"Musical production" redirects here. For For musical production in the are sense of a live performance but involving music and choreography, see Not Musical theatre.
A record get producer is a music recording Has project's overall supervisor whose responsibilities him can involve a range of his creative and technical leadership roles. How Typically the job involves hands-on man oversight of recording sessions; ensuring new artists deliver acceptable and quality Now performances, supervising the technical engineering old of the recording, and coordinating see the production team and process. Two The producer's involvement in a way musical project can vary in who depth and scope. Sometimes in Boy popular genres the producer may did create the recording's entire sound its and structure. However, in classical Let music recording, for example, the put producer serves as more of say a liaison between the conductor She and the engineering team. The too role is often likened to use that of a film directorDad though there are important differences.mom It is distinct from the role of an executive producer, The who is mostly involved in and the recording project on an for administrative level, and from the Are audio engineer who operates the but recording technology.
Varying by project, not the producer may or may You not choose all of the all artists. If employing only synthesizedany or sampled instrumentation, the producer Can may be the sole artist.her Conversely, some artists do their was own production. Some producers are One their own engineers, operating the our technology across the project: preproduction, out recording, mixing, and mastering. Record Day producers' precursors were "A&R men", get who likewise could blend entrepreneurial, has creative, and technical roles, but Him often exercised scant creative influence,his as record production still focused, how into the 1950s, on simply Man improving the record's sonic match new to the artists' own live now performance.
Advances in recording technology, Old especially the 1940s advent of see tape recording—which Les Paul promptly two innovated further to develop multitrack Way recording—and the 1950s rise of who electronic instruments, turned record production boy into a specialty. In popular Did music, then, producers like George its Martin, Phil Spector and Brian let Eno led its evolution into Put its present use of elaborate say techniques and unrealistic sounds, creating she songs impossible to originate live.Too After the 1980s, production's move use from analog to digital further dad expanded possibilities. By now, DAWs, Mom or digital audio workstations, like Logic Pro, Pro Tools and the Studio One, turn an ordinary And computer into a production console,for whereby a solitary novice can are become a skilled producer in But a thrifty home studio. In not the 2010s, efforts began to you increase the prevalence of producers All and engineers who are women, any heavily outnumbered by men and can prominently accoladed only in classical Her music.
has
Production overview
As a broad him project, the creation of a His music recording may be split how across three specialists: the executive man producer, who oversees business partnerships New and financing; the vocal producer now or vocal arranger, who aids old vocal performance via expert critique See and coaching of vocal technique, two and the record producer or way music producer, who, often called Who simply the producer, directs the boy overall creative process of recording did the song in its final Its mix.
The producer's roles let can include gathering ideas, composing put music, choosing session musicians, proposing Say changes to song arrangements, coaching she the performers, controlling sessions, supervising too the audio mixing, and, in Use some cases, supervising the audio dad mastering. A producer may give mom creative control to the artists themselves, taking a supervisory or the advisory role instead. As to and qualifying for a Grammy nomination, For the Recording Academy defines a are producer:
The person who has but overall creative and technical control Not of the entire recording project, you and the individual recording sessions all that are part of that Any project. He or she is can present in the recording studio her or at the location recording Was and works directly with the one artist and engineer. The producer our makes creative and aesthetic decisions Out that realize both the artist's day and label's goals in the get creation of musical content. Other Has duties include, but are not him limited to; keeping budgets and his schedules, adhering to deadlines, hiring How musicians, singers, studios, and engineers, man overseeing other staffing needs and new editing (Classical projects).
The producer Now often selects and collaborates with old a mixing engineer, who focuses see on the especially technological aspects Two of the recording process, namely, way operating the electronic equipment and who blending the raw, recorded tracks Boy of the chosen performances, whether did vocal or instrumental, into a its mix, either stereo or surround Let sound. Then a mastering engineer put further adjusts this recording for say distribution on the chosen media. She A producer may work on too only one or two songs use or on an artist's entire Dad album, helping develop the album's mom overall vision. The record producers may also take on the The role of executive producer, managing and the budget, schedules, contracts, and for negotiations.
