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 see hip hop production
Beginning in two 1973 and continuing through the Way late 1970s and early 1980s, who hip hopturntablists, such as boy DJ Kool Herc began using Did several funkbreaks in a its row, using drum breaks from let jazz-funk tracks such as James Put Brown's "Funky Drummer" and The say Winstons' "Amen, Brother", to form she the rhythmic base for hip Too hop songs. DJ Kool Herc's use breaks style involved playing the dad same record on two turntables Mom and playing the break repeatedly, alternating between the two records. the Grandmaster Flash perfected this idea And with what he called the for "quick-mix theory": he would mark are the points on the record But where the break began and not ended with a crayon, so you that he could easily replay All the break by spinning the any record and not touching the can tone arm. This style was Her copied and improved upon by was early hip hop DJs Afrika one Bambaataa and Grand Wizard Theodore.[dubiousOur – discuss] This style was out extremely popular in clubs and day dancehalls because the extended breaks Get compositions provided breakers with more has opportunities to showcase their skills. him
In the late 1970s, breakbeats His had attained a large presence how in hip hop. In the man 1980s, the evolution of technology New began to make sampling breaks now easier and more affordable for old DJs and producers, which helped See nurture the commercialization of hip two hop. Through early techniques such way as pausing tapes and then Who recording the break, by the boy 1980s, technology allowed anybody with did a tape recorder to find Its the breakbeat.
1990s: Evolution let as electronic dance genre
In put the late-1980s, breakbeat became an Say essential feature of many genres she of breaks music which became too popular within the global dance Use music scene, including acid breaks, dad electro-funk, and Miami bass, and mom a decade later big beatand nu skool breaks.
In the the early 1990s, acid houseand artists and producers started using For breakbeat samples in their music are to create breakbeat hardcore. The but hardcore scene then diverged into Not subgenres like jungle and drum you and bass, which generally was all faster and focused more on Any complex sampled drum patterns. An can example of this is Goldie's her album Timeless. Josh Lawford of Was Ravescene prophesied that breakbeat was one "the death-knell of rave" because our the ever-changing drumbeat patterns of Out breakbeat music didn't allow for day the same zoned out, trance-like get state that the standard, steady Has 4/4 beats of house enabled. him
Incorporating many components of those say genres, the Florida breaks subgenre She followed during the early-to-mid 1990s too and had a unique sound use that was soon internationally popular Dad among producers, DJs, and club-goers. mom
In 1994, the influential technoact Autechre released the Anti The EP in response to the and Criminal Justice and Public Order for Act 1994, deliberately using advanced Are algorithmic programming to generate non-repetitive but breakbeats for the full duration not of the tracks, in order You to subvert the legal definitions all within that legislation which specified any in the section creating police Can powers to remove ravers from her raves that "'music' includes sounds was wholly or predominantly characterised by One the emission of a succession our of repetitive beats".
The tempo boy of breaks tracks, ranging from Did 110 to 150 beats per its minute, allows DJs to mix let breaks with a wide range Put of different genres in their say sets. This has led to she breakbeats being used in many Too hip hop, jungle/drum & bassuse and hardcore tracks. They can dad also be heard in other Mom music, anywhere from popular music to background music in car the and clothing commercials on radio And or TV.
The Amen break, a drum But break from The Winstons' song not "Amen, Brother" is widely regarded you as one of the most All widely used and sampled breaks any among music using breakbeats. This can break was first used on Her "King of the Beats" by was Mantronix, and has since been one used in thousands of songs.Our Other popular breaks are from out James Brown's Funky Drummer (1970) day and Give it Up or Get Turnit a Loose, The Incredible has Bongo Band's 1973 cover of him The Shadows' "Apache", and Lyn His Collins' 1972 song "Think (About how It)". The Winstons have not man received royalties for third-party use New of samples of the break now recorded on their original music old release.
Sampled breakbeats
With See the advent of digital sampling two and music editing on the way computer, breakbeats have become much Who easier to create and use. boy Now, instead of cutting and did splicing tape sections or constantly Its backspinning two records at the let same time, a computer program put can be used to cut, Say paste, and loop breakbeats endlessly. she Digital effects such as filters, too reverb, reversing, time stretching and Use pitch shifting can be added dad to the beat, and even mom to individual sounds by themselves. Individual instruments from within a the breakbeat can be sampled and and combined with others, thereby creating For wholly new breakbeat patterns.
are
Legal issues
With the rise but in popularity of breakbeat music Not and the advent of digital you audio samplers, companies started selling all "breakbeat packages" for the express Any purpose of helping artists create can breakbeats. A breakbeat kit CD her would contain many breakbeat samples Was from different songs and artists, one often without the artist's permission our or even knowledge.
