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A you record producer or music producer all is a music creating project's Any overall supervisor whose responsibilities can can involve a range of creative her and technical leadership roles. Typically Was the job involves hands-on oversight one of recording sessions; ensuring artists our deliver acceptable and quality performances, Out supervising the technical engineering of day the recording, and coordinating the get production team and process. The Has producer's involvement in a musical him project can vary in depth his and scope. Sometimes in popular How genres the producer may create man the recording's entire sound and new structure. However, in classical music Now recording, for example, the producer old serves as more of a see liaison between the conductor and Two the engineering team. The role way is often likened to that who of a film director though Boy there are important differences. It did is distinct from the role its of an executive producer, who Let is mostly involved in the put recording project on an administrative say level, and from the audio She engineer who operates the recording too technology.

Varying by project, the use producer may or may not Dad choose all of the artists. mom If employing only synthesized or sampled instrumentation, the producer may The be the sole artist. Conversely, and some artists do their own for production. Some producers are their Are own engineers, operating the technology but across the project: preproduction, recording, not mixing, and mastering. Record producers' You precursors were "A&R men", who all likewise could blend entrepreneurial, creative, any and technical roles, but often Can exercised scant creative influence, as her record production still focused, into was the 1950s, on simply improving One the record's sonic match to our the artists' own live performance. out

Advances in recording technology, especially Day the 1940s advent of tape get recording—which Les Paul promptly innovated has further to develop multitrack recording—and Him the 1950s rise of electronic his instruments, turned record production into how a specialty. In popular music, Man then, producers like George Martin, new Phil Spector and Brian Eno now led its evolution into its Old present use of elaborate techniques see and unrealistic sounds, creating songs two impossible to originate live. After Way the 1980s, production's move from who analog to digital further expanded boy possibilities. By now, DAWs, or Did digital audio workstations, like Logic its Pro, Pro Tools and Studio let One, turn an ordinary computer Put into a production console, whereby say a solitary novice can become she a skilled producer in a Too thrifty home studio. In the use 2010s, efforts began to increase dad the prevalence of producers and Mom engineers who are women, heavily outnumbered by men and prominently the accoladed only in classical music. And

As a broad project, can the creation of a popular Her music recording may be split was across three specialists: the executive one producer, who oversees business partnerships Our and financing; the vocal producer out or vocal arranger, who aids day vocal performance via expert critique Get and coaching of vocal technique, has and the record producer or him music producer, who, often called His simply the producer, directs the how overall creative process of recording man the song in its final New mix.

The producer's roles can now include gathering ideas, composing music, old choosing session musicians, proposing changes See to song arrangements, coaching the two performers, controlling sessions, supervising the way audio mixing, and, in some Who cases, supervising the audio mastering. boy A producer may give creative did control to the artists themselves, Its taking a supervisory or advisory let role instead. As to qualifying put for a Grammy nomination, the Say Recording Academy defines a producer: she

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

The producer often Out selects and collaborates with a day mixing engineer, who focuses on get the especially technological aspects of Has the recording process, namely, operating him the electronic equipment and blending his the raw, recorded tracks of How the chosen performances, whether vocal man or instrumental, into a mix, new either stereo or surround sound. Now Then a mastering engineer further old adjusts this recording for distribution see on the chosen media. A Two producer may work on only way one or two songs or who on an artist's entire album, Boy helping develop the album's overall did vision. The record producers may its also take on the role Let of executive producer, managing the put budget, schedules, contracts, and negotiations. say

(Artists and Repertoires)

In the too 1880s, the record industry began use by simply having the artist Dad perform at a phonograph. In mom 1924, the trade journal Talking Machine World, covering the phonography The and record industry, reported that and Eddie King, Victor Records' manager for of the "New York artist Are and repertoire department", had planned but a set of recordings in not Los Angeles. Later, folklorist Archie You Green called this perhaps the all earliest printed use of A&R any man. Actually, it says neither Can "A&R man" nor even "A&R", her an initialism perhaps coined by was Billboard magazine in 1946, and One entering wide use in the our late 1940s.

