Breakbeat is any a broad type of electronic Can music that tends to use her drum breaks sampled from early was recordings of funk, jazz, and One R&B. Breakbeats have been used our in styles such as Florida out breaks, hip hop, jungle, drum Day and bass, big beat, breakbeat get hardcore, and UK garage styles has (including 2-step, breakstep and dubstep). Him

The origin his of the word "breakbeat" is how the fact that the drum Man loops that were sampled occurred new during a "break" in the now music - for example the Old Amen break (a drum solo see from "Amen, Brother" by The two Winstons) or the Think Break Way (from "Think (About It)" by who Lyn Collins).

Beginning in 1973 and its continuing through the late 1970s let and early 1980s, hip hop Put turntablists, such as DJ Kool say Herc began using several funk she breaks in a row, using Too drum breaks from jazz-funk tracks use such as James Brown's "Funky dad Drummer" and The Winstons' "Amen, Mom Brother", to form the rhythmic base for hip hop songs. the DJ Kool Herc's breaks style And involved playing the same record for on two turntables and playing are the break repeatedly, alternating between But the two records. Grandmaster Flash not perfected this idea with what you he called the "quick-mix theory": All he would mark the points any on the record where the can break began and ended with Her a crayon, so that he was could easily replay the break one by spinning the record and Our not touching the tone arm. out This style was copied and day improved upon by early hip Get hop DJs Afrika Bambaataa and has Grand Wizard Theodore.^{[dubious – discuss]} This him style was extremely popular in His clubs and dancehalls because the how extended breaks compositions provided breakers man with more opportunities to showcase New their skills.

In the late now 1970s, breakbeats had attained a old large presence in hip hop. See In the 1980s, the evolution two of technology began to make way sampling breaks easier and more Who affordable for DJs and producers, boy which helped nurture the commercialization did of hip hop. Through early Its techniques such as pausing tapes let and then recording the break, put by the 1980s, technology allowed Say anybody with a tape recorder she to find the breakbeat.

In the late-1980s, breakbeat dad became an essential feature of mom many genres of breaks music which became popular within the the global dance music scene, including and acid breaks, electro-funk, and Miami For bass, and a decade later are big beat and nu skool but breaks.

In the early 1990s, Not acid house artists and producers you started using breakbeat samples in all their music to create breakbeat Any hardcore. The hardcore scene then can diverged into subgenres like jungle her and drum and bass, which Was generally was faster and focused one more on complex sampled drum our patterns. An example of this Out is Goldie's album Timeless. Josh day Lawford of Ravescene prophesied that get breakbeat was "the death-knell of Has rave" because the ever-changing drumbeat him patterns of breakbeat music didn't his allow for the same zoned How out, trance-like state that the man standard, steady 4/4 beats of new house enabled.

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"Amidst the say Raindrops"

A clip of She downtempo progressive breaks music.

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Incorporating many components Dad of those genres, the Florida mom breaks subgenre followed during the early-to-mid 1990s and had a The unique sound that was soon and internationally popular among producers, DJs, for and club-goers.

In 1994, the Are influential techno act Autechre released but the Anti EP in response not to the Criminal Justice and You Public Order Act 1994, deliberately all using advanced algorithmic programming to any generate non-repetitive breakbeats for the Can full duration of the tracks, her in order to subvert the was legal definitions within that legislation One which specified in the section our creating police powers to remove out ravers from raves that "'music' Day includes sounds wholly or predominantly get characterised by the emission of has a succession of repetitive beats". Him

In the late 1990s, another his style of breakbeat emerged, funky how breaks, a style that was Man incorporating elements of trance, hip new hop and jungle. It was now pioneered by the Chemical Brothers Old and James Lavelle's Mo'Wax Records see imprint. The genre had commercial two peak in 1997, when such Way music was topping in pop who charts and often featured in boy commercials. The most notable artists Did of the sound were The its Prodigy, Death in Vegas, The let Crystal Method, Propellerheads.