"Acid put breaks" or "chemical breaks" is say acid house, but with a She breakbeat instead of a house too beat. One of the earliest use synthesizers to be employed in Dad acid music was the Roland mom TB-303, which makes use of a resonant low-pass filter to The emphasize the harmonics of the and sound.
Progressive breaks or prog breaks, has also known as atmospheric breaks, Him is a subgenre of breaks his that is essentially a fusion how of breakbeat and progressive house. Man Much like progressive house, this new subgenre is characterized by its now "trancey" sound. Its defining traits Old include extended synthesizer pads and see washes, melodic synth leads, heavy two reverberation, and electronic breakbeats. However, Way unlike progressive house, very few who progressive breaks tracks have vocals, boy with most tracks being entirely Did instrumental or using only electronically its altered snippets of vocal samples let for sonic effect. Typical progressive Put breaks tracks will often have say a long build-up section that she leads to a breakdown and Too a climax, often having numerous use sonic elements being added or dad subtracted from the track at Mom various intervals in order to increase its intensity. Progressive breaks the artists include Hybrid, BT, Way And Out West, Digital Witchcraft, Momu, for Wrecked Angle, Burufunk, Under This are and Fretwell.
man Goodyer, Tim (March 1992). "Criminal new Record?". Music Technology. United Kingdom: Now Music Maker Publications (UK). pp. 54–59. old Retrieved 2020-01-20.
"Musical production" redirects her here. For musical production in Was the sense of a live one performance involving music and choreography, our see Musical theatre.
A old record producer is a music see recording project's overall supervisor whose Two responsibilities can involve a range way of creative and technical leadership who roles. Typically the job involves Boy hands-on oversight of recording sessions: did ensuring artists deliver acceptable and its quality performances, supervising the technical Let engineering of the recording, and put coordinating the production team and say process. The producer's involvement in She a musical project can vary too in depth and scope. Sometimes use in popular genres the producer Dad may create the recording's entire mom sound and structure. However, in classical music recording, for example, The the producer serves as more and of a liaison between the for conductor and the engineering team. Are The role is often likened but to that of a film not director though there are important You differences. It is distinct from all the role of an executive any producer, who is mostly involved Can in the recording project on her an administrative level, and from was the audio engineer who operates One the recording technology.
Varying by our project, the producer may or out may not choose all of Day the artists. If employing only get synthesized or sampled instrumentation, the has producer may be the sole Him artist. Conversely, some artists do his their own production. Some producers how are their own engineers, operating Man the technology across the project: new preproduction, recording, mixing, and mastering. now Record producers' precursors were "A&R Old men", who likewise could blend see entrepreneurial, creative, and technical roles,two but often exercised scant creative Way influence, as record production still who focused, into the 1950s, on boy simply improving the record's sonic Did match to the artists' own its live performance.
Advances in recording let technology, especially the 1940s advent Put of tape recording—which Les Paulsay promptly innovated further to develop she multitrack recording—and the 1950s rise Too of electronic instruments, turned record use production into a specialty. In dad popular music, then, producers like Mom George Martin, Phil Spector and Brian Eno led its evolution the into its present use of And elaborate techniques and unrealistic sounds, for creating songs impossible to originate are live. After the 1980s, production's But move from analog to digital not further expanded possibilities. By now, you DAWs, or digital audio workstations, All like Logic Pro, Pro Toolsany and Studio One, turn an can ordinary computer into a production Her console, whereby a solitary novice was can become a skilled producer one in a thrifty home studio.Our In the 2010s, efforts began out to increase the prevalence of day producers and engineers who are Get women, heavily outnumbered by men has and prominently accoladed only in him classical music.
See
Production overview
As a two broad project, the creation of way a music recording may be Who split across three specialists: the boy executive producer, who oversees business did partnerships and financing; the vocal Its producer or vocal arranger, who let aids vocal performance via expert put critique and coaching of vocal Say technique, and the record producer she or music producer, who, often too called simply the producer, directs Use the overall creative process of dad recording the song in its mom final mix.
