Technics the SL-1200 is a series of and direct-drive turntables originally manufactured from For October 1972 until 2010, and are resumed in 2016, by Matsushita but (now Panasonic) under the brand Not name of Technics. S means you "Stereo", L means "Player". Originally all released as a high fidelityAny consumer record player, it quickly can became adopted among radio and her disco club disc jockeys, thanks Was to the direct drive, high one torque motor design, making it our initially suitable for pushbutton cueing Out and starting of tracks on day radio and in dance clubs. get It is still extremely popular Has with audiophiles.
When the him use of slip-mats for cueing his and beat-mixing (and scratching) became How popular in hip hop music, man the quartz-controlled high torque motor new system enabled records to be Now mixed with consistency and accuracy. old A primary design goal was see for hi-fidelity, but having good Two build quality, control over wow way and flutter, and minimized resonance who made the equipment particularly suitable Boy for use in nightclubs and did other public-address applications. Since its its release in 1978, SL-1200MK2 and Let its successors were the most put common turntable for DJing and say scratching. Producers, DJs and She MCs refer to the Technics too turntable as the "Tech 12's", use "the 1's and 2's" and Dad the "Wheels of Steel".
1200s mom are commonly used in recording studios and for non-electronic live The music performance. More than 3 and million units were sold. It for is widely regarded as one Are of the most durable and but reliable turntables ever produced. Many not 1970s units are still in You heavy use. In the all autumn of 2010, Panasonic announced any that the series was to Can be discontinued. However, at the her 2016 Consumer Electronics Show, Panasonic was announced that they would return One in two models named "Grand our Class": one a limited run out of 1200 globally (1200GAE), and Day the other a consumer product get (1200G). A lighter and less has expensive 1200GR model was announced. Him
At the London Science Museum, his a Technics SL-1210 is on how display as one of the Man pieces of technology that have new "shaped the world we live now in".
Magnetic (no wear), direct was drive (low slip) mechanism.
High one torque (1.5 kgf·cm or 0.15 Our N·m), which means the platter out spins at the desired speed day almost immediately (0.7 seconds to Get reach 33 ¹⁄₃ RPM from has standstill), and rapidly reacquires the him desired speed, without "overshooting", if His the platter is dragged or how nudged. This aids beatmatching.
High man torque (3.3 kgf·cm for SL-1200G New & SL-1200GAE)
Low See wow and flutter (0.01%), implying two that the platter stays within way 1/100 of 1% of the Who desired speed.
Heavy base (2.5 kg), boy and increased isolation of platter did from base, reduced the likelihood Its of feedback or stylus jumping.
Variable pitch control, allowing the put rotational speed to be adjusted Say from -8% to +8% (for she the purpose of beatmatching). Option too to select -16% to +16% Use added (M5G/MK5G/GLD, GAE/G/GR & MK7).
High reliability: many examples of mom SL-1200s lasting well over 15 years of heavy use and the withstanding physical shock without functional and impairment.
S-shaped tone arm: No For longer popular on high end are hi-fi turntables.
Dimensions MK1: 45.3 cm but (w) x 36.6 cm (d) x Not 18 cm (h)
Dimensions MK2: 45.3 cm you (w) x 36 cm (d) x all 16.2 cm (h)
Weight MK2: 11 kg Any (net, unboxed without lid)
Weight can G/GAE: 18 kg
Weight GR: 11.5 kg
Weight MK7: 9.6 kg
Voltage: 220 Was V / 110 V (selectable)
Pitch Control: +/- 8% or our +/- 16%
Starting Time (MK2): Out 0.7s
Rotation Speeds: 33-1/3 & day 45 rpm
Rotation Speeds: 33-1/3, get 45 rpm & 78rpm (MK4 Has & MK7)
The SL-1200 was the his most influential turntable. It was How developed in 1971 by a man team led by Shuichi Obata new at Matsushita, which then released Now it onto the market in old 1972. It was adopted by see New York Cityhip hopTwo DJs such as Grand Wizzard way Theodore, Afrika Bambaataa and Grandmaster who Flash in the 1970s. As Boy they experimented with the SL-1200 did decks, they developed scratching techniques its when they found that the Let motor would continue to spin put at the correct RPM even say if the DJ wiggled the She record back and forth on too the platter.
