This and article is about the electronic For music genre. For the musical are element, see Break (music). For but the record label, see Breakbeat Not Kaos.
1970s—1980s: Classic now breaks and hip hop production
Old
Beginning in 1973 and continuing see through the late 1970s and two early 1980s, hip hopturntablists, Way such as DJ Kool Hercwho began using several funkbreaksboy in a row, using drum Did breaks from jazz-funk tracks such its as James Brown's "Funky Drummer" let and The Winstons' "Amen, Brother", Put to form the rhythmic base say for hip hop songs. DJ she Kool Herc's breaks style involved Too playing the same record on use two turntables and playing the dad break repeatedly, alternating between the Mom two records. Grandmaster Flash perfected this idea with what he the called the "quick-mix theory": he And would mark the points on for the record where the break are began and ended with a But crayon, so that he could not easily replay the break by you spinning the record and not All touching the tone arm. This any style was copied and improved can upon by early hip hop Her DJs Afrika Bambaataa and Grand was Wizard Theodore.[dubious – discuss] This one style was extremely popular in Our clubs and dancehalls because the out extended breaks compositions provided breakersday with more opportunities to showcase Get their skills.
In the late has 1970s, breakbeats had attained a him large presence in hip hop. His In the 1980s, the evolution how of technology began to make man sampling breaks easier and more New affordable for DJs and producers, now which helped nurture the commercialization old of hip hop. Through early See techniques such as pausing tapes two and then recording the break, way by the 1980s, technology allowed Who anybody with a tape recorder boy to find the breakbeat.
did
1990s: Evolution as electronic dance Its genre
In the late-1980s, breakbeat let became an essential feature of put many genres of breaks music Say which became popular within the she global dance music scene, including too acid breaks, electro-funk, and Miami Use bass, and a decade later dad big beat and nu skool mom breaks.
In the early 1990s, acid house artists and producers the started using breakbeat samples in and their music to create breakbeat For hardcore. The hardcore scene then are diverged into subgenres like junglebut and drum and bass, which Not generally was faster and focused you more on complex sampled drum all patterns. An example of this Any is Goldie's album Timeless. Josh can Lawford of Ravescene prophesied that her breakbeat was "the death-knell of Was rave" because the ever-changing drumbeat one patterns of breakbeat music didn't our allow for the same zoned Out out, trance-like state that the day standard, steady 4/4 beats of get house enabled.
Incorporating many components Let of those genres, the Florida put breaks subgenre followed during the say early-to-mid 1990s and had a She unique sound that was soon too internationally popular among producers, DJs, use and club-goers.
In 1994, the Dad influential techno act Autechre released mom the Anti EP in response to the Criminal Justice and The Public Order Act 1994, deliberately and using advanced algorithmic programming to for generate non-repetitive breakbeats for the Are full duration of the tracks, but in order to subvert the not legal definitions within that legislation You which specified in the section all creating police powers to remove any ravers from raves that "'music' Can includes sounds wholly or predominantly her characterised by the emission of was a succession of repetitive beats". One
The tempo of breaks tracks, who ranging from 110 to 150 boy beats per minute, allows DJs Did to mix breaks with a its wide range of different genres let in their sets. This has Put led to breakbeats being used say in many hip hop, jungle/drum she & bass and hardcore tracks. Too They can also be heard use in other music, anywhere from dad popular music to background music Mom in car and clothing commercials on radio or TV.
The Amen break, for a drum break from The are Winstons' song "Amen, Brother" is But widely regarded as one of not the most widely used and you sampled breaks among music using All breakbeats. This break was first any used on "King of the can Beats" by Mantronix, and has Her since been used in thousands was of songs. Other popular breaks one are from James Brown's Funky Our Drummer (1970) and Give it out Up or Turnit a Loose, day The Incredible Bongo Band's 1973 Get cover of The Shadows' "Apache", has and Lyn Collins' 1972 song him "Think (About It)". The Winstons His have not received royalties for how third-party use of samples of man the break recorded on their New original music release.