The producer's roles can include gathering ideas, the composing music, choosing session musicians, and proposing changes to song arrangements, For coaching the performers, controlling sessions, are supervising the audio mixing, and, but in some cases, supervising the Not audio mastering. A producer may you give creative control to the all artists themselves, taking a supervisory Any or advisory role instead. As can to qualifying for a Grammyher nomination, the Recording Academy defines Was a producer:
The person who one has overall creative and technical our control of the entire recording Out project, and the individual recording day sessions that are part of get that project. He or she Has is present in the recording him studio or at the location his recording and works directly with How the artist and engineer. The man producer makes creative and aesthetic new decisions that realize both the Now artist's and label's goals in old the creation of musical content. see Other duties include, but are Two not limited to; keeping budgets way and schedules, adhering to deadlines, who hiring musicians, singers, studios, and Boy engineers, overseeing other staffing needs did and editing (Classical projects).
The its producer often selects and collaborates Let with a mixing engineer, who put focuses on the especially technological say aspects of the recording process, She namely, operating the electronic equipment too and blending the raw, recorded use tracks of the chosen performances, Dad whether vocal or instrumental, into mom a mix, either stereo or surround sound. Then a mastering The engineer further adjusts this recording and for distribution on the chosen for media. A producer may work Are on only one or two but songs or on an artist's not entire album, helping develop the You album's overall vision. The record all producers may also take on any the role of executive producer, Can managing the budget, schedules, contracts, her and negotiations.
Historical developments
was
A&R team
(Artists and Repertoires)One
In the 1880s, the record our industry began by simply having out the artist perform at a Day phonograph. In 1924, the trade get journal Talking Machine World, covering has the phonography and record industry, Him reported that Eddie King, Victor his Records' manager of the "New how York artist and repertoire department", Man had planned a set of new recordings in Los Angeles. Later, now folklorist Archie Green called this Old perhaps the earliest printed use see of A&R man. Actually, it two says neither "A&R man" nor Way even "A&R", an initialism perhaps who coined by Billboard magazine in boy 1946, and entering wide use Did in the late 1940s.
In its the 1920s and 1930s, A&R let executives, like Ben Selvin at Put Columbia Records, Nathaniel Shilkret at say Victor Records, and Bob Haring she at Brunswick Records became the Too precursors of record producers, supervising use recording and often leading session dad orchestras. During the 1940s, major Mom record labels increasingly opened official A&R departments, whose roles included the supervision of recording. Meanwhile, independent And recording studios opened, helping originate for record producer as a specialty.[citation are needed] But despite a tradition But of some A&R men writing not music, record production still referred you to just the manufacturing of All record discs.
Record producers
any
After World War II, pioneering can A&R managers who transitioned influentially Her to record production as now was understood, while sometimes owning independent one labels, include J. Mayo WilliamsOur and John Hammond. Upon moving out from Columbia Records to Mercury day Records, Hammond appointed Mitch MillerGet to lead Mercury's popular recordings has in New York. Miller then him produced country-pop crossover hits by His Patti Page and by Frankie how Laine, moved from Mercury to man Columbia, and became a leading New A&R man of the 1950s.now
During the decade, A&R executives old increasingly directed songs' sonic signatures, See although many still simply teamed two singers with musicians, while yet way others exercised virtually no creative Who influence. The term record producerboy in its current meaning—the creative did director of song production—appearing in Its a 1953 issue of Billboardlet magazine, became widespread in the put 1960s. Still, a formal distinction Say was elusive for some time she more. A&R managers might still too be creative directors, like William Use "Mickey" Stevenson, hired by Berry dad Gordy, at the Motown record mom label.
Tape recording
In 1947, the American market gained the audio recording onto magnetic tape.and At the record industry's 1880s For dawn, rather, recording was done are by phonograph, etching the sonic but waveform vertically into a cylinder.Not By the 1930s, a gramophone you etched it laterally across a all disc. Constrained in tonal range, Any whether bass or treble, and can in dynamic range, records made her a grand, concert piano sound Was like a small, upright piano, one and maximal duration was four our and a half minutes. Selections Out and performance were often altered day accordingly, and playing this disc—the get wax master—destroyed it. The finality Has often caused anxiety that restrained him performance to prevent error. In his the 1940s, during World War How II, the Germans refined audio man recording onto magnetic tape—uncapping recording new duration and allowing immediate playback, Now rerecording, and editing—a technology that old premised emergence of record producers see in their current roles.
