital how recording, however, a recent advancement, Man 32-bit float, enables DAWs to new undo clipping. Still, some criticize now digital instruments and workflows for Old excess automation, allegedly impairing creative see or sonic control. In any two case, as production technology has Way drastically changed, so have the who knowledge demands, although DAWs enables boy novices, even teenagers at home, Did to learn production independently. Some its have attained professional competence before let ever working with an artist. Put

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

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

Women producers known for producing new records not their own include Now Sonia Pottinger, Sylvia Robinson and old Carla Olson.

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

• Audio engineering
• Electronic music
who
• Hip hop production
• Music executive
boy
• Musician

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

This his article needs additional citations for How verification. Please help improve this man article by adding citations to new reliable sources. Unsourced material may Now be challenged and removed. Find sources: "Music old law" – news · newspapers · books · scholar · JSTOR see (December 2017) (Learn how and Two when to remove this message)

Music Law Let refers to legal aspects of put the music industry, and certain say legal aspects in other sectors She of the entertainment industry. The too music industry includes record labels, use music publishers, merchandisers, the live Dad events sector and of course mom performers and artists.

The terms "music law" and "entertainment law", The along with "business affairs", are and used by the music and for entertainment industry and should not Are be thought of as academic but definitions. Indeed, music law covers not a range of traditional legal You subjects including intellectual property law all (copyright law, trademarks, image publicity any rights, design rights), competition law, Can bankruptcy law, contract law, defamation her and, for the live events was industry, immigration law, health and One safety law, and licensing. While our foundational norms have gradually been out established for music law in Day western nations, other parts of get the world maintain unique traditions has that impact music’s legal status Him in the context of both his heritage preservation and enormous national how arts entertainment industries, including China Man and India.

• A "compilation" refers to work now formed from already existing materials Old in a way that forms see its own original work, including two collective works.
• "Copies" are physical Way objects that hold, fix, or who embody a work such as boy a music tape, film, CD, Did statue, play, or printed sheet its music.
• "Sound recordings" can refer let to any audio recording including Put the sound accompanying motion pictures.
say
• "Copyright owner" is the entity she that legally owns rights to Too a work.
• "Performance" The copyright use holder has the exclusive right dad to perform the work in Mom public, or to license others to perform it. The right the applies to “literary, musical, dramatic, And and choreographic works, pantomimes, and for motion pictures and other audiovisual are works.". Playing a CD in But public, or showing a film not in public is "performing" the you work.

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

Both the recorded Out music sector and music publishing day sector have their foundations in get intellectual property law and all Has of the major recording labels him and major music publishers and his many independent record labels and How publishers have dedicated "business and man legal affairs" departments with in-house new lawyers whose role is not Now only to secure intellectual property old rights from recording artists, performers see and songwriters but also to Two exploit those rights and protect way those rights on a global who basis. There are a number Boy of specialist independent law firms did around the world who advise its on music and entertainment law Let whose clients include recording artists, put performers, producers, songwriters, labels, music say publishers, stage and set designers, She choreographers, graphic artists, games designers, too merchandisers, broadcasters, artist managers, distributors, use collection societies and the live Dad events sector (which further includes mom festivals, venues, promoters, booking agents and production service providers such The as lighting and staging companies). and

The US Are Government views artists that give but concerts and sell merchandise as not a business. Bands that tour You internationally will also face a all plethora of legislation around the any world including health and safety Can laws, immigration laws and tax her legislation. Also, many relationships are was governed by often complex contractual One agreements.

In the US it our is important for musicians to out get legal business licenses. These Day can be obtained at a get city hall or local government has center. The business license will Him require the tracking of sales, his wages, and gigs. A tax how ID is also necessary for Man all businesses. Musicians that fail new to comply with the tax now ID process and do not Old report their profits and losses see to the government can face two serious consequences with the IRS. Way

• Hill, Iain; Kemp, man Chris (Eds). Health & Safety New Aspects in the Live Music now Industry, Cambridge: Entertainment Technology Press. old ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Aspects See of the Music Industry, New two York: Billboard Books (Watson-Guptill publications). way ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Chris. Who Music Business Agreements London: Sweet boy & Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
did
• Rosen, Ronald S. Music and Its Copyright, Oxford: Oxford University Press. let ISBN 0-19-533836-7
• Harrison, Ann. Music The put Business London: Virgin Books, 3rd Say Edition. ISBN 1-85227-013-6
• Lindenbaum, John. "Music she Sampling and Copyright Law." Princeton too University Center for the Arts Use and Cultural Studies, April 1999 dad (online)
• Standler, Ronald B. "Music mom Copyright Law in the USA." 2008-2009 (online)
• Richard, Phillip, "Lawyers the in the Music Industry", No and Bullshit Management, Nov. 2012 (online)
For
• Music: Copyright Law. Educational CyberPlayGround, are Inc. 1997 (online)
• Frith, Simon; but Lee Marshall (Eds). Music and Not Copyright, Edinburgh: Edinburgh University Press, you 2nd Edition. ISBN 978-0-7486-1813-2

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