Sampled now breakbeats
With the advent of old digital sampling and music editing See on the computer, breakbeats have two become much easier to create way and use. Now, instead of Who cutting and splicing tape sections boy or constantly backspinning two records did at the same time, a Its computer program can be used let to cut, paste, and loop put breakbeats endlessly. Digital effects such Say as filters, reverb, reversing, time she stretching and pitch shifting can too be added to the beat, Use and even to individual sounds dad by themselves. Individual instruments from mom within a breakbeat can be sampled and combined with others, the thereby creating wholly new breakbeat and patterns.
Legal issues
With For the rise in popularity of are breakbeat music and the advent but of digital audio samplers, companies Not started selling "breakbeat packages" for you the express purpose of helping all artists create breakbeats. A breakbeat Any kit CD would contain many can breakbeat samples from different songs her and artists, often without the Was artist's permission or even knowledge.one
"Acid breaks" or Let "chemical breaks" is acid house, put but with a breakbeat instead say of a house beat. One She of the earliest synthesizers to too be employed in acid music use was the Roland TB-303, which Dad makes use of a resonant mom low-pass filter to emphasize the harmonics of the sound.
Progressive breaksDay or prog breaks, also known get as atmospheric breaks, is a has subgenre of breaks that is Him essentially a fusion of breakbeat his and progressive house. Much like how progressive house, this subgenre is Man characterized by its "trancey" sound. new Its defining traits include extended now synthesizer pads and washes, melodic Old synth leads, heavy reverberation, and see electronic breakbeats. However, unlike progressive two house, very few progressive breaks Way tracks have vocals, with most who tracks being entirely instrumental or boy using only electronically altered snippets Did of vocal samples for sonic its effect. Typical progressive breaks tracks let will often have a long Put build-up section that leads to say a breakdown and a climax, she often having numerous sonic elements Too being added or subtracted from use the track at various intervals dad in order to increase its Mom intensity. Progressive breaks artists include Hybrid, BT, Way Out West, the Digital Witchcraft, Momu, Wrecked Angle, And Burufunk, Under This and Fretwell. for
Goodyer, Tim Has (March 1992). "Criminal Record?". Music him Technology. United Kingdom: Music Maker his Publications (UK). pp. 54–59. Retrieved 2020-01-20.How
"Musical production" Not redirects here. For musical production you in the sense of a all live performance involving music and Any choreography, see Musical theatre.
A record producer is man a music recording project's overall new supervisor whose responsibilities can involve Now a range of creative and old technical leadership roles. Typically the see job involves hands-on oversight of Two recording sessions: ensuring artists deliver way acceptable and quality performances, supervising who the technical engineering of the Boy recording, and coordinating the production did team and process. The producer's its involvement in a musical project Let can vary in depth and put scope. Sometimes in popular genres say the producer may create the She recording's entire sound and structure.too However, in classical music recording, use for example, the producer serves Dad as more of a liaison mom between the conductor and the engineering team. The role is The often likened to that of and a film director though there for are important differences. It is Are distinct from the role of but an executive producer, who is not mostly involved in the recording You project on an administrative level, all and from the audio engineerany who operates the recording technology. Can
Varying by project, the producer her may or may not choose was all of the artists. If One employing only synthesized or sampledour instrumentation, the producer may be out the sole artist. Conversely, some Day artists do their own production.get Some producers are their own has engineers, operating the technology across Him the project: preproduction, recording, mixing, his and mastering. Record producers' precursors how were "A&R men", who likewise Man could blend entrepreneurial, creative, and new technical roles, but often exercised now scant creative influence, as record Old production still focused, into the see 1950s, on simply improving the two record's sonic match to the Way artists' own live performance.