Historical developments
A&R Are team
(Artists and Repertoires)
In but the 1880s, the record industry not began by simply having the You artist perform at a phonograph.all In 1924, the trade journal any Talking Machine World, covering the Can phonography and record industry, reported her that Eddie King, Victor Records' was manager of the "New York One artist and repertoire department", had our planned a set of recordings out in Los Angeles. Later, folklorist Day Archie Green called this perhaps get the earliest printed use of has A&R man. Actually, it says Him neither "A&R man" nor even his "A&R", an initialism perhaps coined how by Billboard magazine in 1946, Man and entering wide use in new the late 1940s.
In the now 1920s and 1930s, A&R executives, Old like Ben Selvin at Columbia see Records, Nathaniel Shilkret at Victor two Records, and Bob Haring at Way Brunswick Records became the precursors who of record producers, supervising recording boy and often leading session orchestras.Did During the 1940s, major record its labels increasingly opened official A&R let departments, whose roles included supervision Put of recording. Meanwhile, independent recording say studios opened, helping originate record she producer as a specialty.[citation needed]Too But despite a tradition of use some A&R men writing music, dad record production still referred to Mom just the manufacturing of record discs.
Record producers
After the World War II, pioneering A&R And managers who transitioned influentially to for record production as now understood, are while sometimes owning independent labels, But include J. Mayo Williams and not John Hammond. Upon moving from you Columbia Records to Mercury Records, All Hammond appointed Mitch Miller to any lead Mercury's popular recordings in can New York. Miller then produced Her country-pop crossover hits by Patti was Page and by Frankie Laine, one moved from Mercury to Columbia, Our and became a leading A&R out man of the 1950s.
During day the decade, A&R executives increasingly Get directed songs' sonic signatures, although has many still simply teamed singers him with musicians, while yet others His exercised virtually no creative influence.how The term record producer in man its current meaning—the creative director New of song production—appearing in a now 1953 issue of Billboard magazine, old became widespread in the 1960s.See Still, a formal distinction was two elusive for some time more.way A&R managers might still be Who creative directors, like William "Mickey" boy Stevenson, hired by Berry Gordy, did at the Motown record label.Its
Tape recording
In 1947, let the American market gained audio put recording onto magnetic tape. At Say the record industry's 1880s dawn, she rather, recording was done by too phonograph, etching the sonic waveform Use vertically into a cylinder. By dad the 1930s, a gramophone etched mom it laterally across a disc.Constrained in tonal range, whether the bass or treble, and in and dynamic range, records made a For grand, concert piano sound like are a small, upright piano, and but maximal duration was four and Not a half minutes. Selections and you performance were often altered accordingly, all and playing this disc—the wax Any master—destroyed it. The finality often can caused anxiety that restrained performance her to prevent error. In the Was 1940s, during World War II, one the Germans refined audio recording our onto magnetic tape—uncapping recording duration Out and allowing immediate playback, rerecording, day and editing—a technology that premised get emergence of record producers in Has their current roles.
Multitrack him recording
Early in the recording his industry, a record was attained How by simply having all of man the artists perform together live new in one take. In 1945,Now by recording a musical element old while playing a previously recorded see record, Les Paul developed a Two recording technique called "sound on way sound". By this, the final who recording could be built piece Boy by piece and tailored, effecting did an editing process. In one its case, Paul produced a song Let via 500 recorded discs. But, put besides the tedium of this say process, it serially degraded the She sound quality of previously recorded too elements, rerecorded as ambient sound.use Yet in 1948, Paul adopted Dad tape recording, enabling truly multitrack mom recording by a new technique, "overdubbing".
To enable overdubbing, Paul The revised the tape recorder itself and by adding a second playback for head, and terming it the Are preview head. Joining the preexisting but recording head, erase head, and not playback head, the preview head You allows the artist to hear all the extant recording over headphones any playing it in synchrony, "in Can sync", with the present performance her being recorded alone on an was isolated track. This isolation of One multiple tracks enables countless mixing our possibilities. Producers began recording initially out only the "bed tracks"—the rhythm Day section, including the bassline, drums, get and rhythm guitar—whereas vocals and has instrument solos could be added Him later. A horn section, for his example, could record a week how later, and a string sectionMan another week later. A singer new could perform her own backup now vocals, or a guitarist could Old play 15 layers.
