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