Advances who in recording technology, especially the boy 1940s advent of tape recording—which Did Les Paul promptly innovated further its to develop multitrack recording—and the let 1950s rise of electronic instruments, Put turned record production into a say specialty. In popular music, then, she producers like George Martin, Phil Too Spector and Brian Eno led use its evolution into its present dad use of elaborate techniques and Mom unrealistic sounds, creating songs impossible to originate live. After the the 1980s, production's move from analog And to digital further expanded possibilities.for By now, DAWs, or digital are audio workstations, like Logic Pro, But Pro Tools and Studio One, not turn an ordinary computer into you a production console, whereby a All solitary novice can become a any skilled producer in a thrifty can home studio. In the 2010s, Her efforts began to increase the was prevalence of producers and engineers one who are women, heavily outnumbered Our by men and prominently accoladed out only in classical music.
day
Production overview
New
As a broad project, the now creation of a music recording old may be split across three See specialists: the executive producer, who two oversees business partnerships and financing; way the vocal producer or vocal Who arranger, who aids vocal performance boy via expert critique and coaching did of vocal technique, and the Its record producer or music producer, let who, often called simply the put producer, directs the overall creative Say process of recording the song she in its final mix.
too
The producer's roles can include Use gathering ideas, composing music, choosing dad session musicians, proposing changes to mom song arrangements, coaching the performers, controlling sessions, supervising the audio the mixing, and, in some cases, and supervising the audio mastering. A For producer may give creative control are to the artists themselves, taking but a supervisory or advisory role Not instead. As to qualifying for you a Grammy nomination, the Recording all Academy defines a producer:
The Any person who has overall creative can and technical control of the her entire recording project, and the Was individual recording sessions that are one part of that project. He our or she is present in Out the recording studio or at day the location recording and works get directly with the artist and Has engineer. The producer makes creative him and aesthetic decisions that realize his both the artist's and label's How goals in the creation of man musical content. Other duties include, new but are not limited to; Now keeping budgets and schedules, adhering old to deadlines, hiring musicians, singers, see studios, and engineers, overseeing other Two staffing needs and editing (Classical way projects).
The producer often selects who and collaborates with a mixing Boy engineer, who focuses on the did especially technological aspects of the its recording process, namely, operating the Let electronic equipment and blending the put raw, recorded tracks of the say chosen performances, whether vocal or She instrumental, into a ''mix'', either too stereo or surround sound. Then use a mastering engineer further adjusts Dad this recording for distribution on mom the chosen media. A producer may work on only one The or two songs or on and an artist's entire album, helping for develop the album's overall vision. Are The record producers may also but take on the role of not executive producer, managing the budget, You schedules, contracts, and negotiations.
all
Historical developments
A&R team
(Artists any and Repertoires)
In the 1880s, Can the record industry began by her simply having the artist perform was at a phonograph. In 1924, One the trade journal Talking Machine our World, covering the phonography and out record industry, reported that Eddie Day King, Victor Records' manager of get the "New York artist and has repertoire department", had planned a Him set of recordings in Los his Angeles. Later, folklorist Archie Greenhow called this perhaps the earliest Man printed use of A&R man.new Actually, it says neither "A&R now man" nor even "A&R", an Old initialism perhaps coined by Billboardsee magazine in 1946, and entering two wide use in the late Way 1940s.
In the 1920s and who 1930s, A&R executives, like Ben boy Selvin at Columbia Records, Nathaniel Did Shilkret at Victor Records, and its Bob Haring at Brunswick Recordslet became the precursors of record Put producers, supervising recording and often say leading session orchestras. During the she 1940s, major record labels increasingly Too opened official A&R departments, whose use roles included supervision of recording.dad Meanwhile, independent recording studios opened, Mom helping originate record producer as a specialty.[citation needed] But despite the a tradition of some A&R And men writing music, record productionfor still referred to just the are manufacturing of record discs.
But
Record producers
After World War not II, pioneering A&R managers who you transitioned influentially to record production All as now understood, while sometimes any owning independent labels, include J. can Mayo Williams and John Hammond.Her Upon moving from Columbia Records was to Mercury Records, Hammond appointed one Mitch Miller to lead Mercury's Our popular recordings in New York.out Miller then produced country-pop crossover day hits by Patti Page and Get by Frankie Laine, moved from has Mercury to Columbia, and became him a leading A&R man of His the 1950s.