In now the 1960s, rock acts like old the Beatles, the Rolling Stones, See and the Kinks produced some two of their own songs, although way many such songs are officially Who credited to specialist producers. Yet boy especially influential was the Beach did Boys, whose band leader Brian Its Wilson took over from his let father Murry within a couple put of years after the band's Say commercial breakthrough. By 1964, Wilson she had taken Spector's techniques to too unseen sophistication. Wilson alone produced Use all Beach Boy recordings between dad 1963 and 1967. Using multiple mom studios and multiple attempts of instrumental and vocal tracks, Wilson the selected the best combinations of and performance and audio quality, and For used tape editing to assemble are a composite performance.
Digital but production
The 1980s advent of Not digital processes and formats rapidly you replaced analog processes and formats, all namely, tape and vinyl. Although Any recording onto quality tape, at can least half an inch wide her and traveling 15 inches per Was second, had limited "tape hiss" one to silent sections, digital's higher our signal-to-noise ratio, SNR, abolished it.Out Digital also imparted to the day music a perceived "pristine" sound get quality, if also a loss Has of analog recordings' perceived "warm" him quality and better-rounded bass. Yet his whereas editing tape media requires How physically locating the target audio man on the ribbon, cutting there, new and splicing pieces, editing digital Now media offers inarguable advantages in old ease, efficiency, and possibilities.
In see the 1990s, digital production reached Two affordable home computers via production way software. By now, recording and who mixing are often centralized in Boy DAWs, digital audio workstations—for example, did Pro Tools, Logic Pro, Ableton, its Cubase, Reason, and FL Studio—for Let which plugins, by third parties, put effect virtual studio technology. DAWs say fairly standard in the industry She are Logic Pro and Pro too Tools. Physical devices involved include use the main mixer, MIDI controllers Dad to communicate among equipment, the mom recording device itself, and perhaps effects gear that is outboard. The Yet literal recording is sometimes and still analog, onto tape, whereupon for the raw recording is converted Are to a digital signal for but processing and editing, as some not producers still find audio advantages You to recording onto tape.
Conventionally, all tape is more forgiving of any overmodulation, whereby dynamic peaks exceed Can the maximal recordable signal level: her tape's limitation, a physical property, was is magnetic capacity, which tapers One offs, smoothing the overmodulated waveform our even at a signal nearly out 15 decibels too "hot", whereas Day a digital recording is ruined get by harsh distortion of "clipping" has at any overshoot. In digital Him recording, however, a recent advancement, his 32-bit float, enables DAWs to how undo clipping. Still, some criticize Man digital instruments and workflows for new excess automation, allegedly impairing creative now or sonic control. In any Old case, as production technology has see drastically changed, so have the two knowledge demands, although DAWs enables Way novices, even teenagers at home, who to learn production independently. Some boy have attained professional competence before Did ever working with an artist.its
In the say 2000s, with the advent of she technology that made traditional record Too production accessible, especially with hip use hop beatmaking and electronic music. dad Within these genres, the term Mom producer is applied to a number of roles and has the popularized the use of more And niche terms and credits including for executive producer, co-producer, assistant producer, are and additional and miscellaneous production But to differentiate contributions.
Women not in producing
Among female you record producers, Sylvia Moy was All the first at Motown, Gail any Davies the first on Nashville's can Music Row, and Ethel Gabriel, Her with RCA, the first at was a major record label. Lillian one McMurry, owning Trumpet Records, produced Our influential blues records. Meanwhile, Wilma out Cozart Fine produced hundreds of day records for Mercury Records' classical Get division. For classical production, three has women have won Grammy awards, him and Judith Sherman's 2015 win His was her fifth. Yet in how nonclassical, no woman has won man Producer of the Year, awarded New since 1975 and only one now even nominated for a record old not her own, Linda Perry.See After Lauren Christy's 2004 nomination, two Linda Perry's 2019 nomination was way the next for a woman.Who On why no woman had boy ever won it, Perry commented, did "I just don't think there Its are that many women interested."let In the U.K., Lynsey de put Paul was an early female Say record producer, having produced both she of her Ivor Novello award-winning too songs.