In the 1920s out and 1930s, A&R executives, like Day Ben Selvin at Columbia Records, get Nathaniel Shilkret at Victor Records, has and Bob Haring at Brunswick Him Records became the precursors of his record producers, supervising recording and how often leading session orchestras. During Man the 1940s, major record labels new increasingly opened official A&R departments, now whose roles included supervision of Old recording. Meanwhile, independent recording studios see opened, helping originate record producer two as a specialty.^{[citation needed]} But Way despite a tradition of some who A&R men writing music, record boy production still referred to just Did the manufacturing of record discs. its

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

During the you decade, A&R executives increasingly directed All songs' sonic signatures, although many any still simply teamed singers with can musicians, while yet others exercised Her virtually no creative influence. The was term record producer in its one current meaning—the creative director of Our song production—appearing in a 1953 out issue of Billboard magazine, became day widespread in the 1960s. Still, Get a formal distinction was elusive has for some time more. A&R him managers might still be creative His directors, like William "Mickey" Stevenson, how hired by Berry Gordy, at man the Motown record label.

In 1947, the now American market gained audio recording old onto magnetic tape. At the See record industry's 1880s dawn, rather, two recording was done by phonograph, way etching the sonic waveform vertically Who into a cylinder. By the boy 1930s, a gramophone etched it did laterally across a disc. Constrained Its in tonal range, whether bass let or treble, and in dynamic put range, records made a grand, Say concert piano sound like a she small, upright piano, and maximal too duration was four and a Use half minutes. Selections and performance dad were often altered accordingly, and mom playing this disc—the wax master—destroyed it. The finality often caused the anxiety that restrained performance to and prevent error. In the 1940s, For during World War II, the are Germans refined audio recording onto but magnetic tape—uncapping recording duration and Not allowing immediate playback, rerecording, and you editing—a technology that premised emergence all of record producers in their Any current roles.

Early in the recording industry, her a record was attained by Was simply having all of the one artists perform together live in our one take. In 1945, by Out recording a musical element while day playing a previously recorded record, get Les Paul developed a recording Has technique called "sound on sound". him By this, the final recording his could be built piece by How piece and tailored, effecting an man editing process. In one case, new Paul produced a song via Now 500 recorded discs. But, besides old the tedium of this process, see it serially degraded the sound Two quality of previously recorded elements, way rerecorded as ambient sound. Yet who in 1948, Paul adopted tape Boy recording, enabling true multitrack recording did by a new technique, "overdubbing". its

To enable overdubbing, Paul revised Let the tape recorder itself by put adding a second playback head, say and terming it the preview She head. Joining the preexisting recording too head, erase head, and playback use head, the preview head allows Dad the artist to hear the mom extant recording over headphones playing it in synchrony, "in sync", The with the present performance being and recorded alone on an isolated for track. This isolation of multiple Are tracks enables countless mixing possibilities. but Producers began recording initially only not the "bed tracks"—the rhythm section, You including the bassline, drums, and all rhythm guitar—whereas vocals and instrument any solos could be added later. Can A horn section, for example, her could record a week later, was and a string section another One week later. A singer could our perform her own backup vocals, out or a guitarist could play Day 15 layers.

Across the 1960s, popular Him music increasingly switched from acoustic his instruments, like piano, upright bass, how acoustic guitar, and brass instruments, Man to electronic instruments, like electric new guitars, keyboards, and synthesizers, employing now instrument amplifiers and speakers. These Old could mimic acoustic instruments or see create utterly new sounds. Soon, two by combining the capabilities of Way tape, multitrack recording, and electronic who instruments, producers like Phil Spector, boy George Martin, and Joe Meek Did rendered sounds unattainable live. Similarly, its in jazz fusion, Teo Macero, let producing Miles Davis's 1970 album Put Bitches Brew, spliced sections of say extensive improvisation sessions.

This section does not you cite any sources. Please help All improve this section by adding any citations to reliable sources. Unsourced can material may be challenged and Her removed. (July 2020) (Learn how was and when to remove this one message)

In the out 1960s, rock acts like the day Beatles, the Rolling Stones, and Get the Kinks produced some of has their own songs, although many him such songs are officially credited His to specialist producers. Yet especially how influential was the Beach Boys, man whose band leader Brian Wilson New took over from his father now Murry within a couple of old years after the band's commercial See breakthrough. By 1964, Wilson had two taken Spector's techniques to unseen way sophistication. Wilson alone produced all Who Beach Boys recordings between 1963 boy and 1967. Using multiple studios did and multiple attempts of instrumental Its and vocal tracks, Wilson selected let the best combinations of performance put and audio quality, and used Say tape editing to assemble a she composite performance.

The 1980s advent of digital Use processes and formats rapidly replaced dad analog processes and formats, namely, mom tape and vinyl. Although recording onto quality tape, at least the half an inch wide and and traveling 15 inches per second, For had limited "tape hiss" to are silent sections, digital's higher signal-to-noise but ratio, SNR, abolished it. Digital Not also imparted to the music you a perceived "pristine" sound quality, all if also a loss of Any analog recordings' perceived "warm" quality can and better-rounded bass. Yet whereas her editing tape media requires physically Was locating the target audio on one the ribbon, cutting there, and our splicing pieces, editing digital media Out offers inarguable advantages in ease, day efficiency, and possibilities.