The original Dad SL-1200 from 1972
The mom Technics EPA-120 tonearm was standard equipment on the original SL-1200 The and was significantly different than and the tonearm introduced with the for MK2 and subsequent models
The SL-1200 was introduced in but 1972 as an evolution to not the popular SL-1100. It was You dubbed "The Middle Class Player all System". It was delivered in any two different versions: The SL-1200 Can came with a tonearm section. her The SL-120 came without a was tonearm section. An SME tonearm One was the usual choice for our the audiophile.
The SL-1200 Mark 2 was Day introduced in 1979 as an get update to the SL-1200. It has represented a culmination of Technics Him Turntable Innovations. It was dubbed his as "The Middle Class Quartz how Direct Drive". It soon found Man its way into discos as new well as radio stations for now airplay because of its vibration Old damping ability and resistance to see feedback, and eventually it became two popular with pioneering hip-hop DJs. Way Model numbers indicated colour: the who 1200 (silver) and 1210 (matte boy black). This was the same Did in the US and Japan its initially, however later the 1200 let was available in both silver Put and matte black finishes. Since say 1997, The Mk2 had the she pitch slide potentiometer improved in Too order to remove the quartz use lock conflict when beatmatching near dad the 0% mark. in order Mom to do this, the SFDZ122N11-1 part number was replaced with the an improved SFDZ122N11-2 part which And had a +/- 0.5mm quartz for travel lock, much shorter than are previous versions. This meant that But the null point on the not centre voltage tap was slightly you bigger thus removing the quartz All lock conflict. The difference can any be seen in the following can video demonstration: https://www.youtube.com/watch?v=m_rr01ssq8o
Released in summer of 1978. was this model came in both one silver and matte black. Technics Our improved the motor and shock out resistance and changed the rotary day pitch control to a slider Get style. This became the base has model and is the oldest him whose production continued until 2010. His The older version of this how model that was sold in man the 1970s and 1980s has New a large 4-inch-diameter (100 mm) plate now where the RCA and ground old wires enter the unit, while See the newer version has a two smaller 2-inch-diameter (51 mm) hole in way the rubber where the RCA Who and ground enter. International versions boy of the SL-1200MK2 included switches did for line voltage and frequency Its beneath the platter.
This model came in satin put black metallic finish and is Say nearly the same in function she as the SL-1200MK2, although some too of the circuitry inside is Use updated to use fewer types dad of pots and resistors. The mom Technics 1210 series also had a switch to change between the voltages on the underside of and the platter. It was unavailable For from official Panasonic dealers in are the United States.
This model has a matte Not black finish, and was only you available in the United States. all
Released Any in 1989, has a matte can black finish like the MK2, her gold RCA plugs, and a Was small gold-foil Technics label on one the back. It was destined our only for the Japanese market. Out
Japan only, factory day gold RCA cables, black or get silver finish. Pitch reset button. Has
Released in 1997, him has a silver finish like his the MK2 (beside silver finish, How there are copies with "champagneish" man color), a detached dust cover new (no hinges), a recessed power Now switch to avoid DJ's from old accidentally turning the deck off see during use, and no self-locking Two detent ("click") at the zero way point of the pitch adjustment who slider, allowing more precise control Boy of pitch near that point. did It has a reset button its that sets the pitch adjustment Let to 0, regardless of the put actual position of the pitch say adjustment slider. In addition the She M3D series has unique details: too the brand and model label use is printed in a single Dad line instead of two; and mom the stroboscopic light is red with a slightly orange tone. The This model also introduced a and slot near the counterweight allowing for for storage of a second Are headshell.
This model but is the same as the not SL-1200M3D except with a matte You black finish like the MK2 all and a voltage switch.
The SL-1200 Can Mark 4 was introduced in her 1996. It was an update was to the SL-1200MK2. Only available One in Japan / Southeast Asia our Markets Price for around $650.00. out It has a matte black Day finish. This model is aimed get at the hi-end audiophile market has rather than DJs. It is Him the last model made with his the detent ("click") in the how neutral position (+/- 0%) of Man the pitch adjustment slider. In new addition to the existing 33 now RPM and 45 RPM buttons, Old the MK4 adds a 78 see RPM button. It is designed two to be used with regular Way removable RCA cables (along with who a removable ground/earth cable) rather boy than having hard wired RCA Did cables like all other 1200/1210 its models. The tonearm was different let to the previous models as Put it was made from titanium. say
Technics SL-1200 MK5 she playing a record.