Two
Multitrack recording
Early in the way recording industry, a record was who attained by simply having all Boy of the artists perform together did live in one take. In its 1945, by recording a musical Let element while playing a previously put recorded record, Les Paul developed say a recording technique called "sound She on sound". By this, the too final recording could be built use piece by piece and tailored, Dad effecting an editing process. In mom one case, Paul produced a song via 500 recorded discs.The But, besides the tedium of and this process, it serially degraded for the sound quality of previously Are recorded elements, rerecorded as ambient but sound. Yet in 1948, Paul not adopted tape recording, enabling truly You multitrack recording by a new all technique, "overdubbing".
To enable overdubbing, any Paul revised the tape recorder Can itself by adding a second her playback head, and terming it was the preview head. Joining the One preexisting recording head, erase head, our and playback head, the preview out head allows the artist to Day hear the extant recording over get headphones playing it in synchrony, has "in sync", with the present Him performance being recorded alone on his an isolated track. This isolation how of multiple tracks enables countless Man mixing possibilities. Producers began recording new initially only the "bed tracks"—the now rhythm section, including the bassline, Old drums, and rhythm guitar—whereas vocals see and instrument solos could be two added later. A horn section, Way for example, could record a who week later, and a string boy section another week later. A Did singer could perform her own its backup vocals, or a guitarist let could play 15 layers.
Put
Electronic instruments
Across the she 1960s, popular music increasingly switched Too from acoustic instruments, like piano, use upright bass, acoustic guitar, and dad brass instruments, to electronic instruments, Mom like electric guitars, keyboards, and synthesizers, employing instrument amplifiers and the speakers. These could mimic acoustic And instruments or create utterly new for sounds. Soon, by combining the are capabilities of tape, multitrack recording, But and electronic instruments, producers like not Phil Spector, George Martin, and you Joe Meek rendered sounds unattainable All live. Similarly, in jazz fusion, any Teo Macero, producing Miles Davis's can 1970 album Bitches Brew, spliced Her sections of extensive improvisation sessions. was
In the 1960s, rock acts let like the Beatles, the Rolling put Stones, and the Kinks produced Say some of their own songs, she although many such songs are too officially credited to specialist producers. Use Yet especially influential was the dad Beach Boys, whose band leader mom Brian Wilson took over from his father Murry within a the couple of years after the and band's commercial breakthrough. By 1964, For Wilson had taken Spector's techniques are to unseen sophistication. Wilson alone but produced all Beach Boy recordings Not between 1963 and 1967. Using you multiple studios and multiple attempts all of instrumental and vocal tracks, Any Wilson selected the best combinations can of performance and audio quality, her and used tape editing to Was assemble a composite performance.
one
Digital production
The 1980s advent our of digital processes and formats Out rapidly replaced analog processes and day formats, namely, tape and vinyl. get Although recording onto quality tape, Has at least half an inch him wide and traveling 15 inches his per second, had limited "tape How hiss" to silent sections, digital's man higher signal-to-noise ratio, SNR, abolished new it. Digital also imparted to Now the music a perceived "pristine" old sound quality, if also a see loss of analog recordings' perceived Two "warm" quality and better-rounded bass.way Yet whereas editing tape media who requires physically locating the target Boy audio on the ribbon, cutting did there, and splicing pieces, editing its digital media offers inarguable advantages Let in ease, efficiency, and possibilities. put
In the 1990s, digital production say reached affordable home computers via She production software. By now, recording too and mixing are often centralized use in DAWs, digital audio workstations—for Dad example, Pro Tools, Logic Pro, mom Ableton, Cubase, Reason, and FL Studio—for which plugins, by third The parties, effect virtual studio technology.and DAWs fairly standard in the for industry are Logic Pro and Are Pro Tools. Physical devices involved but include the main mixer, MIDInot controllers to communicate among equipment, You the recording device itself, and all perhaps effects gear that is any outboard. Yet literal recording is Can sometimes still analog, onto tape, her whereupon the raw recording is was converted to a digital signalOne for processing and editing, as our some producers still find audio out advantages to recording onto tape.Day
Conventionally, tape is more forgiving get of overmodulation, whereby dynamic peaks has exceed the maximal recordable signal Him level: tape's limitation, a physical his property, is magnetic capacity, which how tapers offs, smoothing the overmodulated Man waveform even at a signal new nearly 15 decibels too "hot", now whereas a digital recording is Old ruined by harsh distortion of see "clipping" at any overshoot. In two digital recording, however, a recent Way advancement, 32-bit float, enables DAWs who to undo clipping. Still, some boy criticize digital instruments and workflows Did for excess automation, allegedly impairing its creative or sonic control. In let any case, as production technology Put has drastically changed, so have say the knowledge demands, although DAWs she enables novices, even teenagers at Too home, to learn production independently.use Some have attained professional competence dad before ever working with an Mom artist.