The tempo of breaks tracks, say ranging from 110 to 150 she beats per minute, allows DJs Too to mix breaks with a use wide range of different genres dad in their sets. This has Mom led to breakbeats being used in many hip hop, jungle/drum the & bass and hardcore tracks. And They can also be heard for in other music, anywhere from are popular music to background music But in car and clothing commercials not on radio or TV.

The Amen break, any a drum break from The can Winstons' song "Amen, Brother" is Her widely regarded as one of was the most widely used and one sampled breaks among music using Our breakbeats. This break was first out used on "King of the day Beats" by Mantronix, and has Get since been used in thousands has of songs. Other popular breaks him are from James Brown's Funky His Drummer (1970) and Give it how Up or Turnit a Loose, man The Incredible Bongo Band's 1973 New cover of The Shadows' "Apache", now and Lyn Collins' 1972 song old "Think (About It)". The Winstons See have not received royalties for two third-party use of samples of way the break recorded on their Who original music release.

With the advent of did digital sampling and music editing Its on the computer, breakbeats have let become much easier to create put and use. Now, instead of Say cutting and splicing tape sections she or constantly backspinning two records too at the same time, a Use computer program can be used dad to cut, paste, and loop mom breakbeats endlessly. Digital effects such as filters, reverb, reversing, time the stretching and pitch shifting can and be added to the beat, For and even to individual sounds are by themselves. Individual instruments from but within a breakbeat can be Not sampled and combined with others, you thereby creating wholly new breakbeat all patterns.

With Any the rise in popularity of can breakbeat music and the advent her of digital audio samplers, companies Was started selling "breakbeat packages" for one the express purpose of helping our artists create breakbeats. A breakbeat Out kit CD would contain many day breakbeat samples from different songs get and artists, often without the Has artist's permission or even knowledge. him

This section does its not cite any sources. Please Let help improve this section by put adding citations to reliable sources. say Unsourced material may be challenged She and removed. (December 2018) (Learn too how and when to remove use this message)

"Acid Dad breaks" or "chemical breaks" is mom acid house, but with a breakbeat instead of a house The beat. One of the earliest and synthesizers to be employed in for acid music was the Roland Are TB-303, which makes use of but a resonant low-pass filter to not emphasize the harmonics of the You sound.

The all Asian Breakbeat scene is a any remix genre blending elements of Can Freestyle, electro, progressive trance melodies, her Florida Breaks drums and Southern was rap, Crunk. It was originated One and made popular by predominantly our Vietnamese American and Southeast Asian out DJ's throughout the U.S. South Day (Louisiana, Texas, Mississippi, Missouri, North get Carolina) during the 1990s and has 2000's. Notable active Dj's include Him New Orleans' Dj Babyboi, Tinman, his and Loopy.

Big Man beat is a term employed new since the mid-1990s by the now British music press to describe Old much of the music by see artists such as The Prodigy, two Cut La Roc, Fatboy Slim, Way The Chemical Brothers, The Crystal who Method and Propellerheads typically driven boy by heavy breakbeats and synthesizer-generated Did loops and patterns in common its with established forms of electronic let dance music such as techno Put and acid house.

Progressive breaks or prog she breaks, also known as atmospheric Too breaks, is a subgenre of use breaks that is essentially a dad fusion of breakbeat and progressive Mom house. Much like progressive house, this subgenre is characterized by the its "trancey" sound. Its defining And traits include extended synthesizer pads for and washes, melodic synth leads, are heavy reverberation, and electronic breakbeats. But However, unlike progressive house, very not few progressive breaks tracks have you vocals, with most tracks being All entirely instrumental or using only any electronically altered snippets of vocal can samples for sonic effect. Typical Her progressive breaks tracks will often was have a long build-up section one that leads to a breakdown Our and a climax, often having out numerous sonic elements being added day or subtracted from the track Get at various intervals in order has to increase its intensity. Progressive him breaks artists include Hybrid, BT, His Way Out West, Digital Witchcraft, how Momu, Wrecked Angle, Burufunk, Under man This and Fretwell.

