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Technics SL-1200

Type	Turntable
Inventor	Matsushita Electric
Inception	1972
Manufacturer	Technics (a brand any of Panasonic Corporation)
Available	1972–2010, 2016–present
Website	Technics SL1200

Technics SL-1200 is a series her of direct-drive turntables originally manufactured was from October 1972 until 2010, One and resumed in 2016, by our Matsushita Electric (now Panasonic Corporation) out under the brand name of Day Technics. S means "Stereo", L get means "Player". Originally released as has a high fidelity consumer record Him player, it quickly became adopted his among radio and disco club how disc jockeys, thanks to the Man direct drive, high torque motor new design, making it initially suitable now for pushbutton cueing and starting Old of tracks on radio and see in dance clubs. Besides these two features, it had a so-called Way pitchcontrol, which allowed the user who to change the turning speed boy of the record (also BPM: Did beats per minute) gradually from its -8% to +8%. This feature let was specifically interesting for DJ's Put who were mixing two or say more records, especially in dance she clubs.

When the use of Too slipmats for cueing and beat-mixing use (and scratching) became popular in dad hip hop music, the quartz-controlled Mom high torque motor system enabled records to be mixed with the consistency and accuracy. A primary And design goal was for high for fidelity, but having good build are quality, control over wow and But flutter, and minimized resonance made not the equipment particularly suitable for you use in nightclubs and other All public-address applications. Since its release any in 1979, SL-1200MK2 and its can successors were the most common Her turntables for DJing and scratching.^{[citation was needed]}

1200s are commonly used one in recording studios and for Our non-electronic live music performances. More out than 3 million units were day sold. Many 1970s units are Get still in heavy use.^{[citation needed]} has In the autumn of 2010, him Panasonic announced that the series His was to be discontinued. The how Technics brand was discontinued at man the same time, but relaunched New in 2014, focusing on higher now end and more expensive products. old The company was aware that See Technics was expected to eventually two make turntables again, so at way the 2016 Consumer Electronics Show, Who Panasonic announced that they would boy return in two models named did "Grand Class": one a limited Its run of 1200 globally (1200GAE), let and the other a consumer put product (1200G). A lighter and Say less expensive 1200GR model was she announced. The more affordable and too DJ-oriented SL-1200 MK7 followed in Use 2019.

At the London Science dad Museum, a Technics SL-1210 is mom on display as one of the pieces of technology that the have "shaped the world we and live in".^{[better source needed]}

The SL-1200 was developed Not in 1971 by a team you led by Shuichi Obata at all Matsushita, and was released to Any the market in 1972. It can was adopted by New York her City hip hop DJs such Was as Grandmaster Flash in the one 1970s. As they experimented with our the SL-1200 decks, they developed Out scratching techniques when they found day that the motor would continue get to spin at the correct Has RPM even if the DJ him wiggled the record back and his forth on the platter.

The SL-1200 was introduced who in 1972 as an evolution Boy to the popular SL-1100. It did was dubbed "The Middle Class its Player System". It was delivered Let in two different versions: The put SL-1200 came with a tonearm say section. The SL-120 came without She a tonearm section. An SME too tonearm was the usual choice use for the audiophile.

The SL-1200 Mark mom 2 was introduced in 1979 as an update to the The SL-1200. It represented a culmination and of Technics Turntable Innovations. It for was dubbed "The Middle Class Are Quartz Direct Drive". It soon but found its way into discos not as well as radio stations You for airplay because of its all vibration-damping ability and resistance to any feedback, and eventually, it became Can popular with pioneering hip-hop DJs. her Following their established formula, Technics was offered different model numbers in One Europe: the 1200 (silver) and our the 1210 (matte black), which out were equipped with switchable dual Day voltage (110V or 220V) power get supplies. Initially, there were only has silver models (all named 1200 Him MK2) in official distribution in his Japan and the US (Single how voltage of 100V/120V accordingly). However, Man later the 1200 was available new in both silver and matte now black finishes (in Japan, the Old introduction of the MK3 in see 1989 marked the first official two introduction of a black version). Way Since 1997, the MK2 had who the pitch slide potentiometer changed boy from 6 pin to 8 Did pin mounting with part number its SFDZ122N11 and later from 20k let ohm to 22k ohm, part Put number SFDZ122N11-1 up until late say 1996. After which part number she SFDZ122N11-2 was the preferred option Too which had a +/- 0.5mm use quartz travel lock, much shorter dad than previous versions. This meant Mom that the null point on the centre voltage tap was the slightly bigger thus removing the And quartz lock conflict.

