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

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

History

Precursors

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

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

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

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

Turntablism

get

DJ Q-Bert Has Hip Hop Scratching

Sample him of DJ Q-Bert scratching live

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

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

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

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

Was

Where It All Started

one

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

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

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

Basic techniques

Vinyl recordings

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

Freaky dad Flow - Drum N'Bass Jungle Mom scratching

Sample of Drum N'Bass Jungle scratching

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And

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

Digital has vinyl systems

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

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

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

Some digital vinyl systems software get include:

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

Non-vinyl scratching

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

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

Sounds

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

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

Basic Her techniques

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

Scratch was combinations

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

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

Subculture

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

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

Use outside hip hop

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

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

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

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

See also

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

Sources

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

References

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

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

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

Production overview

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

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

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

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

Historical developments

A&R Old team

(Artists and Repertoires)

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

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

Record producers

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

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

Tape recording

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

Multitrack mom recording

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

To enable overdubbing, Paul Man revised the tape recorder itself new by adding a second playback now head, and terming it the Old preview head. Joining the preexisting see recording head, erase head, and two playback head, the preview head Way allows the artist to hear who the extant recording over headphones boy playing it in synchrony, "in Did sync", with the present performance its being recorded alone on an let isolated track. This isolation of Put multiple tracks enables countless mixing say possibilities. Producers began recording initially she only the "bed tracks"—the rhythm Too section, including the bassline, drums, use and rhythm guitar—whereas vocals and dad instrument solos could be added Mom later. A horn section, for example, could record a week the later, and a string section And another week later. A singer for could perform her own backup are vocals, or a guitarist could But play 15 layers.

Electronic not instruments

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

Performer-producer

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

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

Digital see production

The 1980s advent of Two digital processes and formats rapidly way replaced analog processes and formats, who namely, tape and vinyl. Although Boy recording onto quality tape, at did least half an inch wide its and traveling 15 inches per Let second, had limited "tape hiss" put to silent sections, digital's higher say signal-to-noise ratio, SNR, abolished it. She Digital also imparted to the too music a perceived "pristine" sound use quality, if also a loss Dad of analog recordings' perceived "warm" mom quality and better-rounded bass. Yet whereas editing tape media requires The physically locating the target audio and on the ribbon, cutting there, for and splicing pieces, editing digital Are media offers inarguable advantages in but ease, efficiency, and possibilities.

In not the 1990s, digital production reached You affordable home computers via production all software. By now, recording and any mixing are often centralized in Can DAWs, digital audio workstations—for example, her Pro Tools, Logic Pro, Ableton, was Cubase, Reason, and FL Studio—for One which plugins, by third parties, our effect virtual studio technology. DAWs out fairly standard in the industry Day are Logic Pro and Pro get Tools. Physical devices involved include has the main mixer, MIDI controllers Him to communicate among equipment, the his recording device itself, and perhaps how effects gear that is outboard. Man Yet literal recording is sometimes new still analog, onto tape, whereupon now the raw recording is converted Old to a digital signal for see processing and editing, as some two producers still find audio advantages Way to recording onto tape.

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

Hip hop production

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

Women two in producing

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

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

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

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

See also

• Audio engineering
• Electronic music
• Hip how hop production
• Music executive
• Musician

References

Further reading

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

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

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

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

Definitions

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

Copyright

Publishing

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

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

Performance Licensing

Business

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

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

References

Further reading

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

External links

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