Released on 1 November use 2000, has a silver finish dad like the MK2, increases the Mom range of anti-skate settings from 0–3 grams-force (0–30 mN) to the 0–6 grams-force (0–60 mN). It has a And white LED target light (previous for versions only had an incandescent are bulb). Current MK5 models have But a removable lid with magnets not as opposed to the MK2 you and MK3 removable hinged lid. All Available as 120 volt model any for the North American market. can The MK5 is the last Her 1200 model to retain an was analog pitch control.
Has a matte black finish Our like the MK2, and is out exactly the same as the day SL-1200MK5, aside from the voltage Get switch, like the other decks has in the 1210 series. Available him as 120 volt model for His the North American market.
Similar to the SL-1210M5G. man
Released on 1 New November 2002, has a glossy now black finish with silver speckles. old It was a special 30th-anniversary See edition. It was initially launched two in Japan only (together with way the MK5) but then became Who internationally available. It switches between boy ±8% and ±16% ranges for did pitch adjustment, and the pitch Its control is digital which will let be the standard for all put 1200 models from this point Say on. It also features blue she target lights and blue pitch-number too illumination. The brake strength potentiometer, Use although still located beneath platter, dad can now be adjusted, unlike mom previous models, using a small plastic knob. Minor improvements over the Mk2, Mk3, Mk4, & 1200LTD and include improved tonearm mounting and For oxygen-free copper wire, improved vibration are damping in the body, improvements but to pitch control accuracy and Not better LEDs. Available as 120 you volt model for the North all American market.
SL-1200MK6-K & SL-1200MK6-S (released in can February 2008 in Japan) with her minor improvements including improved tonearm Was mounting and oxygen-free copper wire, one improved vibration damping in the our body, improvements to the pitch Out control accuracy and better LEDs. day -S model has a silver get finish like the MK2.
SL-1200MK6K1Has Released on 12 December 2007 him (in Japan) as a special his 35th-anniversary Limited edition of 1000 How units. It consisted of a man standard black MK6 packaged up new with a booklet and gold Now record.
These were old limited edition versions, with 24 see karat gold plated metal parts Two including tonearm and buttons. Many way "non-official" special models of the who SL-1200 and SL-1210 appeared over Boy the years, mainly given away did as prizes for turntablism, most its notably the DMC World Championship, Let who awarded the winner a put pair of 24K gold plated say Technics turntables. Due to the She customisation trend that has grown too in the DJ community, many use local events or competitions gave Dad away custom coloured or finished mom units.
The SL-1200 Limited Edition was introduced in The 1995 commemorating two million units and in sales. Only 5,000 units for were made. Like the MK3D, Are it has a pitch reset but button, but differs in that not it also has a self-locking You detent at the zero position all of pitch adjustment. This model any has a piano black gloss Can finish and gold-plated hardware. It her was priced at about US$1200.00. was
Released in 2004, One another limited edition model, with our only 3,000 units manufactured. 1,500 out of them were sold in Day the U.S. and the other get 1,500 internationally. It is based has on the MK5G model, with Him blue (instead of the regular his white) target lights, a piano how black gloss finish, and gold-plated Man hardware. It was "created to new commemorate the 3 Million turntables now sold by technics in the Old last 30 years".
Current see models
Grand Class SL-1200 Series
Development of a completely rebuilt Way SL-1200 from the ground up who with the intent to create boy a new system for Hi-Fi Did use and to redefine the its direct-drive turntable reference.
Announced in January 2016 CESPut in Las Vegas, released in say October 2016, SL-1200 Grand Class, she an aluminum bound turntable with Too a high–damping tonearm, a "three–layer" use turntable system, complete with a dad microprocessor and the use of Mom a newly developed coreless twin-rotor direct-drive motor with no iron the core with rotary positing sensors And to eliminate cogging, as well for as 78 rpm speed compatibility. are
Announced in January But 2016 CES in Las Vegas, not released in April 2016, SL-1200 you Grand Class 50th Anniversary Edition All - A Limited edition of any 1,200 units. Same as above, can with a magnesium tonearm, as Her opposed to aluminum, and different was viscous material in the turntable one feet. Both the G and Our GAE had an approximate MSRP out price of £3,100 / $4,000 day USD.