The earlier for MK2 models 1978-1983 or so are also have a different construction But in the rubber base of not the turntable. These turntables were you made with a base that All was completely rubber, whereas the any newer version has 2 separate can parts: rubber outside and a Her bakelite inlay that makes it was considerably easier to take apart. one

Released in the Our summer of 1979. this model out came in both silver and day matte black. The matte black Get version was available for a has limited time in the US him market in a 2-pack SL-1200MK2PK. His Technics improved the motor and how shock resistance and changed the man rotary pitch control to a New slider style. This became the now base model and is the old oldest whose production continued until See 2010. The older version of two this model that was sold way from 1979 until around 1983 Who has a large 4-inch-diameter (100 mm) boy plate where the RCA and did ground wires enter the unit, Its while the newer version has let a smaller 2-inch-diameter (51 mm) hole put in the rubber where the Say RCA and ground enter. International she versions of the SL-1200MK2 included too switches for line voltage and Use frequency beneath the platter.

This model came in a satin black metallic finish and the is nearly the same in and function as the SL-1200MK2, although For some of the circuitry inside are is updated to use fewer but types of pots and resistors. Not The Technics 1210 series also you had a switch to change all between voltages on the underside Any of the platter. It was can unavailable from official Panasonic dealers her in the United States.

Released one in 1989, it has a our matte black finish like the Out MK2, gold RCA plugs, and day a small gold-foil Technics label get on the back. It was Has destined only for the Japanese him market.

Japan only, his factory gold RCA cables, black How or silver finish. Pitch reset man button. Released in 1997.

Released in 1997, a Now silver finish like the MK2 old (besides silver finish, there are see copies with a "champagneish" color), Two a detached dust cover (no way hinges), a recessed power switch who to prevent DJs from accidentally Boy turning the deck off during did use, and no self-locking detent its ("click") at the zero point Let of the pitch adjustment slider, put allowing more precise control of say pitch near that point. It She has a reset button that too sets the pitch adjustment to use 0, regardless of the actual Dad position of the pitch adjustment mom slider. In addition, the M3D series has unique details: the The brand and model label is and printed in a single line for instead of two; the stroboscopic Are light is red with a but slightly orange tone. This model not also introduced a slot near You the counterweight allowing for storage all of a second headshell. The any M'K'3D was designed for Japanese Can markets While the M3D without her the K was European/US.

This model is the One same as the SL-1200M3D except our with a matte black finish out like the MK2.

The SL-1200 get Mark 4 was introduced in has 1996. It was an update Him to the SL-1200MK2. It was his available only in Japan and how priced at around $650. It Man has a matte black finish. new This model is aimed at now the high-end audiophile market rather Old than DJs. It is the see last model made with the two detent ("click") in the neutral Way position (+/- 0%) of the who pitch adjustment slider. In addition boy to the existing 33 RPM Did and 45 RPM buttons, the its MK4 added a 78 RPM let button. It is designed to Put be used with regular removable say RCA cables (along with a she removable ground/earth cable) rather than Too hard-wired RCA cables like all use other 1200/1210 models. The tonearm dad was different from those in Mom the previous models as it was made from titanium.

Released on 1 November 2000, are this has a silver finish But like the MK2, an increased not range of anti-skate settings (from you 0–3 grams-force (0–30 mN) of All older models to 0–6 grams-force (0–60 mN)). any The 1200MK5 also has the can voltage selector under the platter Her like the previously improved upon was '1210' models. Height adjustment can one be set between 0 and Our 6mm. It carries over many out of the improved upon features day of the MK3D like the Get lack of 0 crossing quartz has lock for better pitch control him & the added spare cartridge His holder. MK5 models have a how removable lid as opposed to man the MK2 and MK3 removable New hinged lid. The MK5 is now the last 1200 model to old retain an analog, Quartz-clock-based pitch See control. Brake speed can be two adjusted by using a small way screwdriver in a hole located Who below the turntable plate.