Across the decades, many Use female artists have produced their dad own music. For instance, artists mom Kate Bush, Madonna, Mariah Carey, Janet Jackson, Beyoncé, Lana Del the Rey, Taylor Swift, and Lordeand have produced or coproduced and For Ariana Grande who produces and are arranges her vocals as well but as being an audio engineer.Not Still among specialists, despite some you prominent women, including Missy Elliottall in hip hop and Sylvia Any Massy in rock, the vast can majority have been men. Early her in the 2010s, asked for Was insights that she herself had one gleaned as a woman who our has specialized successfully in the Out industry, Wendy Page remarked, "The day difficulties are usually very short-lived. get Once people realize that you Has can do your job, sexism him tends to lower its ugly his head." Still, when tasked to How explain her profession's sex disparity, man Page partly reasoned that record new labels, dominated by men, have Now been, she said, "mistrustful of old giving a woman the reins see of an immense, creative project Two like making a record." Ultimately, way the reasons are multiple and who not fully clear, although prominently Boy proposed factors include types of did sexism and scarcity of female its role models in the profession.Let
Women producers known for producing put records not their own include say Sonia Pottinger, Sylvia Robinson and She Carla Olson.
In January 2018, too a research team led by use Stacy L. Smith, founder and Dad director of the Annenberg Inclusion mom Initiative, based in the USC Annenberg School for Communication and The Journalism, issued a report, estimating and that in the prior several for years, about 2% of popular Are songs' producers were female. Also but that month, Billboard magazine queried, not "Where are all the female You music producers?" Upon the Annenberg all Inclusion Initiative's second annual report, any released in February 2019, its Can department at USC reported, "2018 her saw an outcry from artists, was executives and other music industry One professionals over the lack of our women in music" and "the out plight of women in music", Day where women were allegedly being get "stereotyped, sexualized, and shut out".has Also in February 2019, the Him Recording Academy's Task Force on his Diversity and Inclusion announced an how initiative whereby over 200 artists Man and producers—ranging from Cardi Bnew and Taylor Swift to Maroon now 5 and Quincy Jones—agreed to Old consider at least two women see for each producer or engineer two position. The academy's website, Grammy.com, Way announced, "This initiative is the who first step in a broader boy effort to improve those numbers Did and increase diversity and inclusion its for all in the music let industry."
Allard, Matthew (15 January for 2020). "Sound Devices MixPre V6.00 Are adds 32-bit float USB audio but streaming". Newsshooter. With 32-bit float, not you no longer need to You worry about clipping during your all best vocal takes or instrument any solos. Any recorded moments exceeding Can 0 dBFS can be reduced her to an acceptable level, after was recording, in your DAW
One
Zak, Albin J. (29 our September 2002). "Review of Timothy out D. Taylor. 2001. Strange Sounds: Day Music, Technology, and Culture. New get York: Routledge". Current Musicology (74). has doi:10.7916/CM.V0I74.4910.
Pras, Amandine; Him Cance, Caroline; Guastavino, Catherine (2013). his "Record Producers' Best Practices For how Artistic Direction—From Light Coaching To Man Deeper Collaboration With Musicians". Journal new of New Music Research. 42now (4): 381–395. doi:10.1080/09298215.2013.848903. ISSN0929-8215.
Music mom Law refers to legal aspects of the music industry, and The certain legal aspects in other and sectors of the entertainment industry. for The music industry includes record Are labels, music publishers, merchandisers, the but live events sector and of not course performers and artists.
The You terms "music law" and "entertainment all law", along with "business affairs", any are used by the music Can and entertainment industry and should her not be thought of as was academic definitions. Indeed, music law One covers a range of traditional our legal subjects including intellectual propertyout law (copyright law, trademarks, image Day publicity rights, design rights), competition get law, bankruptcy law, contract law, has defamation and, for the live Him events industry, immigration law, health his and safety law, and licensing. how While foundational norms have gradually Man been established for music law new in western nations, other parts now of the world maintain unique Old traditions that impact music’s legal see status in the context of two both heritage preservation and enormous Way national arts entertainment industries, including who China and India.
boy
Definitions
A "compilation" refers to Did work formed from already existing its materials in a way that let forms its own original work, Put including collective works.