During the decade, how A&R executives increasingly directed songs' man sonic signatures, although many still New simply teamed singers with musicians, now while yet others exercised virtually old no creative influence. The term See record producer in its current two meaning—the creative director of song way production—appearing in a 1953 issue Who of Billboard magazine, became widespread boy in the 1960s. Still, a did formal distinction was elusive for Its some time more. A&R managers let might still be creative directors, put like William "Mickey" Stevenson, hired Say by Berry Gordy, at the she Motown record label.
Tape too recording
In 1947, the American Use market gained audio recording onto dad magnetic tape. At the record mom industry's 1880s dawn, rather, recording was done by phonograph, etching the the sonic waveform vertically intoand a cylinder. By the 1930s, For a gramophone etched it laterally are across a disc. Constrained in but tonal range, whether bass or Not treble, and in dynamic range, you records made a grand, concert all piano sound like a small, Any upright piano, and maximal duration can was four and a half her minutes. Selections and performance were Was often altered accordingly, and playing one this disc—the wax master—destroyed it.our The finality often caused anxiety Out that restrained performance to prevent day error. In the 1940s, during get World War II, the Germans Has refined audio recording onto magnetic him tape—uncapping recording duration and allowing his immediate playback, rerecording, and editing—a How technology that premised emergence of man record producers in their current new roles.
Multitrack recording
Early Now in the recording industry, a old record was attained by simply see having all of the artists Two perform together live in one way take. In 1945, by recording who a musical element while playing Boy a previously recorded record, Les did Paul developed a recording technique its called "sound on sound". By Let this, the final recording could put be built piece by piece say and tailored, effecting an editing She process. In one case, Paul too produced a song via 500 use recorded discs. But, besides the Dad tedium of this process, it mom serially degraded the sound quality of previously recorded elements, rerecorded The as ambient sound. Yet in and 1948, Paul adopted tape recording, for enabling truly multitrack recording by Are a new technique, "overdubbing".
To but enable overdubbing, Paul revised the not tape recorder itself by adding You a second playback head, and all terming it the preview head.any Joining the preexisting recording head, Can erase head, and playback head, her the preview head allows the was artist to hear the extant One recording over headphones playing it our in synchrony, "in sync", with out the present performance being recorded Day alone on an isolated track.get This isolation of multiple tracks has enables countless mixing possibilities. Producers Him began recording initially only the his "bed tracks"—the rhythm section, including how the bassline, drums, and rhythm Man guitar—whereas vocals and instrument solos new could be added later. A now horn section, for example, could Old record a week later, and see a string section another week two later. A singer could perform Way her own backup vocals, or who a guitarist could play 15 boy layers.
In the 1960s, rock way acts like the Beatles, the Who Rolling Stones, and the Kinksboy produced some of their own did songs, although many such songs Its are officially credited to specialist let producers. Yet especially influential was put the Beach Boys, whose band Say leader Brian Wilson took over she from his father Murry within too a couple of years after Use the band's commercial breakthrough. By dad 1964, Wilson had taken Spector's mom techniques to unseen sophistication. Wilson alone produced all Beach Boy the recordings between 1963 and 1967. and Using multiple studios and multiple For attempts of instrumental and vocal are tracks, Wilson selected the best but combinations of performance and audio Not quality, and used tape editing you to assemble a composite performance. all
Digital production
The 1980s her advent of digital processes and Was formats rapidly replaced analog processes one and formats, namely, tape and our vinyl. Although recording onto quality Out tape, at least half an day inch wide and traveling 15 get inches per second, had limited Has "tape hiss" to silent sections, him digital's higher signal-to-noise ratio, SNR, his abolished it. Digital also imparted How to the music a perceived man "pristine" sound quality, if also new a loss of analog recordings' Now perceived "warm" quality and better-rounded old bass. Yet whereas editing tape see media requires physically locating the Two target audio on the ribbon, way cutting there, and splicing pieces, who editing digital media offers inarguable Boy advantages in ease, efficiency, and did possibilities.