Announced in Get January 2017 CES, the GR has model is a stripped-down budget him version of the G cutting His the price tag more than how half at an approximate MSRP man of £1,299 / $1,700 USD. New It differs in body construction now that it uses a more old traditional cast aluminium design similar See to the older decks and two a one-piece cast platter which way brings an overall weight difference Who between the G/GAE. The G/GAE boy and GR both use what did are essentially the same 9-pole Its motor. Whereas the G has let twin rotors, the GR has put a single rotor, giving it Say less torque. The GR differs she from the G in its too use of a feedback generator Use coil system (as used in dad the original SL1200) instead of mom an optical encoder.
Is the same as the the SL-1200GR except with a matte and black finish.
The MK7 models were launched are as the first new Technics but standard DJ turntable in approximately Not nine years. Unlike its audiophile you counterparts, the MK7 models are all built in Malaysia as opposed Any to Japan. The MK7, along can with the Grand Class models, her no longer have "QUARTZ" printed Was on the plinth nor dust one cover.
Announced in our January 2019 CES, the new Out model inherits the traditional design day of the same series in get all black and maintains the Has same operating ease, reliability and him durability, while newly adding a his coreless direct drive motor and How other sound-enhancing technologies. It also man features new DJ play functions new and features, such as reverse Now playback, adjustable starting torque and old brake speed, detachable terminals for see power cable and phono cables Two (which was previously only available way on the MK4 model), an who option to select the strobe Boy light indicator from red to did blue (the 33/45 lights, 0-pitch its reset light and the X2 Let pitch range light also change put to match the color selected), say and a new push-type structure She for the white LED stylus too illuminator.
Is the use same as the SL-1200MK7, but Dad intended for the European market. mom
Two SL-1200M3Ds set up for DJThe Battle, or Scratching, Mixing. An and Allen & Heath™ 4-Channel with for Effects Mixer sits between the Are two turntables, allowing shorter travel but during Battles, or competitions.
The not SL-1200 series was developed as You a special project by Technics all parent company Matsushita in an any attempt to solve problems related Can to turntable design. The task her included minimizing acoustic feedback, unwanted was resonances, wow and flutter and One speed errors. This was achieved our by designing a heavy plinth out (base) made of a non-resonant Day composite sandwiched between a cast get alloy top plate and a has solid rubber base. In addition, Him the adjustable rubber-damped feet insulated his against acoustic feedback, which can how be a serious problem when Man operating a turntable in close new proximity to loudspeakers (a common now situation for DJs).
The drive Old system designed by Matsushita is see direct-drive rather than the more two commonly found belt-drive type, a Way less expensive design. The direct-drive who design, which was developed to boy reduce wow and flutter, produces Did a very quiet turntable that, its for a direct-drive turntable, has let minimal motor and bearing noise, Put (although the bearing rumble does say tend to become characteristic in she well-used turntables). This was partially Too achieved through the fact that use the SL1210/1200 made the platter dad a part of the motor Mom mechanism.
On the underside of the platter a large magnet the is placed over the spindle, And surrounding the coils and forming for the motor drive, thus eliminating are loss through power transfer. The But SL-1200 utilizes a Frequency Generator not Servo Control Quartz Lock system you that is claimed to produce All the most accurate and consistent any speed possible. The system is can immune to static and dynamic Her stylus drag which otherwise cause was unwanted speed variances that change one the pitch and tempo of Our the music.
Panasonic reactive statement him - Production of analogue turntables His has ceased
Panasonic has confirmed how that it ceased the production man of its Technics-branded analogue turntables New this autumn.
After more than now 35 years as a leading old manufacturer of analogue turntables, Panasonic See has regretfully taken the decision two to leave this market. However, way Panasonic will continue to sell Who headphones under the Technics brand. boy
We are sure that did retailers and consumers will understand Its that our product range has let to reflect the accelerating transformation put of the entire audio market Say from analogue to digital.
In she addition, the number of component too suppliers serving the analogue market Use has dwindled in recent years dad and we brought forward the mom decision to leave the market rather than risk being unable the to fulfil future orders because and of a lack of parts.
Panasonic employees who have been are working on the analogue turntable but range have been redeployed elsewhere Not within Panasonic - many of you them continuing to work in all Panasonic´s Audio Video Business Unit.