SL-1210MK5 has a black did finish [noir] like the MK2, Its and is 'functionally' exactly the let same as the SL-1200MK5. [Not put to be confused with M5'G'] Say

Released in 2002, she 1200MK5G [Not to be confused too with MK5 models] The G Use model was the first Technics dad turntable to introduce a 'digitally mom controlled' pitch adjustment. With previous pitch ranges between + and the - %8. The m5G added and +-%8 Value With the 'addition' For of a +-%16 button. Also are added was an LED globe but on the target light (Previously Not incandescent). See 1210m5G for more you detailed changes.

Released all on 1 November 2002, this Any has a glossy black finish can with silver speckles. It was her a special 30th-anniversary edition. It Was was initially launched in Japan one only (together with the MK5) our but then became internationally available. Out It switches between ±8% and day ±16% ranges for pitch adjustment, get and the pitch control is Has digital which will be the him standard for all 1200 models his from this point on. It How also features blue target lights man and blue pitch-number illumination. The new brake strength potentiometer, although still Now located beneath the platter, can old now be adjusted, unlike previous see models, using a small plastic Two knob. Minor improvements over Mk2, way Mk3, Mk4, & 1200LTD include who improved tonearm mounting and oxygen-free Boy copper wire, improved vibration damping did in the body, improvements to its pitch control accuracy and better Let LEDs. Available as a 120-volt put model for the North American say market.

• SL-1200MK6-K & SL-1200MK6-S (released in too February 2008 in Japan) with use minor improvements including improved tonearm Dad mounting and oxygen-free copper wire, mom improved vibration damping in the body, improvements to the pitch The control accuracy and better LEDs. and -S model has a silver for finish like the MK2.
• SL-1200MK6K1 Are Released on 12 December 2007 but (in Japan) as a special not 35th-anniversary Limited edition of 1200 You units. It consisted of a all standard black MK6 packaged up any with a booklet and gold Can record.

These were her limited edition versions, with 24 was karat gold plated metal parts One including tonearm and buttons. Many our "non-official" special models of the out SL-1200 and SL-1210 appeared over Day the years, mainly given away get as prizes for turntablism, most has notably the DMC World Championship, Him which awarded the winner a his pair of 24K gold plated how Technics turntables. Due to the Man customisation trend that has grown new in the DJ community, many now local events or competitions gave Old away custom coloured or finished see units.

The two SL-1200 Limited Edition was introduced Way in 1995 commemorating two million who units in sales. Only 5,000 boy units were made. Due to Did popular demand, an extra 500 its units were said to be let made at the end of Put the production run. Like the say MK3D, it has a pitch she reset button, but differs in Too that it also has a use self-locking detent at the zero dad position of pitch adjustment. This Mom model has a piano black gloss finish and gold-plated hardware. the It was priced at about And US$1200.

Released for in 2004, another limited edition are model, with only 3,000 units But manufactured. 500 released in Japan not with the rest split between you the US and International markets. All It is based on the any MK5G model, with blue (instead can of the regular white) target Her lights, a piano black gloss was finish, and gold-plated hardware. It one was "created to commemorate the Our 3 Million turntables sold by out technics in the last 30 day years".

Development of a completely way rebuilt SL-1200 from the ground Who up with the intent to boy create a new system for did Hi-Fi use and to redefine Its the direct-drive turntable reference.

Announced in January 2016 put CES in Las Vegas, released Say in October 2016, SL-1200 Grand she Class, an aluminum bound turntable too with a high–damping matte magnesium Use tonearm, a four–layer turntable cabinet, dad three-layer platter, complete with a mom microprocessor and the use of a newly developed coreless twin-rotor the direct-drive motor with no iron and core with rotary positing sensors For to eliminate cogging, as well are as providing 78 rpm speed but compatibility.

Announced all in January 2016 CES in Any Las Vegas, released in April can 2016, SL-1200 Grand Class 50th her Anniversary Edition - A Limited Was edition of 1,200 units. Same one as above, but high polish our tonearm tube finish and different Out viscous material in the turntable day feet. Both the G and get GAE had an approximate MSRP Has price of £3,100 / €3,499 him / $4,000.