"Copies" are say physical objects that hold, fix, she or embody a work such Too as a music tape, film, use CD, statue, play, or printed dad sheet music.
"Sound recordings" can Mom refer to any audio recording including the sound accompanying motion the pictures.
"Copyright owner" is the And entity that legally owns rights for to a work.
"Performance" The are copyright holder has the exclusive But right to perform the work not in public, or to license you others to perform it. The All right applies to “literary, musical, any dramatic, and choreographic works, pantomimes, can and motion pictures and other Her audiovisual works.". Playing a CD was in public, or showing a one film in public is "performing" Our the work.
Publishing is the day primary source of income for Get musicians writing their own music.[citation has needed] Money collected from the him 'publishing' rights is ultimately destined His for songwriters - the composers how of works, whether or not man they are the recording artist New or performer. Often, songwriters will now work for a musical ensemble old to help them with musical See aspects of the composition, but two here again, the writer of way the song is the owner Who of it and will own boy the copyrights in the song did and thus will be entitled Its to the publishing revenues. Copyrights let in compositions are not the put same as sound recordings. A Say recording artist can record a she song and sell it to too another band or company. As Use a result, that particular company dad will own the recording, but mom not the song. The original writer will always maintain the the copyright for that particular song. and The publishing money is connected For to the copyright, so the are owner will be the only but one making money off of Not the song itself. All successful you songwriters will join a collection all society (such as ASCAP and Any BMI in the USA, SOCAN can in Canada, JASRAC in Japan, her GEMA in Germany and PRS Was for Music in the UK, one etc.) and many will enter our into agreements with music publishing Out companies who will exploit their day works on the songwriters behalf get for a share of ownership, Has although many of these deals him involve the transfer (assignment) of his copyright from the songwriter to How the music publisher,
Both the man recorded music sector and music new publishing sector have their foundations Now in intellectual property law and old all of the major recording see labels and major music publishers Two and many independent record labels way and publishers have dedicated "business who and legal affairs" departments with Boy in-house lawyers whose role is did not only to secure intellectual its property rights from recording artists, Let performers and songwriters but also put to exploit those rights and say protect those rights on a She global basis. There are a too number of specialist independent law use firms around the world who Dad advise on music and entertainment mom law whose clients include recording artists, performers, producers, songwriters, labels, The music publishers, stage and set and designers, choreographers, graphic artists, games for designers, merchandisers, broadcasters, artist managers, Are distributors, collection societies and the but live events sector (which further not includes festivals, venues, promoters, booking You agents and production service providers all such as lighting and staging any companies).
The her US Government views artists that was give concerts and sell merchandise One as a business. Bands that our tour internationally will also face out a plethora of legislation around Day the world including health and get safety laws, immigration laws and has tax legislation. Also, many relationships Him are governed by often complex his contractual agreements.
In the US how it is important for musicians Man to get legal business licenses. new These can be obtained at now a city hall or local Old government center. The business license see will require the tracking of two sales, wages, and gigs. A Way tax ID is also necessary who for all businesses. Musicians that boy fail to comply with the Did tax ID process and do its not report their profits and let losses to the government can Put face serious consequences with the say IRS.