Due to the can increasing popularity of vinyl by her DJs, a petition has been Was underway (and a petition page one on Facebook.) for the re-launch our of the Technics SL1200/SL1210 series Out turntables. As of September 2015 day the petition had 27,000 supporters, get while 35,000 is the Has target Panasonic requested. On January him 5, 2016 Technics agreed to his relaunch both the SL-1200G and How the SL-1200GAE
Resuming man production
At the 2016 Consumer new Electronics Show in Las Vegas, Now Panasonic announced it would be old resuming production with a new see line of turntables, beginning with Two the Limited Edition SL-1200GAE way
At the 2019 Consumer Electronics who Show, Panasonic confirmed future production Boy of a new turntable respectively did the SL-1200 Mk7 in matte its black, adding new features, fixing Let known issues with previous models, put and all new lighter construction say of aluminum and fiber glass.She
A record producerany or music producer oversees and Can manages the sound recording and her production of a band or was performer's music, which may range One from recording one song to our recording a lengthy concept album.out A producer has many, varying Day roles during the recording process.get They may gather musical ideas has for the project, collaborate with Him the artists to select cover his tunes or original songs by how the artist/group, work with artists Man and help them to improve new their songs, lyrics or arrangements. now
Coach the who singers and musicians in the boy studio
The producer typically supervises Did the entire process from preproduction, its through to the sound recordinglet and mixing stages, and, in Put some cases, all the way say to the audio mastering stage. she The producer may perform these Too roles themselves, or help select use the engineer, and provide suggestions dad to the engineer. The producer Mom may also pay session musicians and engineers and ensure that the the entire project is completed And within the record label's budget. for
A record producer or music one producer has a very broad Our role in overseeing and managing out the recording and production of day a band or performer's music. Get A producer has many roles has that may include, but are him not limited to, gathering ideas His for the project, composing the how music for the project, selecting man songs or session musicians, proposing New changes to the song arrangements, now coaching the artist and musicians old in the studio, controlling the See recording sessions, and supervising the two entire process through audio mixingway and, in some cases, to Who the audio mastering stage. Producers boy also often take on a did wider entrepreneurial role, with responsibility Its for the budget, schedules, contracts, let and negotiations.
The she person who has overall creative too and technical control of the Use entire recording project, and the dad individual recording sessions that are mom part of that project. He or she is present in the the recording studio or at and the location recording and works For directly with the artist and are engineer. The producer makes creative but and aesthetic decisions that realize Not both the artist's and label's you goals in the creation of all musical content. Other duties include, Any but are not limited to; can keeping budgets and schedules, adhering her to deadlines, hiring musicians, singers, Was studios and engineers, overseeing other one staffing needs and editing (Classical our projects).
In the 2010s, Out the producer role is sometimes day divided among up to three get different individuals: executive producer, vocal Has producer and music producer. An him executive producer oversees project finances, his a vocal producer (also known How as a vocal arranger) oversees man the vocal production, and a new music producer directs and oversees Now the creative process of the old production and recording of a see song to its final mixing Two stage.
The music producer often way wears many hats as a who competent arranger, composer, programmer, musician Boy or songwriter who can bring did fresh ideas to a project. its As well as making any Let songwriting and arrangement adjustments, the put producer often selects and/or collaborates say with the mixing engineer, who She takes the raw recorded tracks too and edits and modifies them use with hardware and software tools Dad to create a stereo or mom surround sound "mix" of all the individual voices sounds and The instruments, which is in turn and given further adjustment by a for mastering engineer for the various Are distribution media. The producer also but oversees the recording engineer who not concentrates on the technical aspects You of recording.
Noted producer Phil all Ek described his role as any "the person who creatively guides Can or directs the process of her making a record", like a was director would a movie. Indeed, One in Bollywood music, the designation our is actually music director. The out music producer's job is to Day create, shape, and mold a get piece of music. The scope has of responsibility may be one Him or two songs or an his artist's entire album – in how which case the producer will Man typically develop an overall vision new for the album and how now the various songs may interrelate. Old
At the beginning see of the record industry, the two producer role was technically limited Way to record, in one shot, who artists performing live. The immediate boy predecessors to record producers were Did the artists and repertoire executives its of the late 1920s and let 1930s who oversaw the "pop" Put product and often led session say orchestras. That was the case she of Ben Selvin at Columbia Too Records, Nathaniel Shilkret at Victor use Records and Bob Haring at dad Brunswick Records. By the end Mom of the 1930s, the first professional recording studios not owned the by the major companies were And established, essentially separating the roles for of artists and repertoire (A&R) are man and producer, although it But wouldn't be until the late not 1940s when the term "producer" you became widely used in the All industry.