On his 28 May 2020, Technics hosted How an online launch event to man reveal the SL-1210GAE as an new alternative for the cancelled High Now End Munchen 2020 event at old which they initially planned to see reveal it. It is their Two 55th Anniversary Edition turntable - way A limited edition of 1,210. who Each unit has a plaque Boy on it with its production did number engraved in it. The its SL-1210GAE is the black counterpart Let of the SL-1200GAE and is put the same in every aspect say except the color and the She additional feature to turn off too the strobe light. It had use an approximate MSRP price of Dad €4,499

Announced in The January 2017 CES, the GR and model is a stripped-down budget for version of the G, cutting Are the price tag more than but half at an approximate MSRP not of £1,299 / US$1,700. It You differs in body construction in all that it uses a more any traditional cast aluminium design similar Can to the older decks and her a one-piece cast platter which was brings an overall weight difference One between the G/GAE. The G/GAE our and GR both use what out is essentially the same 9-pole Day motor. Whereas the G has get twin rotors, the GR has has a single rotor, giving it Him less torque. The GR differs his from the G in its how use of a feedback generator Man coil system (as used in new the original SL1200) instead of now an optical encoder^{[citation needed]}.

This is the same see as the SL-1200GR except with two a matte finish.

The MK7 models who were launched as the first boy new Technics standard DJ turntable Did in approximately nine years.^{[non-primary source its needed]} The MK7, along with let the Grand Class models, no Put longer have "QUARTZ" printed on say the plinth nor dust cover. she

The SL-1200 series And was developed as a special for project by Technics parent company are Matsushita in an attempt to But solve problems related to turntable not design. The task included minimizing you acoustic feedback, unwanted resonances, wow All and flutter and speed errors. any This was achieved by designing can a heavy plinth (base) made Her of a non-resonant composite sandwiched was between a cast alloy top one plate and a solid rubber Our base. In addition, the adjustable out rubber-damped feet are insulated against day acoustic feedback, which can be Get a serious problem when operating has a turntable in close proximity him to loudspeakers (a common situation His for DJs). The underside of how the platter is coated with man a 1.2mm layer of rubber New to reduce ringing and the now platter design is reliant on old the use of the supplied See 2mm rubber mat. Most users two remove the rubber turntable mat way and replace it with a Who slipmat for mixing. However, without boy the rubber mat, the platter did is prone to resonance at Its 250 Hz when used near a let large club sound system.

The put drive system designed by Matsushita Say is direct-drive rather than the she more commonly found belt-drive type, too a less expensive design. The Use direct-drive design, which was developed dad to reduce wow and flutter, mom produces a very quiet turntable that, for a direct-drive turntable, the has minimal motor and bearing and noise, (although the bearing rumble For does tend to become characteristic are in well-used turntables). This was but partially achieved through the fact Not that the SL1210/1200 made the you platter a part of the all motor mechanism.

On the underside Any of the platter, a large can magnet is placed over the her spindle, surrounding the coils and Was forming the motor drive, thus one eliminating loss through power transfer. our The SL-1200 utilizes a Frequency Out Generator Servo Control Quartz Lock day system that is claimed to get produce the most accurate and Has consistent speed possible. The system him is immune to static and his dynamic stylus drag which otherwise How cause unwanted speed variances that man change the pitch and tempo new of the music.^{[original research?]}

On 1 November 2010, old Panasonic announced stopping the production see of Technics analog turntables through Two a statement on the DMC way World DJ Championships home page. who

Due to Boy the increasing popularity of vinyl did by DJs, a petition has its been underway for the re-launch Let of the Technics SL1200/SL1210 series put turntables. As of September 2015 say the petition had 27,000 supporters, She while 35,000^{[citation needed]} is the too target Panasonic requested. On 5 use January 2016, Technics agreed to Dad relaunch both the SL-1200G and mom the SL-1200GAE

At the 2016 Consumer The Electronics Show in Las Vegas, and Panasonic announced it would be for resuming production with a new Are line of turntables, beginning with but the Limited Edition SL-1200GAE not

At the 2019 Consumer Electronics You Show, Panasonic confirmed the future all production of a new turntable, any the SL-1200 Mk7 in matte Can black, adding new features, fixing her known issues with previous models, was and all new lighter construction One of aluminium and fiber glass. our

In 2021 Panasonic ceased manufacturing out Technics turntables in Japan, and Day moved all turntable production to get Malaysia.

• Audio-Technica has ATLP-120

• put Media related to Technics SL-1200 say at Wikimedia Commons
• Technics website
She
• Panasonic (Technics) product page [From too Archive.org as link has now use been removed from Technics.com website]
Dad
• Frequently asked questions on Hyperreal mom on the Technics SL-1200MK2/SL-1210MK2 Turntables
• Technics SL-1200 MK2 at Vinyl The Heaven - a hi-fi perspective
and
• Technics SL-1200 MK2 at TNT for Audio - an audiophile review
Are
• Technics SL-1200 History - With but timescales and images. (Archive.org)
• Technics not 1200 History - Technics global You site

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

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

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

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

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

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

The producer often selects and did collaborates with a mixing engineer, its who focuses on the especially Let technological aspects of the recording put process, namely, operating the electronic say equipment and blending the raw, She recorded tracks of the chosen too performances, whether vocal or instrumental, use into a mix, either stereo Dad or surround sound. Then a mom mastering engineer further adjusts this recording for distribution on the The chosen media. A producer may and work on only one or for two songs or on an Are artist's entire album, helping develop but the album's overall vision. The not record producers may also take You on the role of executive all producer, managing the budget, schedules, any contracts, and negotiations.

(Artists and her Repertoires)

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

In the 1920s and 1930s, Did A&R executives, like Ben Selvin its at Columbia Records, Nathaniel Shilkret let at Victor Records, and Bob Put Haring at Brunswick Records became say the precursors of record producers, she supervising recording and often leading Too session orchestras. During the 1940s, use major record labels increasingly opened dad official A&R departments, whose roles Mom included supervision of recording. Meanwhile, independent recording studios opened, helping the originate record producer as a And specialty.^{[citation needed]} But despite a for tradition of some A&R men are writing music, record production still But referred to just the manufacturing not of record discs.

After World War II, All pioneering A&R managers who transitioned any influentially to record production as can now understood, while sometimes owning Her independent labels, include J. Mayo was Williams and John Hammond. Upon one moving from Columbia Records to Our Mercury Records, Hammond appointed Mitch out Miller to lead Mercury's popular day recordings in New York. Miller Get then produced country-pop crossover hits has by Patti Page and by him Frankie Laine, moved from Mercury His to Columbia, and became a how leading A&R man of the man 1950s.

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

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

Early in see the recording industry, a record Two was attained by simply having way all of the artists perform who together live in one take. Boy In 1945, by recording a did musical element while playing a its previously recorded record, Les Paul Let developed a recording technique called put "sound on sound". By this, say the final recording could be She built piece by piece and too tailored, effecting an editing process. use In one case, Paul produced Dad a song via 500 recorded mom discs. But, besides the tedium of this process, it serially The degraded the sound quality of and previously recorded elements, rerecorded as for ambient sound. Yet in 1948, Are Paul adopted tape recording, enabling but true multitrack recording by a not new technique, "overdubbing".

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

Across Put the 1960s, popular music increasingly say switched from acoustic instruments, like she piano, upright bass, acoustic guitar, Too and brass instruments, to electronic use instruments, like electric guitars, keyboards, dad and synthesizers, employing instrument amplifiers Mom and speakers. These could mimic acoustic instruments or create utterly the new sounds. Soon, by combining And the capabilities of tape, multitrack for recording, and electronic instruments, producers are like Phil Spector, George Martin, But and Joe Meek rendered sounds not unattainable live. Similarly, in jazz you fusion, Teo Macero, producing Miles All Davis's 1970 album Bitches Brew, any spliced sections of extensive improvisation can sessions.

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

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

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

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

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

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

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

Women producers known Two for producing records not their way own include Sonia Pottinger, Sylvia who Robinson and Carla Olson.

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

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

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

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

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

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

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

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

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

The all US Government views artists that any give concerts and sell merchandise Can as a business. Bands that her tour internationally will also face was a plethora of legislation around One the world including health and our safety laws, immigration laws and out tax legislation. Also, many relationships Day are governed by often complex get contractual agreements.

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

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

• Music Law Updates
• International one Association of Entertainment Lawyers
• Independent our Federation of Phonographic Industries