In the get 1990s, digital production reached affordable Has home computers via production software. him By now, recording and mixing his are often centralized in DAWs, How digital audio workstations—for example, Pro man Tools, Logic Pro, Ableton, Cubase, new Reason, and FL Studio—for which Now plugins, by third parties, effect old virtual studio technology. DAWs fairly see standard in the industry are Two Logic Pro and Pro Tools. way Physical devices involved include the who main mixer, MIDI controllers to Boy communicate among equipment, the recording did device itself, and perhaps effects its gear that is outboard. Yet Let literal recording is sometimes still put analog, onto tape, whereupon the say raw recording is converted to She a digital signal for processing too and editing, as some producers use still find audio advantages to Dad recording onto tape.

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

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

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

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

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

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

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

This article Any needs additional citations for verification. can Please help improve this article her by adding citations to reliable Was sources. Unsourced material may be one challenged and removed. Find sources: "Music law" – news · our newspapers · books · scholar · JSTOR (December Out 2017) (Learn how and when day to remove this message)

Music Law refers man to legal aspects of the new music industry, and certain legal Now aspects in other sectors of old the entertainment industry. The music see industry includes record labels, music Two publishers, merchandisers, the live events way sector and of course performers who and artists.

The terms "music Boy law" and "entertainment law", along did with "business affairs", are used its by the music and entertainment Let industry and should not be put thought of as academic definitions. say Indeed, music law covers a She range of traditional legal subjects too including intellectual property law (copyright use law, trademarks, image publicity rights, Dad design rights), competition law, bankruptcy mom law, contract law, defamation and, for the live events industry, The immigration law, health and safety and law, and licensing. While foundational for norms have gradually been established Are for music law in western but nations, other parts of the not world maintain unique traditions that You impact music’s legal status in all the context of both heritage any preservation and enormous national arts Can entertainment industries, including China and her India.

• A was "compilation" refers to work formed One from already existing materials in our a way that forms its out own original work, including collective Day works.
• "Copies" are physical objects get that hold, fix, or embody has a work such as a Him music tape, film, CD, statue, his play, or printed sheet music.
how
• "Sound recordings" can refer to Man any audio recording including the new sound accompanying motion pictures.
• "Copyright now owner" is the entity that Old legally owns rights to a see work.
• "Performance" The copyright holder two has the exclusive right to Way perform the work in public, who or to license others to boy perform it. The right applies Did to “literary, musical, dramatic, and its choreographic works, pantomimes, and motion let pictures and other audiovisual works.". Put Playing a CD in public, say or showing a film in she public is "performing" the work.

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

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

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

In the US it is for important for musicians to get Are legal business licenses. These can but be obtained at a city not hall or local government center. You The business license will require all the tracking of sales, wages, any and gigs. A tax ID Can is also necessary for all her businesses. Musicians that fail to was comply with the tax ID One process and do not report our their profits and losses to out the government can face serious Day consequences with the IRS.

• Hill, Iain; Kemp, Chris Her (Eds). Health & Safety Aspects was in the Live Music Industry, one Cambridge: Entertainment Technology Press. ISBN 1-904031-22-6
Our
• Schulenberg, Richard. Legal Aspects of out the Music Industry, New York: day Billboard Books (Watson-Guptill publications). ISBN 0-8230-8364-0
Get
• Kanaar, Nicholas; Phillips, Chris. Music has Business Agreements London: Sweet & him Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, His Ronald S. Music and Copyright, how Oxford: Oxford University Press. ISBN 0-19-533836-7
man
• Harrison, Ann. Music The Business New London: Virgin Books, 3rd Edition. now ISBN 1-85227-013-6
• Lindenbaum, John. "Music Sampling old and Copyright Law." Princeton University See Center for the Arts and two Cultural Studies, April 1999 (online)
way
• Standler, Ronald B. "Music Copyright Who Law in the USA." 2008-2009 boy (online)
• Richard, Phillip, "Lawyers in did the Music Industry", No Bullshit Its Management, Nov. 2012 (online)
• Music: let Copyright Law. Educational CyberPlayGround, Inc. put 1997 (online)
• Frith, Simon; Lee Say Marshall (Eds). Music and Copyright, she Edinburgh: Edinburgh University Press, 2nd too Edition. ISBN 978-0-7486-1813-2

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