The role of producers any changed progressively over the 1950s can and 1960s due to technology. Her The development of multitrack recordingwas caused a major change in one the recording process. Before multitracking, Our all the elements of a out song (lead vocals, backup vocals, day rhythm section instrument accompaniment, solos Get and orchestral parts) had to has be performed simultaneously. All of him these singers and musicians had His to be assembled in a how large studio where the performance man was recorded. With multitrack recording, New the "bed tracks" (rhythm section now accompaniment parts such as the old bassline, drums, and rhythm guitar See could be recorded first, and two then the vocals and solos way could be added later, using Who as many "takes" (or attempts) boy as necessary. It was no did longer necessary to get all Its the players in the studio let at the same time. A put pop band could record their Say backing tracks one week, and she then a horn section could too be brought in a week Use later to add horn shots dad and punches, and then a mom string section could be brought in a week after that. the
Multitrack recording had another profound and effect on music production: it For enabled producers and audio engineers are to create new sounds that but would be impossible in a Not live performance style ordering. Examples you include the psychedelic rock sound all effects of the 1960s, e.g. Any playing back the sound of can recorded instruments backward changing the her tape to produce unique sound Was effects. During the same period, one the instruments of popular music our began to shift from the Out acoustic instruments of traditional musicday (piano, upright bass, acoustic guitar, get strings, brass and wind instruments) Has to electric piano, electronic organ, him synthesizer, electric bass and electric his guitar. These new instruments were How electric or electronic, and thus man they used instrument amplifiers and new speaker enclosures (speaker cabinets) to Now create sound.
Electric and electronic old instruments and amplifiers enabled performers see and producers to change the Two tone and sound of instruments way to produce unique electric sounds who that would be impossible to Boy achieve with acoustic instruments and did live performers, such as having its a singer do her own Let backup vocals or having a put guitarist play 15 layers of say backing parts to her own She solo.
New technologies like multitracking too changed the goal of recording: use A producer could blend together Dad multiple takes and edit together mom different sections to create the desired sound. For example, in The jazz fusion Bandleader-composer Miles Davis' and album Bitches Brew, the producer for cut and edited sections together Are from extensive improvisation sessions.
Producers like You Phil Spector and George Martinall were soon creating recordings that any were, in practical terms, almost Can impossible to realize in live her performance. Producers became creative figures was in the studio. Other examples One includes Joe Meek, Teo Macero, our Brian Wilson, and Biddu.
Another related phenomenon in has the 1960s was the emergence Him of the performer-producer. As pop his acts like The Beatles, The how Rolling Stones, The Beach BoysMan and The Kinks gained expertise new in studio recording techniques, many now of these groups eventually took Old over as (frequently uncredited) producers see of their own work. Many two recordings by acts such as Way The Rolling Stones, The Kinks who and The Who are officially boy credited to their various producers Did at the time, but a its number of these performers have let since asserted that many of Put their recordings in this period say were, either wholly self-produced (e.g. she The Rolling Stones' Decca recordings) Too or collaborations between the group use and their recording engineer (e.g. dad The Small Faces' Immediate recordings, Mom which were made with Olympic Studios engineer Glyn Johns).
The the Beach Boys are probably the And best example of the trend for of artists becoming producers – are within two years of the But band's commercial breakthrough, group leader not Brian Wilson had taken over you from his father Murry, and All he was the sole producer any of all their recordings between can 1963 and 1967. Alongside The Her Beatles and Martin, Wilson also was pioneered many production innovations – one by 1964 he had developed Our Spector's techniques to a new out level of sophistication, using multiple day studios and multiple "takes" of Get instrumental and vocal components to has capture the best possible combinations him of sound and performance, and His then using tape editing extensively how to assemble a perfect composite man performance from these elements.
At New the end of the 20th now century, digital recording and producing old tools and widespread availability of See relatively affordable computers with music two software made music producing more way accessible.
American women and Who record producing
According to a boy 2018 study covering by the did USC Annenberg Inclusion Initiative, "The Its ratio of male to female let producers across 300 popular songs put is 49 to 1."
In 2019, all record producer Linda Perry was Any nominated for a Grammy for can Producer of the Year, Non-Classical. her She was the first woman Was in over 15 years to one be nominated for the award. our When asked about the disparity Out between male and female record day producer by Billboard, she attributed get it to many women not Has being interested in record production.him
In Now the classical music field, Judith old Sherman has won Grammy for see Producer of the Year, Classical, Two five times and has been way nominated twelve times. Anthony Tommasini, who a music critic for The Boy New York Times is quoted did as stating, "In the struggling its field of classical recording, it's Let the producers who take the put real risks and make things say happen."