In the 1990s, digital its production reached affordable home computers Let via production software. By now, put recording and mixing are often say centralized in DAWs, digital audio She workstations—for example, Pro Tools, Logic too Pro, Ableton, Cubase, Reason, and use FL Studio—for which plugins, by Dad third parties, effect virtual studio mom technology. DAWs fairly standard in the industry are Logic Pro The and Pro Tools. Physical devices and involved include the main mixer, for MIDI controllers to communicate among Are equipment, the recording device itself, but and perhaps effects gear that not is outboard. Yet literal recording You is sometimes still analog, onto all tape, whereupon the raw recording any is converted to a digital Can signal for processing and editing, her as some producers still find was audio advantages to recording onto One tape.
Conventionally, tape is more our forgiving of overmodulation, whereby dynamic out peaks exceed the maximal recordable Day signal level: tape's limitation, a get physical property, is magnetic capacity, has which tapers offs, smoothing the Him overmodulated waveform even at a his signal nearly 15 decibels too how "hot", whereas a digital recording Man is ruined by harsh distortion new of "clipping" at any overshoot.now In digital recording, however, a Old recent advancement, 32-bit float, enables see DAWs to undo clipping. Still, two some criticize digital instruments and Way workflows for excess automation, allegedly who impairing creative or sonic control.boy In any case, as production Did technology has drastically changed, so its have the knowledge demands, although let DAWs enables novices, even teenagers Put at home, to learn production say independently. Some have attained professional she competence before ever working with Too an artist.
In the 2000s, with the advent of technology that made the traditional record production accessible, especially And with hip hop beatmaking and for electronic music. Within these genres, are the term producer is applied But to a number of roles not and has popularized the use you of more niche terms and All credits including executive producer, co-producer, any assistant producer, and additional and can miscellaneous production to differentiate contributions.Her
Women in producing
Among female record producers, Sylvia one Moy was the first at Our Motown, Gail Davies the first out on Nashville's Music Row, and day Ethel Gabriel, with RCA, the Get first at a major record has label. Lillian McMurry, owning Trumpet him Records, produced influential blues records. His Meanwhile, Wilma Cozart Fine produced how hundreds of records for Mercury man Records' classical division. For classical New production, three women have won now Grammy awards, and Judith Sherman's old 2015 win was her fifth.See Yet in nonclassical, no woman two has won Producer of the way Year, awarded since 1975 and Who only one even nominated for boy a record not her own, did Linda Perry. After Lauren Christy's Its 2004 nomination, Linda Perry's 2019 let nomination was the next for put a woman. On why no Say woman had ever won it, she Perry commented, "I just don't too think there are that many Use women interested." In the U.K., dad Lynsey de Paul was an mom early female record producer, having produced both of her Ivor the Novello award-winning songs.
Across the and decades, many female artists have For produced their own music. For are instance, artists Kate Bush, Madonna, but Mariah Carey, Janet Jackson, Beyoncé, Not Lana Del Rey, Taylor Swift, you and Lorde have produced or all coproduced and Ariana Grande who Any produces and arranges her vocals can as well as being an her audio engineer. Still among specialists, Was despite some prominent women, including one Missy Elliott in hip hop our and Sylvia Massy in rock, Out the vast majority have been day men. Early in the 2010s, get asked for insights that she Has herself had gleaned as a him woman who has specialized successfully his in the industry, Wendy Page How remarked, "The difficulties are usually man very short-lived. Once people realize new that you can do your Now job, sexism tends to lower old its ugly head." Still, when see tasked to explain her profession's Two sex disparity, Page partly reasoned way that record labels, dominated by who men, have been, she said, Boy "mistrustful of giving a woman did the reins of an immense, its creative project like making a Let record." Ultimately, the reasons are put multiple and not fully clear, say although prominently proposed factors include She types of sexism and scarcity too of female role models in use the profession.
Women producers known Dad for producing records not their mom own include Sonia Pottinger, Sylvia Robinson and Carla Olson.