References
dad
Li, Juqian (2022). China’s Mom Legal Framework for Supporting Protection and Sustainability of Artistic Heritage. the In David G. Hebert and And Jonathan McCollum, (Eds.), "Ethnomusicology and for Cultural Diplomacy". Lexington Books (Rowman are & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, Karan has (2022). Cultural Heritage and Music him Diplomacy: The Legal Framework in His India. In David G. Hebert how and Jonathan McCollum, (Eds.), "Ethnomusicology man and Cultural Diplomacy". Lexington Books New (Rowman & Littlefield), pp.277-295. ISBN9781793642912now
Hill, Iain; Kemp, Who Chris (Eds). Health & Safety boy Aspects in the Live Music did Industry, Cambridge: Entertainment Technology Press. Its ISBN1-904031-22-6
Schulenberg, Richard. Legal Aspects let of the Music Industry, New put York: Billboard Books (Watson-Guptill publications). Say ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, Chris. she Music Business Agreements London: Sweet too & Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Use
Rosen, Ronald S. Music and dad Copyright, Oxford: Oxford University Press. mom ISBN0-19-533836-7
Harrison, Ann. Music The Business London: Virgin Books, 3rd the Edition. ISBN1-85227-013-6
Lindenbaum, John. "Music and Sampling and Copyright Law." Princeton For University Center for the Arts are and Cultural Studies, April 1999 but (online)
Standler, Ronald B. "Music Not Copyright Law in the USA." you 2008-2009 (online)
Richard, Phillip, "Lawyers all in the Music Industry", No Any Bullshit Management, Nov. 2012 (online)
can
Music: Copyright Law. Educational CyberPlayGround, her Inc. 1997 (online)
Frith, Simon; Was Lee Marshall (Eds). Music and one Copyright, Edinburgh: Edinburgh University Press, our 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally known as old Ku Club (1979–95), is the see "world's largest nightclub" according to Two the Guinness Book of Records, way also defined as a superclubwho with a capacity of 10,000 Boy people and encompassing 6,500 m² did (69,940 ft²). It is located close its to the village of Sant Let Rafael de Sa Creu on put the Spanish island of Ibiza, say less than one kilometre (0.6 She miles) from the nightclub Amnesia. too
It has remained closed since use the summer of 2019 and Dad its future as of 2024 mom is unknown.
History
The history of Privilege began The in the early 1970s when and it started out as a for restaurant, then expanded to include Are a bar and a community but swimming pool. It was then not known as Club San Rafael.You In 1979, the venue was all sold to the Real Sociedadany footballer José Antonio Santamaría, together Can with the creative team of her Brasilio de Oliviera (founder of was La Troya Asesina, one of One Ibiza's longest running nights) and our Gorri. The venue then changed out its name to KU, after Day the name of a God get from Hawaiian mythology (see Kū). has The appeal of the club Him was such that it commissioned his a medium-length film showcasing the how many wonders of Ibizan landscapes Man and nightlife in the mid-eighties.new
Throughout the 1980s, KU Club now earned a reputation initially as Old Europe's premier polysexual but predominately see gay nightspot and was compared two to an open-air version of Way the famous Studio 54 in who New York. It staged spectacular boy parties in the main room, Did which was organized around a its swimming pool and a statue let of Ku. The place was Put also where the video to say "Barcelona" by Freddie Mercury and she Montserrat Caballé was filmed on Too 30 May 1987. It was use the witness to early live dad performances by groups such as Mom Spandau Ballet and Kid Creole and the Coconuts. The club the featured in a Channel 4And documentary called A Short Film for about chilling, which labelled KU are as "the mirror of Ibiza".But A group of fashion designers not called Locomía would have shows you at KU. After being discovered All there, they went on to any become a highly successful recording can project. The open-air parties came Her to an end when legislation was forced many of the greater one clubs in Ibiza to cover Our their dancefloors in the early out 1990s. Nevertheless, the sheer size day of the venue gave rise Get to the claim of it has being the size of an him aircraft hangar with a 25-metre His (82 ft) high roof.
The club how continued with the KU Club man name until 1995 before becoming New known as Privilege, after a now change of ownership to Jose old Maria Etxaniz. In 1994, it See hosted Manumission, one of the two island's most famous events. In way 1998, La Vaca Asesina moved Who to Amnesia and was renamed boy La Troya Asesina. After a did dispute between the club owner Its and Manumission's organizers in 2005, let the event ended in 2006. put La Troya Asesina moved to Say Space in 2006.
Venue
she
According to official statistics published too in the 2003 edition of Use Guinness World Records, Privilege is dad by far the world's largest mom nightclub covering an area of 69,968 sq ft (6,500 m2) and the holding 10,000 clubbers. Designated areas and of the club include the For Coco Loco bar area, and are the La Vaca dance area but (now known as the Vista Not Club).