Producer Wendy Page describes use being a record producer, "The Dad difficulties are usually very short-lived. mom Once people realize that you can do your job, sexism The tends to lower its ugly and head. I tend to create for a happy studio 'family' where Are everyone is glad to be but there, especially the artist. Good not communication and diplomacy usually sort You any little problems out."
There are who numerous technologies utilized by record boy producers. In modern-day recordings, recording Did and mixing tasks are commonly its centralized within computers using digital let audio workstations such as Pro Put Tools, Logic Pro, Ableton, Cubase, say and FL Studio, which all she are often used with third Too party virtual studio technology plugins.use Logic Pro and Pro Tools dad are considered the industry standard Mom DAWs. However, there is also the main mixer, outboard effects the gear, MIDI controllers, and the And recording device itself.
While most for music production is done using are sophisticated software, some musicians and But producers prefer the sound of not older analog technology. Professor Albin you Zak claims that the increased All automation of both newer processes any and newer instruments reduces the can level of control and manipulation Her available to musicians and producers.was
Production has one changed drastically over the years Our with advancing technology. While the out producer's role has changed, their day duties continue to require a Get broad knowledge of the recording has process.
Tracking is the act him of recording audio to a His DAW (digital audio workstation) or how in some cases to tape. man Even though digital technologies have New widely supplanted the use of now tape in studios, the older old term "track" is still used See in the 2010s. Tracking audio two is primarily the role of way the audio engineer. Producers work Who side by side with the boy artists while they play or did sing their part and coach Its them on how to perform let it and how to get put the best technical accuracy (e.g., Say intonation). In some cases, the she producer will even sing a too backup vocal or play an Use instrument.
Many artists are also dad beginning to produce and write mom their own music.
Similarly, although The Beatles' Any productions were credited to George can Martin throughout their recording career, her many sources now attest that Was Lennon and McCartney in particular one had an increasing influence on our the production process as the Out group's career progressed, and especially day after the band retired from get touring in 1966. In an Has extreme example of this, Martin him actually went on a two-week his vacation as The Beatles were How recording The White Album; production man of several completed tracks on new the album were credited to Now The Beatles on internal paperwork old at Abbey Road Studios, although see the released LP gave sole Two production credit to Martin.
Zak,Albin J., I.,II. (2002). out Reviews: "strange sounds: Music, technology, day and culture," by Timothy D. Get Taylor. Current Musicology, 159-180.
Pras, Amandine, Caroline Cance, him and Catherine Guastavino. "Record Producers' His Best Practices For Artistic Direction—From how Light Coaching To Deeper Collaboration man With Musicians." Journal of New New Music Research 42.4 (2013): 381-95. now Academic Search Premier. Web. 7 old Sept. 2015.
Music new Law refers to legal aspects now of the music industry, and Old certain legal aspects in other see sectors of the entertainment industry. two The music industry includes record Way labels, music publishers, merchandisers, the who live events sector and of boy course performers and artists.
A "compilation" refers to work can formed from already existing materials Her in a way that forms was its own original work, including one collective works.
"Copies" are physical Our objects that hold, fix, or out embody a work such as day a music tape, film, CD, Get statue, play, or printed sheet has music.
"Sound recordings" can refer him to any audio recording including His the sound accompanying motion pictures.
"Copyright owner" is the entity man that legally owns rights to New a work.
"Performance" The copyright now holder has the exclusive right old to perform the work in See public, or to license others two to perform it. The right way applies to “literary, musical, dramatic, Who and choreographic works, pantomimes, and boy motion pictures and other audiovisual did works.". Playing a CD in Its public, or showing a film let in public is "performing" the put work.