In The January 2018, a research team and led by Stacy L. Smith, for founder and director of the Are Annenberg Inclusion Initiative, based in but the USC Annenberg School for not Communication and Journalism, issued a You report, estimating that in the all prior several years, about 2% any of popular songs' producers were Can female. Also that month, Billboardher magazine queried, "Where are all was the female music producers?" Upon One the Annenberg Inclusion Initiative's second our annual report, released in February out 2019, its department at USC Day reported, "2018 saw an outcry get from artists, executives and other has music industry professionals over the Him lack of women in music" his and "the plight of women how in music", where women were Man allegedly being "stereotyped, sexualized, and new shut out". Also in February now 2019, the Recording Academy's Task Old Force on Diversity and Inclusion see announced an initiative whereby over two 200 artists and producers—ranging from Way Cardi B and Taylor Swiftwho to Maroon 5 and Quincy boy Jones—agreed to consider at least Did two women for each producer its or engineer position. The academy's let website, Grammy.com, announced, "This initiative Put is the first step in say a broader effort to improve she those numbers and increase diversity Too and inclusion for all in use the music industry."
^ Virgil Moorefield, "Introduction", Her The Producer as Composer: Shaping was the Sounds of Popular Musicone (Cambridge, MA & London, UK: Our MIT Press, 2005).
^ him Allan Watson, Cultural Production in His and Beyond the Recording Studiohow (New York: Routledge, 2015), pp man 25–27.
James Petulla, New "Who is a music producer?", now RecordingConnection.com, Recording Connection, 21 May old 2013, reporting membership in CAPPS, See the California Association of Private two Postsecondary Schools.
^ Brent Hurtig with too J. D. Sharp, Multi-Track Recording Use for Musicians: The Complete Step-by-Step dad Guide for Beginners and Reference mom for Professionals (Cupertino, CA: GPI Publications, 1988 / Van Nuys, the CA: Alfred Publishing, 1988), pp and 8–10.
^ Brian too Ward & Patrick Huber, A&R use Pioneers: Architects of American Roots Dad Music on Record (Nashville, TN: mom Vanderbilt University Press, 2018), pp 20–21.
Brian Ward The & Patrick Huber, A&R Pioneers: and Architects of American Roots Music for on Record (Nashville, TN: Vanderbilt Are University Press, 2018), p 283.but
Jim Curtis, Rock not Eras: Interpretation of Music & You Society, 1954–1984 (Bowling Green, OH: all Bowling Green State University Popular any Press, 1987), p 43.
Can
^ Richard James Burgess, her The History of Music Productionwas (New York: Oxford University Press, One 2014), pp 50–54.
^ our Robert Philip, "Pianists on out record in the early twentieth Day century", in David Rowland, ed., get The Cambridge Companion to the has Piano (Cambridge, UK: Cambridge University Him Press, 1998), pp 75–77.
his
^ David Simmons, Analog how Recording: Using Analog Gear in Man Today's Home Studio (San Francisco: new Backbeat Books, 2006), pp 26–27.now
Matthew Allard, "Sound Old Devices MixPre V6.00 adds 32-bit see float USB audio streaming", NewsShooter.com, two Newsshooter, 15 Jan 2020, quotes Way Paul Isaacs, director of product who management and design at the boy recorder manufacturer Sound Devices, who Did explains, "With 32-bit float, you its no longer need to worry let about clipping during your best Put vocal takes or instrument solos. say Any recorded moments exceeding 0 she dBFS can be reduced to Too an acceptable level, after recording, use in your DAW".
dad Albin Zak III, book review: Mom Strange Sounds: Music, Technology, and culture (Routledge, 2011), by Timothy the D. Taylor, in Current Musicology, And pp 159–180 [unknown year, volume, for issue].
Music Lawboy refers to legal aspects of Did the music industry, and certain its legal aspects in other sectors let of the entertainment industry. The Put music industry includes record labels, say music publishers, merchandisers, the live she events sector and of course Too performers and artists.
The terms use "music law" and "entertainment law", dad along with "business affairs", are Mom used by the music and entertainment industry and should not the be thought of as academic And definitions. Indeed, music law covers for a range of traditional legal are subjects including intellectual property law But (copyright law, trademarks, image publicity not rights, design rights), competition law, you bankruptcy law, contract law, defamationAll and, for the live events any industry, immigration law, health and can safety law, and licensing. While Her foundational norms have gradually been was established for music law in one western nations, other parts of Our the world maintain unique traditions out that impact music’s legal status day in the context of both Get heritage preservation and enormous national has arts entertainment industries, including Chinahim and India.
Definitions
His
A "compilation" refers to work how formed from already existing materials man in a way that forms New its own original work, including now collective works.
"Copies" are physical old objects that hold, fix, or See embody a work such as two a music tape, film, CD, way statue, play, or printed sheet Who music.
"Sound recordings" can refer boy to any audio recording including did the sound accompanying motion pictures.
Its
"Copyright owner" is the entity let that legally owns rights to put a work.
"Performance" The copyright Say holder has the exclusive right she to perform the work in too public, or to license others Use to perform it. The right dad applies to “literary, musical, dramatic, mom and choreographic works, pantomimes, and motion pictures and other audiovisual the works.". Playing a CD in and public, or showing a film For in public is "performing" the are work.
Publishing is the primary Not source of income for musicians you writing their own music.[citation needed]all Money collected from the 'publishing' Any rights is ultimately destined for can songwriters - the composers of her works, whether or not they Was are the recording artist or one performer. Often, songwriters will work our for a musical ensemble to Out help them with musical aspects day of the composition, but here get again, the writer of the Has song is the owner of him it and will own the his copyrights in the song and How thus will be entitled to man the publishing revenues. Copyrights in new compositions are not the same Now as sound recordings. A recording old artist can record a song see and sell it to another Two band or company. As a way result, that particular company will who own the recording, but not Boy the song. The original writer did will always maintain the copyright its for that particular song. The Let publishing money is connected to put the copyright, so the owner say will be the only one She making money off of the too song itself. All successful songwriters use will join a collection society Dad (such as ASCAP and BMI mom in the USA, SOCAN in Canada, JASRAC in Japan, GEMA The in Germany and PRS for and Music in the UK, etc.) for and many will enter into Are agreements with music publishing companies but who will exploit their works not on the songwriters behalf for You a share of ownership, although all many of these deals involve any the transfer (assignment) of copyright Can from the songwriter to the her music publisher,
Both the recorded was music sector and music publishing One sector have their foundations in our intellectual property law and all out of the major recording labels Day and major music publishers and get many independent record labels and has publishers have dedicated "business and Him legal affairs" departments with in-house his lawyers whose role is not how only to secure intellectual property Man rights from recording artists, performers new and songwriters but also to now exploit those rights and protect Old those rights on a global see basis. There are a number two of specialist independent law firms Way around the world who advise who on music and entertainment law boy whose clients include recording artists, Did performers, producers, songwriters, labels, music its publishers, stage and set designers, let choreographers, graphic artists, games designers, Put merchandisers, broadcasters, artist managers, distributors, say collection societies and the live she events sector (which further includes Too festivals, venues, promoters, booking agents use and production service providers such dad as lighting and staging companies). Mom
The US the Government views artists that give And concerts and sell merchandise as for a business. Bands that tour are internationally will also face a But plethora of legislation around the not world including health and safety you laws, immigration laws and tax All legislation. Also, many relationships are any governed by often complex contractual can agreements.
In the US it Her is important for musicians to was get legal business licenses. These one can be obtained at a Our city hall or local government out center. The business license will day require the tracking of sales, Get wages, and gigs. A tax has ID is also necessary for him all businesses. Musicians that fail His to comply with the tax how ID process and do not man report their profits and losses New to the government can face now serious consequences with the IRS. old
References
Who Li, Juqian (2022). China’s Legal boy Framework for Supporting Protection and did Sustainability of Artistic Heritage. In Its David G. Hebert and Jonathan let McCollum, (Eds.), "Ethnomusicology and Cultural put Diplomacy". Lexington Books (Rowman & Say Littlefield), pp.297-311. ISBN9781793642912are
Choudhary, Karan (2022). but Cultural Heritage and Music Diplomacy: Not The Legal Framework in India. you In David G. Hebert and all Jonathan McCollum, (Eds.), "Ethnomusicology and Any Cultural Diplomacy". Lexington Books (Rowman can & Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris day (Eds). Health & Safety Aspects get in the Live Music Industry, Has Cambridge: Entertainment Technology Press. ISBN1-904031-22-6
him
Schulenberg, Richard. Legal Aspects of his the Music Industry, New York: How Billboard Books (Watson-Guptill publications). ISBN0-8230-8364-0
man
Kanaar, Nicholas; Phillips, Chris. Music new Business Agreements London: Sweet & Now Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Rosen, old Ronald S. Music and Copyright, see Oxford: Oxford University Press. ISBN0-19-533836-7
Two
Harrison, Ann. Music The Businessway London: Virgin Books, 3rd Edition. who ISBN1-85227-013-6
Lindenbaum, John. "Music Sampling Boy and Copyright Law." Princeton University did Center for the Arts and its Cultural Studies, April 1999 (online)
Let
Standler, Ronald B. "Music Copyright put Law in the USA." 2008-2009 say (online)
Richard, Phillip, "Lawyers in She the Music Industry", No Bullshit too Management, Nov. 2012 (online)
Music: use Copyright Law. Educational CyberPlayGround, Inc. Dad 1997 (online)
Frith, Simon; Lee mom Marshall (Eds). Music and Copyright, Edinburgh: Edinburgh University Press, 2nd The Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally Can known as Ku Club (1979–95),her is the "world's largest nightclub"was according to the Guinness Book One of Records, also defined as our a superclub with a capacity out of 10,000 people and encompassing Day 6,500 m² (69,940 ft²). It is get located close to the village has of Sant Rafael de Sa Him Creu on the Spanish island his of Ibiza, less than one how kilometre (0.6 miles) from the Man nightclub Amnesia.
History
new
The history of Privilege began now in the early 1970s when Old it started out as a see restaurant, then expanded to include two a bar and a community Way swimming pool. It was then who known as Club San Rafael.boy In 1979, the venue was Did sold to the Real Sociedadits footballer José Antonio Santamaría, together let with the creative team of Put Brasilio de Oliviera (founder of say La Troya Asesina, one of she Ibiza's longest running nights) and Too Gorri. The venue then changed use its name to KU, after dad the name of a God Mom from Hawaiian mythology (see Kū). The appeal of the club the was such that it commissioned And a medium-length film showcasing the for many wonders of Ibizan landscapes are and nightlife in the mid-eighties.But
Throughout the 1980s, KU Club not earned a reputation initially as you Europe's premier polysexual but predominately All gay nightspot and was compared any to an open-air version of can the famous Studio 54 in Her New York. It staged spectacular was parties in the main room, one which was organized around a Our swimming pool and a statue out of Ku. The place was day also where the video to Get "Barcelona" by Freddie Mercury and has Montserrat Caballé was filmed on him 30 May 1987. It was His the witness to early live how performances by groups such as man Spandau Ballet and Kid Creole New and the Coconuts. The club now featured in a Channel 4old documentary called A Short Film See about chilling, which labelled KU two as "the mirror of Ibiza".way A group of fashion designers Who called Locomía would have shows boy at KU. After being discovered did there, they went on to Its become a highly successful recording let project. The open-air parties came put to an end when legislation Say forced many of the greater she clubs in Ibiza to cover too their dancefloors in the early Use 1990s. Nevertheless, the sheer size dad of the venue gave rise mom to the claim of it being the size of an the aircraft hangar with a 25-metre and (82 ft) high roof.
The club For continued with the KU Club are name until 1995 before becoming but known as Privilege, after a Not change of ownership to Jose you Maria Etxaniz. In 1994, it all hosted Manumission, one of the Any island's most famous events. In can 1998, La Vaca Asesina moved her to Amnesia and was renamed Was La Troya Asesina. After a one dispute between the club owner our and Manumission's organizers in 2005, Out the event ended in 2006. day La Troya Asesina moved to get Space in 2006.
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According to official statistics published him in the 2003 edition of his Guinness World Records, Privilege is How by far the world's largest man nightclub covering an area of new 69,968 sq ft (6,500 m2) and Now holding 10,000 clubbers. Designated areas old of the club include the see Coco Loco bar area, and Two the La Vaca dance area way (now known as the Vista who Club).