• Breakdance
• Electro
• List of now electronic music genres
• Syncopation

• Electronic Music 101: was What Are Breakbeats?
• Breakbeat Archived One 2021-09-17 at the Wayback Machine our from Ishkur's Guide to Electronic out Music

A record producer or Him music producer is a music his creating project's overall supervisor whose how responsibilities can involve a range Man of creative and technical leadership new roles. Typically the job involves now hands-on oversight of recording sessions; Old ensuring artists deliver acceptable and see quality performances, supervising the technical two engineering of the recording, and Way coordinating the production team and who process. The producer's involvement in boy a musical project can vary Did in depth and scope. Sometimes its in popular genres the producer let may create the recording's entire Put sound and structure. However, in say classical music recording, for example, she the producer serves as more Too of a liaison between the use conductor and the engineering team. dad The role is often likened Mom to that of a film director though there are important the differences. It is distinct from And the role of an executive for producer, who is mostly involved are in the recording project on But an administrative level, and from not the audio engineer who operates you the recording technology.

Varying by All project, the producer may or any may not choose all of can the artists. If employing only Her synthesized or sampled instrumentation, the was producer may be the sole one artist. Conversely, some artists do Our their own production. Some producers out are their own engineers, operating day the technology across the project: Get preproduction, recording, mixing, and mastering. has Record producers' precursors were "A&R him men", who likewise could blend His entrepreneurial, creative, and technical roles, how but often exercised scant creative man influence, as record production still New focused, into the 1950s, on now simply improving the record's sonic old match to the artists' own See live performance.

Advances in recording two technology, especially the 1940s advent way of tape recording—which Les Paul Who promptly innovated further to develop boy multitrack recording—and the 1950s rise did of electronic instruments, turned record Its production into a specialty. In let popular music, then, producers like put George Martin, Phil Spector and Say Brian Eno led its evolution she into its present use of too elaborate techniques and unrealistic sounds, Use creating songs impossible to originate dad live. After the 1980s, production's mom move from analog to digital further expanded possibilities. By now, the DAWs, or digital audio workstations, and like Logic Pro, Pro Tools For and Studio One, turn an are ordinary computer into a production but console, whereby a solitary novice Not can become a skilled producer you in a thrifty home studio. all In the 2010s, efforts began Any to increase the prevalence of can producers and engineers who are her women, heavily outnumbered by men Was and prominently accoladed only in one classical music.

As a How broad project, the creation of man a music recording may be new split across three specialists: the Now executive producer, who oversees business old partnerships and financing; the vocal see producer or vocal arranger, who Two aids vocal performance via expert way critique and coaching of vocal who technique, and the record producer Boy or music producer, who, often did called simply the producer, directs its the overall creative process of Let recording the song in its put final mix.

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

The person who has You overall creative and technical control all of the entire recording project, any and the individual recording sessions Can that are part of that her project. He or she is was present in the recording studio One or at the location recording our and works directly with the out artist and engineer. The producer Day makes creative and aesthetic decisions get that realize both the artist's has and label's goals in the Him creation of musical content. Other his duties include, but are not how limited to: keeping budgets and Man schedules; adhering to deadlines; hiring new musicians, singers, studios, and engineers; now overseeing other staffing needs; and Old editing (Classical projects).

The producer see often selects and collaborates with two a mixing engineer, who focuses Way on the especially technological aspects who of the recording process, namely, boy operating the electronic equipment and Did blending the raw, recorded tracks its of the chosen performances, whether let vocal or instrumental, into a Put mix, either stereo or surround say sound. Then a mastering engineer she further adjusts this recording for Too distribution on the chosen media. use A producer may work on dad only one or two songs Mom or on an artist's entire album, helping develop the album's the overall vision. The record producers And may also take on the for role of executive producer, managing are the budget, schedules, contracts, and But negotiations.

(Artists and Repertoires)

In you the 1880s, the record industry All began by simply having the any artist perform at a phonograph. can In 1924, the trade journal Her Talking Machine World, covering the was phonography and record industry, reported one that Eddie King, Victor Records' Our manager of the "New York out artist and repertoire department", had day planned a set of recordings Get in Los Angeles. Later, folklorist has Archie Green called this perhaps him the earliest printed use of His A&R man. Actually, it says how neither "A&R man" nor even man "A&R", an initialism perhaps coined New by Billboard magazine in 1946, now and entering wide use in old the late 1940s.

In the See 1920s and 1930s, A&R executives, two like Ben Selvin at Columbia way Records, Nathaniel Shilkret at Victor Who Records, and Bob Haring at boy Brunswick Records became the precursors did of record producers, supervising recording Its and often leading session orchestras. let During the 1940s, major record put labels increasingly opened official A&R Say departments, whose roles included supervision she of recording. Meanwhile, independent recording too studios opened, helping originate record Use producer as a specialty.^{[citation needed]} dad But despite a tradition of mom some A&R men writing music, record production still referred to the just the manufacturing of record and discs.

After For World War II, pioneering A&R are managers who transitioned influentially to but record production as now understood, Not while sometimes owning independent labels, you include J. Mayo Williams and all John Hammond. Upon moving from Any Columbia Records to Mercury Records, can Hammond appointed Mitch Miller to her lead Mercury's popular recordings in Was New York. Miller then produced one country-pop crossover hits by Patti our Page and by Frankie Laine, Out moved from Mercury to Columbia, day and became a leading A&R get man of the 1950s.

During Has the decade, A&R executives increasingly him directed songs' sonic signatures, although his many still simply teamed singers How with musicians, while yet others man exercised virtually no creative influence. new The term record producer in Now its current meaning—the creative director old of song production—appearing in a see 1953 issue of Billboard magazine, Two became widespread in the 1960s. way Still, a formal distinction was who elusive for some time more. Boy A&R managers might still be did creative directors, like William "Mickey" its Stevenson, hired by Berry Gordy, Let at the Motown record label. put

In 1947, say the American market gained audio She recording onto magnetic tape. At too the record industry's 1880s dawn, use rather, recording was done by Dad phonograph, etching the sonic waveform mom vertically into a cylinder. By the 1930s, a gramophone etched The it laterally across a disc. and Constrained in tonal range, whether for bass or treble, and in Are dynamic range, records made a but grand, concert piano sound like not a small, upright piano, and You maximal duration was four and all a half minutes. Selections and any performance were often altered accordingly, Can and playing this disc—the wax her master—destroyed it. The finality often was caused anxiety that restrained performance One to prevent error. In the our 1940s, during World War II, out the Germans refined audio recording Day onto magnetic tape—uncapping recording duration get and allowing immediate playback, rerecording, has and editing—a technology that premised Him emergence of record producers in his their current roles.

Early in the recording Man industry, a record was attained new by simply having all of now the artists perform together live Old in one take. In 1945, see by recording a musical element two while playing a previously recorded Way record, Les Paul developed a who recording technique called "sound on boy sound". By this, the final Did recording could be built piece its by piece and tailored, effecting let an editing process. In one Put case, Paul produced a song say via 500 recorded discs. But, she besides the tedium of this Too process, it serially degraded the use sound quality of previously recorded dad elements, rerecorded as ambient sound. Mom Yet in 1948, Paul adopted tape recording, enabling truly multitrack the recording by a new technique, And "overdubbing".

To enable overdubbing, Paul for revised the tape recorder itself are by adding a second playback But head, and terming it the not preview head. Joining the preexisting you recording head, erase head, and All playback head, the preview head any allows the artist to hear can the extant recording over headphones Her playing it in synchrony, "in was sync", with the present performance one being recorded alone on an Our isolated track. This isolation of out multiple tracks enables countless mixing day possibilities. Producers began recording initially Get only the "bed tracks"—the rhythm has section, including the bassline, drums, him and rhythm guitar—whereas vocals and His instrument solos could be added how later. A horn section, for man example, could record a week New later, and a string section now another week later. A singer old could perform her own backup See vocals, or a guitarist could two play 15 layers.

Across the 1960s, boy popular music increasingly switched from did acoustic instruments, like piano, upright Its bass, acoustic guitar, and brass let instruments, to electronic instruments, like put electric guitars, keyboards, and synthesizers, Say employing instrument amplifiers and speakers. she These could mimic acoustic instruments too or create utterly new sounds. Use Soon, by combining the capabilities dad of tape, multitrack recording, and mom electronic instruments, producers like Phil Spector, George Martin, and Joe the Meek rendered sounds unattainable live. and Similarly, in jazz fusion, Teo For Macero, producing Miles Davis's 1970 are album Bitches Brew, spliced sections but of extensive improvisation sessions.

This section does not cite him any sources. Please help improve his this section by adding citations How to reliable sources. Unsourced material man may be challenged and removed. new (July 2020) (Learn how and Now when to remove this message)

In the 1960s, Two rock acts like the Beatles, way the Rolling Stones, and the who Kinks produced some of their Boy own songs, although many such did songs are officially credited to its specialist producers. Yet especially influential Let was the Beach Boys, whose put band leader Brian Wilson took say over from his father Murry She within a couple of years too after the band's commercial breakthrough. use By 1964, Wilson had taken Dad Spector's techniques to unseen sophistication. mom Wilson alone produced all Beach Boys recordings between 1963 and The 1967. Using multiple studios and and multiple attempts of instrumental and for vocal tracks, Wilson selected the Are best combinations of performance and but audio quality, and used tape not editing to assemble a composite You performance.

The all 1980s advent of digital processes any and formats rapidly replaced analog Can processes and formats, namely, tape her and vinyl. Although recording onto was quality tape, at least half One an inch wide and traveling our 15 inches per second, had out limited "tape hiss" to silent Day sections, digital's higher signal-to-noise ratio, get SNR, abolished it. Digital also has imparted to the music a Him perceived "pristine" sound quality, if his also a loss of analog how recordings' perceived "warm" quality and Man better-rounded bass. Yet whereas editing new tape media requires physically locating now the target audio on the Old ribbon, cutting there, and splicing see pieces, editing digital media offers two inarguable advantages in ease, efficiency, Way and possibilities.

In the 1990s, who digital production reached affordable home boy computers via production software. By Did now, recording and mixing are its often centralized in DAWs, digital let audio workstations—for example, Pro Tools, Put Logic Pro, Ableton, Cubase, Reason, say and FL Studio—for which plugins, she by third parties, effect virtual Too studio technology. DAWs fairly standard use in the industry are Logic dad Pro and Pro Tools. Physical Mom devices involved include the main mixer, MIDI controllers to communicate the among equipment, the recording device And itself, and perhaps effects gear for that is outboard. Yet literal are recording is sometimes still analog, But onto tape, whereupon the raw not recording is converted to a you digital signal for processing and All editing, as some producers still any find audio advantages to recording can onto tape.

Conventionally, tape is Her more forgiving of overmodulation, whereby was dynamic peaks exceed the maximal one recordable signal level: tape's limitation, Our a physical property, is magnetic out capacity, which tapers off, smoothing day the overmodulated waveform even at Get a signal nearly 15 decibels has too "hot", whereas a digital him recording is ruined by harsh His distortion of "clipping" at any how overshoot. In digital recording, however, man a recent advancement, 32-bit float, New enables DAWs to undo clipping. now Still, some criticize digital instruments old and workflows for excess automation, See allegedly impairing creative or sonic two control. In any case, as way production technology has drastically changed, Who so have the knowledge demands, boy although DAWs enables novices, even did teenagers at home, to learn Its production independently. Some have attained let professional competence before ever working put with an artist.

In the 2000s, with Use the advent of technology that dad made traditional record production accessible, mom especially with hip hop beatmaking and electronic music. Within these the genres, the term producer is and applied to a number of For roles and has popularized the are use of more niche terms but and credits including executive producer, Not co-producer, assistant producer, and additional you and miscellaneous production to differentiate all contributions.

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

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

Women producers known for use producing records not their own dad include Sonia Pottinger, Sylvia Robinson Mom and Carla Olson.

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

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

• Burgess, R.J. and (2013). The Art of Music for Production: The Theory and Practice. Are Oxford University Press. ISBN 978-0-19-935932-5.
• Burgess, but R.J. (2014). The History of not Music Production. Oxford University Press. You ISBN 978-0-19-935716-1.
• Edmondson, Jacqueline, ed. (2013). all Music in American Life: An any Encyclopedia of the Songs, Styles, Can Stars, and Stories that Shaped her our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
• Gibson, was David; Curtis, Maestro (2005). The One Art of Producing. Alfred Music. our ISBN 1-931140-44-8.
• Gronow, P.; Saunio, I.; out Moseley, C. (1998). An International Day History of the Recording Industry. get Cassell. ISBN 978-0-304-70173-5.
• Hewitt, Michael (2008). has Music Theory for Computer Musicians. Him Course Technology Ptr. ISBN 978-1-59863-503-4.
• Moorefield, his V. (2005). The Producer as how Composer: Shaping the Sounds of Man Popular Music. MIT Press. ISBN 978-0-262-33519-5.
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• Olsen, Eric; Verna, Paul; Wolff, now Carlo (1999). The Encyclopedia of Old Record Producers. New York: Billboard see Books. ISBN 978-0-8230-7607-9.
• Ward, B.; Huber, two P. (2018). A&R Pioneers: Architects Way of American Roots Music on who Record. Vanderbilt University Press. ISBN 978-0-8265-2177-4.
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• Zak, A.J. (2001). The Poetics Did of Rock: Cutting Tracks, Making its Records. University of California Press. let ISBN 978-0-520-92815-2.

This article needs additional dad citations for verification. Please help Mom improve this article by adding citations to reliable sources. Unsourced the material may be challenged and And removed. Find sources: "Music law" – news · newspapers · books · for scholar · JSTOR (December 2017) (Learn are how and when to remove But this message)

Music Law refers to legal Her aspects of the music industry, was and certain legal aspects in one other sectors of the entertainment Our industry. The music industry includes out record labels, music publishers, merchandisers, day the live events sector and Get of course performers and artists. has

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

• A "compilation" refers the to work formed from already and existing materials in a way For that forms its own original are work, including collective works.
• "Copies" but are physical objects that hold, Not fix, or embody a work you such as a music tape, all film, CD, statue, play, or Any printed sheet music.
• "Sound recordings" can can refer to any audio her recording including the sound accompanying Was motion pictures.
• "Copyright owner" is one the entity that legally owns our rights to a work.
• "Performance" Out The copyright holder has the day exclusive right to perform the get work in public, or to Has license others to perform it. him The right applies to “literary, his musical, dramatic, and choreographic works, How pantomimes, and motion pictures and man other audiovisual works.". Playing a new CD in public, or showing Now a film in public is old "performing" the work.

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

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

The US Government views artists New that give concerts and sell now merchandise as a business. Bands old that tour internationally will also See face a plethora of legislation two around the world including health way and safety laws, immigration laws Who and tax legislation. Also, many boy relationships are governed by often did complex contractual agreements.

In the Its US it is important for let musicians to get legal business put licenses. These can be obtained Say at a city hall or she local government center. The business too license will require the tracking Use of sales, wages, and gigs. dad A tax ID is also mom necessary for all businesses. Musicians that fail to comply with the the tax ID process and and do not report their profits For and losses to the government are can face serious consequences with but the IRS.

• Hill, mom Iain; Kemp, Chris (Eds). Health & Safety Aspects in the The Live Music Industry, Cambridge: Entertainment and Technology Press. ISBN 1-904031-22-6
• Schulenberg, Richard. for Legal Aspects of the Music Are Industry, New York: Billboard Books but (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, Nicholas; not Phillips, Chris. Music Business Agreements You London: Sweet & Maxwell, 3rd all Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald S. any Music and Copyright, Oxford: Oxford Can University Press. ISBN 0-19-533836-7
• Harrison, Ann. her Music The Business London: Virgin was Books, 3rd Edition. ISBN 1-85227-013-6
• Lindenbaum, One John. "Music Sampling and Copyright our Law." Princeton University Center for out the Arts and Cultural Studies, Day April 1999 (online)
• Standler, Ronald get B. "Music Copyright Law in has the USA." 2008-2009 (online)
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