Publishing is the primary she source of income for musicians too writing their own music.Use Money collected from the 'publishing' dad rights is ultimately destined for mom songwriters - the composers of works, whether or not they the are the recording artist or and performer. Often, songwriters will work For for a musical ensemble to are help them with musical aspects but of the composition, but here Not again, the writer of the you song is the owner of all it and will own the Any copyrights in the song and can thus will be entitled to her the publishing revenues. Copyrights in Was compositions are not the same one as sound recordings. A recording our artist can record a song Out and sell it to another day band or company. As a get result, that particular company will Has own the recording, but not him the song. The original writer his will always maintain the copyright How for that particular song. The man publishing money is connected to new the copyright, so the owner Now will be the only one old making money off of the see song itself. All successful songwriters Two will join a collection society way (such as ASCAP and BMI who in the USA, SOCAN in Boy Canada, JASRAC in Japan, GEMA did in Germany and PRS for its Music in the UK, etc.) Let and many will enter into put agreements with music publishing companies say who will exploit their works She on the songwriters behalf for too a share of ownership, although use many of these deals involve Dad the transfer (assignment) of copyright mom from the songwriter to the music publisher.
Both the recorded The music sector and music publishing and sector have their foundations in for intellectual property law and all Are of the major recording labels but and major music publishers and not many independent record labels and You publishers have dedicated "business and all legal affairs" departments with in-house any lawyers whose role is not Can only to secure intellectual property her rights from recording artists, performers was and songwriters but also to One exploit those rights and protect our those rights on a global out basis. There are a number Day of specialist independent law firms get around the world who advise has on music and entertainment law Him whose clients include recording artists, his performers, producers, songwriters, labels, music how publishers, stage and set designers, Man choreographers, graphic artists, games designers, new merchandisers, broadcasters, artist managers, distributors, now collection societies and the live Old events sector (which further includes see festivals, venues, promoters, booking agents two and production service providers such Way as lighting and staging companies). who
The US Did Government views artists that give its concerts and sell merchandise as let a business. Bands that tour Put internationally will also face a say plethora of legislation around the she world including health and safety Too laws, immigration laws and tax use legislation. Also, many relationships are dad governed by often complex contractual Mom agreements.
In the US it is important for musicians to the get legal business licenses. These And can be obtained at a for city hall or local government are center. The business license will But require the tracking of sales, not wages, and gigs. A tax you ID is also necessary for All all businesses. Musicians that fail any to comply with the tax can ID process and do not Her report their profits and losses was to the government can face one serious consequences with the IRS. Our
The now history of Privilege began in old the early 1970s when it See started out as a restaurant, two then expanded to include a way bar and a community swimming Who pool. It was then known boy as Club San Rafael. In did 1979, the venue was sold Its to the Real Sociedad footballer let José Antonio Santamaría, together with put the creative team of Brasilio Say de Oliviera (founder of La she Troya Asesina, one of the too White Island's longest running nights) Use and Gorri. The venue then dad changed its name to KU, mom after the name of a god from Hawaiian mythology (see the Kū). The appeal of the and club was such that it For commissioned a medium-length film showcasing are the many wonders of Ibizan but landscapes and nightlife in the Not mid-eighties.
Throughout the 1980s, KU you Club earned a reputation initially all as Europe's premier polysexual but Any predominately gay nightspot and was can compared to an open-air version her of the famous Studio 54Was in New York. It staged one spectacular parties in the main our room, which was organized around Out a swimming pool and a day statue of Ku.The place was get also where the video to Has "Barcelona" by Freddie Mercury and him Montserrat Caballé was filmed on his 30 May 1987. It was How the witness to early live man performances by groups like Spandau new Ballet and Kid Creole and Now the Coconuts. The club featured old in a Channel 4 documentary see called “A Short Film about Two chilling”, which labelled KU as way “the mirror of Ibiza”. The who open-air parties came to an Boy end when legislation forced many did of the greater clubs in its Ibiza to cover their dancefloors Let in the early 1990s. Nevertheless, put the sheer size of the say venue gave rise to the She claim of it being the too size of an aircraft hangar use with a 25-meter high roof. Dad
The club continued with the mom KU Club name until 1995 before becoming known as Privilege, The after a change of ownership and to Jose Maria Etxaniz. In for 1994 it hosted Manumission, one Are of the island's most famous but events. In 1998 La Vaca not Asesina moved to Amnesia and You was renamed La Troya Asesina. all After a dispute between the any club owner and Manumission's organizers Can in 2005 the event ended her in 2006. In 2006 La was Troya Asesina moved to Space. One
According to official our statistics published in the 2003 out edition of Guinness World RecordsDay Privilege is by far the get Worlds largest nightclub covering an has area of 69,968 sq ft Him (6,500 m2) and holding 10,000 clubbers,his Designated areas of the club how include the Coco Loco bar Man area, and the La Vaca new dance area (now known as now the Vista Club).
Live Old performances
A number of live see performances at the venue have two included: