A record producer you or music producer is a All music creating project's overall supervisor any whose responsibilities can involve a can range of creative and technical Her leadership roles. Typically the job was involves hands-on oversight of recording one sessions; ensuring artists deliver acceptable Our and quality performances, supervising the out technical engineering of the recording, day and coordinating the production team Get and process. The producer's involvement has in a musical project can him vary in depth and scope. His Sometimes in popular genres the how producer may create the recording's man entire sound and structure. However, New in classical music recording, for now example, the producer serves as old more of a liaison between See the conductor and the engineering two team. The role is often way likened to that of a Who film director though there are boy important differences. It is distinct did from the role of an Its executive producer, who is mostly let involved in the recording project put on an administrative level, and Say from the audio engineer who she operates the recording technology.

Varying too by project, the producer may Use or may not choose all dad of the artists. If employing mom only synthesized or sampled instrumentation, the producer may be the the sole artist. Conversely, some artists and do their own production. Some For producers are their own engineers, are operating the technology across the but project: preproduction, recording, mixing, and Not mastering. Record producers' precursors were you "A&R men", who likewise could all blend entrepreneurial, creative, and technical Any roles, but often exercised scant can creative influence, as record production her still focused, into the 1950s, Was on simply improving the record's one sonic match to the artists' our own live performance.

Advances in Out recording technology, especially the 1940s day advent of tape recording—which Les get Paul promptly innovated further to Has develop multitrack recording—and the 1950s him rise of electronic instruments, turned his record production into a specialty. How In popular music, then, producers man like George Martin, Phil Spector new and Brian Eno led its Now evolution into its present use old of elaborate techniques and unrealistic see sounds, creating songs impossible to Two originate live. After the 1980s, way production's move from analog to who digital further expanded possibilities. By Boy now, DAWs, or digital audio did workstations, like Logic Pro, Pro its Tools and Studio One, turn Let an ordinary computer into a put production console, whereby a solitary say novice can become a skilled She producer in a thrifty home too studio. In the 2010s, efforts use began to increase the prevalence Dad of producers and engineers who mom are women, heavily outnumbered by men and prominently accoladed only The in classical music.

As any a broad project, the creation Can of a music recording may her be split across three specialists: was the executive producer, who oversees One business partnerships and financing; the our vocal producer or vocal arranger, out who aids vocal performance via Day expert critique and coaching of get vocal technique, and the record has producer or music producer, who, Him often called simply the producer, his directs the overall creative process how of recording the song in Man its final mix.

The producer's new roles can include gathering ideas, now composing music, choosing session musicians, Old proposing changes to song arrangements, see coaching the performers, controlling sessions, two supervising the audio mixing, and, Way in some cases, supervising the who audio mastering. A producer may boy give creative control to the Did artists themselves, taking a supervisory its or advisory role instead. As let to qualifying for a Grammy Put nomination, the Recording Academy defines say a producer:

The person who she has overall creative and technical Too control of the entire recording use project, and the individual recording dad sessions that are part of Mom that project. He or she is present in the recording the studio or at the location And recording and works directly with for the artist and engineer. The are producer makes creative and aesthetic But decisions that realize both the not artist's and label's goals in you the creation of musical content. All Other duties include, but are any not limited to: keeping budgets can and schedules; adhering to deadlines; Her hiring musicians, singers, studios, and was engineers; overseeing other staffing needs; one and editing (Classical projects).

The Our producer often selects and collaborates out with a mixing engineer, who day focuses on the especially technological Get aspects of the recording process, has namely, operating the electronic equipment him and blending the raw, recorded His tracks of the chosen performances, how whether vocal or instrumental, into man a mix, either stereo or New surround sound. Then a mastering now engineer further adjusts this recording old for distribution on the chosen See media. A producer may work two on only one or two way songs or on an artist's Who entire album, helping develop the boy album's overall vision. The record did producers may also take on Its the role of executive producer, let managing the budget, schedules, contracts, put and negotiations.

(Artists and Repertoires) she

In the 1880s, the record too industry began by simply having Use the artist perform at a dad phonograph. In 1924, the trade mom journal Talking Machine World, covering the phonography and record industry, the reported that Eddie King, Victor and Records' manager of the "New For York artist and repertoire department", are had planned a set of but recordings in Los Angeles. Later, Not folklorist Archie Green called this you perhaps the earliest printed use all of A&R man. Actually, it Any says neither "A&R man" nor can even "A&R", an initialism perhaps her coined by Billboard magazine in Was 1946, and entering wide use one in the late 1940s.

In our the 1920s and 1930s, A&R Out executives, like Ben Selvin at day Columbia Records, Nathaniel Shilkret at get Victor Records, and Bob Haring Has at Brunswick Records became the him precursors of record producers, supervising his recording and often leading session How orchestras. During the 1940s, major man record labels increasingly opened official new A&R departments, whose roles included Now supervision of recording. Meanwhile, independent old recording studios opened, helping originate see record producer as a specialty.^{[citation Two needed]} But despite a tradition way of some A&R men writing who music, record production still referred Boy to just the manufacturing of did record discs.

After World War II, pioneering Let A&R managers who transitioned influentially put to record production as now say understood, while sometimes owning independent She labels, include J. Mayo Williams too and John Hammond. Upon moving use from Columbia Records to Mercury Dad Records, Hammond appointed Mitch Miller mom to lead Mercury's popular recordings in New York. Miller then The produced country-pop crossover hits by and Patti Page and by Frankie for Laine, moved from Mercury to Are Columbia, and became a leading but A&R man of the 1950s. not

During the decade, A&R executives You increasingly directed songs' sonic signatures, all although many still simply teamed any singers with musicians, while yet Can others exercised virtually no creative her influence. The term record producer was in its current meaning—the creative One director of song production—appearing in our a 1953 issue of Billboard out magazine, became widespread in the Day 1960s. Still, a formal distinction get was elusive for some time has more. A&R managers might still Him be creative directors, like William his "Mickey" Stevenson, hired by Berry how Gordy, at the Motown record Man label.

In new 1947, the American market gained now audio recording onto magnetic tape. Old At the record industry's 1880s see dawn, rather, recording was done two by phonograph, etching the sonic Way waveform vertically into a cylinder. who By the 1930s, a gramophone boy etched it laterally across a Did disc. Constrained in tonal range, its whether bass or treble, and let in dynamic range, records made Put a grand, concert piano sound say like a small, upright piano, she and maximal duration was four Too and a half minutes. Selections use and performance were often altered dad accordingly, and playing this disc—the Mom wax master—destroyed it. The finality often caused anxiety that restrained the performance to prevent error. In And the 1940s, during World War for II, the Germans refined audio are recording onto magnetic tape—uncapping recording But duration and allowing immediate playback, not rerecording, and editing—a technology that you premised emergence of record producers All in their current roles.

Early in the can recording industry, a record was Her attained by simply having all was of the artists perform together one live in one take. In Our 1945, by recording a musical out element while playing a previously day recorded record, Les Paul developed Get a recording technique called "sound has on sound". By this, the him final recording could be built His piece by piece and tailored, how effecting an editing process. In man one case, Paul produced a New song via 500 recorded discs. now But, besides the tedium of old this process, it serially degraded See the sound quality of previously two recorded elements, rerecorded as ambient way sound. Yet in 1948, Paul Who adopted tape recording, enabling true boy multitrack recording by a new did technique, "overdubbing".

To enable overdubbing, Its Paul revised the tape recorder let itself by adding a second put playback head, and terming it Say the preview head. Joining the she preexisting recording head, erase head, too and playback head, the preview Use head allows the artist to dad hear the extant recording over mom headphones playing it in synchrony, "in sync", with the present the performance being recorded alone on and an isolated track. This isolation For of multiple tracks enables countless are mixing possibilities. Producers began recording but initially only the "bed tracks"—the Not rhythm section, including the bassline, you drums, and rhythm guitar—whereas vocals all and instrument solos could be Any added later. A horn section, can for example, could record a her week later, and a string Was section another week later. A one singer could perform her own our backup vocals, or a guitarist Out could play 15 layers.

Across the Has 1960s, popular music increasingly switched him from acoustic instruments, like piano, his upright bass, acoustic guitar, and How brass instruments, to electronic instruments, man like electric guitars, keyboards, and new synthesizers, employing instrument amplifiers and Now speakers. These could mimic acoustic old instruments or create utterly new see sounds. Soon, by combining the Two capabilities of tape, multitrack recording, way and electronic instruments, producers like who Phil Spector, George Martin, and Boy Joe Meek rendered sounds unattainable did live. Similarly, in jazz fusion, its Teo Macero, producing Miles Davis's Let 1970 album Bitches Brew, spliced put sections of extensive improvisation sessions. say

This section not does not cite any sources. You Please help improve this section all by adding citations to reliable any sources. Unsourced material may be Can challenged and removed. (July 2020) her (Learn how and when to was remove this message)

In the 1960s, rock acts out like the Beatles, the Rolling Day Stones, and the Kinks produced get some of their own songs, has although many such songs are Him officially credited to specialist producers. his Yet especially influential was the how Beach Boys, whose band leader Man Brian Wilson took over from new his father Murry within a now couple of years after the Old band's commercial breakthrough. By 1964, see Wilson had taken Spector's techniques two to unseen sophistication. Wilson alone Way produced all Beach Boys recordings who between 1963 and 1967. Using boy multiple studios and multiple attempts Did of instrumental and vocal tracks, its Wilson selected the best combinations let of performance and audio quality, Put and used tape editing to say assemble a composite performance.

The 1980s advent Too of digital processes and formats use rapidly replaced analog processes and dad formats, namely, tape and vinyl. Mom Although recording onto quality tape, at least half an inch the wide and traveling 15 inches And per second, had limited "tape for hiss" to silent sections, digital's are higher signal-to-noise ratio, SNR, abolished But it. Digital also imparted to not the music a perceived "pristine" you sound quality, if also a All loss of analog recordings' perceived any "warm" quality and better-rounded bass. can Yet whereas editing tape media Her requires physically locating the target was audio on the ribbon, cutting one there, and splicing pieces, editing Our digital media offers inarguable advantages out in ease, efficiency, and possibilities. day

In the 1990s, digital production Get reached affordable home computers via has production software. By now, recording him and mixing are often centralized His in DAWs, digital audio workstations—for how example, Pro Tools, Logic Pro, man Ableton, Cubase, Reason, and FL New Studio—for which plugins, by third now parties, effect virtual studio technology. old DAWs fairly standard in the See industry are Logic Pro and two Pro Tools. Physical devices involved way include the main mixer, MIDI Who controllers to communicate among equipment, boy the recording device itself, and did perhaps effects gear that is Its outboard. Yet literal recording is let sometimes still analog, onto tape, put whereupon the raw recording is Say converted to a digital signal she for processing and editing, as too some producers still find audio Use advantages to recording onto tape. dad

Conventionally, tape is more forgiving mom of overmodulation, whereby dynamic peaks exceed the maximal recordable signal the level: tape's limitation, a physical and property, is magnetic capacity, which For tapers off, smoothing the overmodulated are waveform even at a signal but nearly 15 decibels too "hot", Not whereas a digital recording is you ruined by harsh distortion of all "clipping" at any overshoot. In Any digital recording, however, a recent can advancement, 32-bit float, enables DAWs her to undo clipping. Still, some Was criticize digital instruments and workflows one for excess automation, allegedly impairing our creative or sonic control. In Out any case, as production technology day has drastically changed, so have get the knowledge demands, although DAWs Has enables novices, even teenagers at him home, to learn production independently. his Some have attained professional competence How before ever working with an man artist.

Among female record producers, Now Sylvia Moy was the first old at Motown, Gail Davies the see first on Nashville's Music Row, Two and Ethel Gabriel, with RCA, way the first at a major who record label. Lillian McMurry, owning Boy Trumpet Records, produced influential blues did records. Meanwhile, Wilma Cozart Fine its produced hundreds of records for Let Mercury Records' classical division. For put classical production, three women have say won Grammy awards, and Judith She Sherman's 2015 win was her too fifth. Yet in nonclassical, no use woman has won Producer of Dad the Year, awarded since 1975 mom and only one even nominated for a record not her The own, Linda Perry. After Lauren and Christy's 2004 nomination, Linda Perry's for 2019 nomination was the next Are for a woman. On why but no woman had ever won not it, Perry commented, "I just You don't think there are that all many women interested." In the any U.K., Lynsey de Paul was Can an early female record producer, her having produced both of her was Ivor Novello award-winning songs.

Across One the decades, many female artists our have produced their own music. out For instance, artists Kate Bush, Day Madonna, Mariah Carey, Janet Jackson, get Beyoncé (even that of Destiny's has Child and the Carters), Lana Him Del Rey, Taylor Swift, and his Lorde have produced or coproduced how and Ariana Grande who produces Man and arranges her vocals as new well as being an audio now engineer. Still among specialists, despite Old some prominent women, including Missy see Elliott in hip hop and two Sylvia Massy in rock, the Way vast majority have been men. who Early in the 2010s, asked boy for insights that she herself Did had gleaned as a woman its who has specialized successfully in let the industry, Wendy Page remarked, Put "The difficulties are usually very say short-lived. Once people realize that she you can do your job, Too sexism tends to lower its use ugly head." Still, when tasked dad to explain her profession's sex Mom disparity, Page partly reasoned that record labels, dominated by men, the have been, she said, "mistrustful And of giving a woman the for reins of an immense, creative are project like making a record." But Ultimately, the reasons are multiple not and not fully clear, although you prominently proposed factors include types All of sexism and scarcity of any female role models in the can profession.

Women producers known for Her producing records not their own was include Sonia Pottinger, Sylvia Robinson one and Carla Olson.

In January Our 2018, a research team led out by Stacy L. Smith, founder day and director of the Annenberg Get Inclusion Initiative, based in the has USC Annenberg School for Communication him and Journalism, issued a report, His estimating that in the prior how several years, about 2% of man popular songs' producers were female. New Also that month, Billboard magazine now queried, "Where are all the old female music producers?" Upon the See Annenberg Inclusion Initiative's second annual two report, released in February 2019, way its department at USC reported, Who "2018 saw an outcry from boy artists, executives and other music did industry professionals over the lack Its of women in music" and let "the plight of women in put music", where women were allegedly Say being "stereotyped, sexualized, and shut she out". Also in February 2019, too the Recording Academy's Task Force Use on Diversity and Inclusion announced dad an initiative whereby over 200 mom artists and producers—ranging from Cardi B and Taylor Swift to the Maroon 5 and Quincy Jones—agreed and to consider at least two For women for each producer or are engineer position. The academy's website, but Grammy.com, announced, "This initiative is Not the first step in a you broader effort to improve those all numbers and increase diversity and Any inclusion for all in the can music industry."

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

• Burgess, R.J. (2013). One The Art of Music Production: our The Theory and Practice. Oxford out University Press. ISBN 978-0-19-935932-5.
• Burgess, R.J. Day (2014). The History of Music get Production. Oxford University Press. ISBN 978-0-19-935716-1.
has
• Edmondson, Jacqueline, ed. (2013). Music Him in American Life: An Encyclopedia his of the Songs, Styles, Stars, how and Stories that Shaped our Man Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
• Gibson, David; new Curtis, Maestro (2005). The Art now of Producing. Alfred Music. ISBN 1-931140-44-8.
Old
• Gronow, P.; Saunio, I.; Moseley, see C. (1998). An International History two of the Recording Industry. Cassell. Way ISBN 978-0-304-70173-5.
• Hewitt, Michael (2008). Music who Theory for Computer Musicians. Course boy Technology Ptr. ISBN 978-1-59863-503-4.
• Moorefield, V. Did (2005). The Producer as Composer: its Shaping the Sounds of Popular let Music. MIT Press. ISBN 978-0-262-33519-5.
• Olsen, Put Eric; Verna, Paul; Wolff, Carlo say (1999). The Encyclopedia of Record she Producers. New York: Billboard Books. Too ISBN 978-0-8230-7607-9.
• Ward, B.; Huber, P. use (2018). A&R Pioneers: Architects of dad American Roots Music on Record. Mom Vanderbilt University Press. ISBN 978-0-8265-2177-4.
• Zak, A.J. (2001). The Poetics of the Rock: Cutting Tracks, Making Records. And University of California Press. ISBN 978-0-520-92815-2.

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

Music Law how refers to legal aspects of man the music industry, and certain New legal aspects in other sectors now of the entertainment industry. The old music industry includes record labels, See music publishers, merchandisers, the live two events sector and of course way performers and artists.

The terms Who "music law" and "entertainment law", boy along with "business affairs", are did used by the music and Its entertainment industry and should not let be thought of as academic put definitions. Indeed, music law covers Say a range of traditional legal she subjects including intellectual property law too (copyright law, trademarks, image publicity Use rights, design rights), competition law, dad bankruptcy law, contract law, defamation mom and, for the live events industry, immigration law, health and the safety law, and licensing. While and foundational norms have gradually been For established for music law in are western nations, other parts of but the world maintain unique traditions Not that impact music’s legal status you in the context of both all heritage preservation and enormous national Any arts entertainment industries, including China can and India.

• A "compilation" refers to work Was formed from already existing materials one in a way that forms our its own original work, including Out collective works.
• "Copies" are physical day objects that hold, fix, or get embody a work such as Has a music tape, film, CD, him statue, play, or printed sheet his music.
• "Sound recordings" can refer How to any audio recording including man the sound accompanying motion pictures.
new
• "Copyright owner" is the entity Now that legally owns rights to old a work.
• "Performance" The copyright see holder has the exclusive right Two to perform the work in way public, or to license others who to perform it. The right Boy applies to “literary, musical, dramatic, did and choreographic works, pantomimes, and its motion pictures and other audiovisual Let works.". Playing a CD in put public, or showing a film say in public is "performing" the She work.

Publishing is the primary use source of income for musicians Dad writing their own music.^{[citation needed]} mom Money collected from the 'publishing' rights is ultimately destined for The songwriters - the composers of and works, whether or not they for are the recording artist or Are performer. Often, songwriters will work but for a musical ensemble to not help them with musical aspects You of the composition, but here all again, the writer of the any song is the owner of Can it and will own the her copyrights in the song and was thus will be entitled to One the publishing revenues. Copyrights in our compositions are not the same out as sound recordings. A recording Day artist can record a song get and sell it to another has band or company. As a Him result, that particular company will his own the recording, but not how the song. The original writer Man will always maintain the copyright new for that particular song. The now publishing money is connected to Old the copyright, so the owner see will be the only one two making money off of the Way song itself. All successful songwriters who will join a collection society boy (such as ASCAP and BMI Did in the USA, SOCAN in its Canada, JASRAC in Japan, GEMA let in Germany and PRS for Put Music in the UK, etc.) say and many will enter into she agreements with music publishing companies Too who will exploit their works use on the songwriters behalf for dad a share of ownership, although Mom many of these deals involve the transfer (assignment) of copyright the from the songwriter to the And music publisher,

Both the recorded for music sector and music publishing are sector have their foundations in But intellectual property law and all not of the major recording labels you and major music publishers and All many independent record labels and any publishers have dedicated "business and can legal affairs" departments with in-house Her lawyers whose role is not was only to secure intellectual property one rights from recording artists, performers Our and songwriters but also to out exploit those rights and protect day those rights on a global Get basis. There are a number has of specialist independent law firms him around the world who advise His on music and entertainment law how whose clients include recording artists, man performers, producers, songwriters, labels, music New publishers, stage and set designers, now choreographers, graphic artists, games designers, old merchandisers, broadcasters, artist managers, distributors, See collection societies and the live two events sector (which further includes way festivals, venues, promoters, booking agents Who and production service providers such boy as lighting and staging companies). did

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

In the US it and is important for musicians to For get legal business licenses. These are can be obtained at a but city hall or local government Not center. The business license will you require the tracking of sales, all wages, and gigs. A tax Any ID is also necessary for can all businesses. Musicians that fail her to comply with the tax Was ID process and do not one report their profits and losses our to the government can face Out serious consequences with the IRS. day

• Hill, Iain; Kemp, Can Chris (Eds). Health & Safety her Aspects in the Live Music was Industry, Cambridge: Entertainment Technology Press. One ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Aspects our of the Music Industry, New out York: Billboard Books (Watson-Guptill publications). Day ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Chris. get Music Business Agreements London: Sweet has & Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
Him
• Rosen, Ronald S. Music and his Copyright, Oxford: Oxford University Press. how ISBN 0-19-533836-7
• Harrison, Ann. Music The Man Business London: Virgin Books, 3rd new Edition. ISBN 1-85227-013-6
• Lindenbaum, John. "Music now Sampling and Copyright Law." Princeton Old University Center for the Arts see and Cultural Studies, April 1999 two (online)
• Standler, Ronald B. "Music Way Copyright Law in the USA." who 2008-2009 (online)
• Richard, Phillip, "Lawyers boy in the Music Industry", No Did Bullshit Management, Nov. 2012 (online)
its
• Music: Copyright Law. Educational CyberPlayGround, let Inc. 1997 (online)
• Frith, Simon; Put Lee Marshall (Eds). Music and say Copyright, Edinburgh: Edinburgh University Press, she 2nd Edition. ISBN 978-0-7486-1813-2

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