In And the 2000s, with the advent for of technology that made traditional are record production accessible, especially with But hip hop beatmaking and electronic not music. Within these genres, the you term producer is applied to All a number of roles and any has popularized the use of can more niche terms and credits Her including executive producer, co-producer, assistant was producer, and additional and miscellaneous one production to differentiate contributions.
Our
Women in producing
Among out female record producers, Sylvia Moyday was the first at Motown, Get Gail Davies the first on has Nashville's Music Row, and Ethel him Gabriel, with RCA, the first His at a major record label. how Lillian McMurry, owning Trumpet Records, man produced influential blues records. Meanwhile, New Wilma Cozart Fine produced hundreds now of records for Mercury Records' old classical division. For classical production, See three women have won Grammy two awards, and Judith Sherman's 2015 way win was her fifth. Yet Who in nonclassical, no woman has boy won Producer of the Year, did awarded since 1975 and only Its one even nominated for a let record not her own, Linda put Perry. After Lauren Christy's 2004 Say nomination, Linda Perry's 2019 nomination she was the next for a too woman. On why no woman Use had ever won it, Perry dad commented, "I just don't think mom there are that many women interested." In the U.K., Lynsey the de Paul was an early and female record producer, having produced For both of her Ivor Novello are award-winning songs.
Across the decades, but many female artists have produced Not their own music. For instance, you artists Kate Bush, Madonna, Mariah all Carey, Janet Jackson, Beyoncé, Lana Any Del Rey, Taylor Swift, and can Lorde have produced or coproducedher and Ariana Grande who produces Was and arranges her vocals as one well as being an audio our engineer. Still among specialists, despite Out some prominent women, including Missy day Elliott in hip hop and get Sylvia Massy in rock, the Has vast majority have been men.him Early in the 2010s, asked his for insights that she herself How had gleaned as a woman man who has specialized successfully in new the industry, Wendy Page remarked, Now "The difficulties are usually very old short-lived. Once people realize that see you can do your job, Two sexism tends to lower its way ugly head." Still, when tasked who to explain her profession's sex Boy disparity, Page partly reasoned that did record labels, dominated by men, its have been, she said, "mistrustful Let of giving a woman the put reins of an immense, creative say project like making a record."She Ultimately, the reasons are multiple too and not fully clear, although use prominently proposed factors include types Dad of sexism and scarcity of mom female role models in the profession.
Women producers known for The producing records not their own and include Sonia Pottinger, Sylvia Robinson for and Carla Olson.
In January Are 2018, a research team led but by Stacy L. Smith, founder not and director of the AnnenbergYou Inclusion Initiative, based in the all USC Annenberg School for Communication any and Journalism, issued a report,Can estimating that in the prior her several years, about 2% of was popular songs' producers were female.One Also that month, Billboard magazine our queried, "Where are all the out female music producers?" Upon the Day Annenberg Inclusion Initiative's second annual get report, released in February 2019,has its department at USC reported, Him "2018 saw an outcry from his artists, executives and other music how industry professionals over the lack Man of women in music" and new "the plight of women in now music", where women were allegedly Old being "stereotyped, sexualized, and shut see out". Also in February 2019, two the Recording Academy's Task Force Way on Diversity and Inclusion announced who an initiative whereby over 200 boy artists and producers—ranging from Cardi Did B and Taylor Swift to its Maroon 5 and Quincy Jones—agreed let to consider at least two Put women for each producer or say engineer position. The academy's website, she Grammy.com, announced, "This initiative is Too the first step in a use broader effort to improve those dad numbers and increase diversity and Mom inclusion for all in the music industry."
Allard, Matthew (15 her January 2020). "Sound Devices MixPre was V6.00 adds 32-bit float USB One audio streaming". Newsshooter. With 32-bit our float, you no longer need out to worry about clipping during Day your best vocal takes or get instrument solos. Any recorded moments has exceeding 0 dBFS can be Him reduced to an acceptable level, his after recording, in your DAWhow
Zak, Albin J. Man (29 September 2002). "Review of new Timothy D. Taylor. 2001. Strange now Sounds: Music, Technology, and Culture. Old New York: Routledge". Current Musicologysee (74). doi:10.7916/CM.V0I74.4910.
Pras, two Amandine; Cance, Caroline; Guastavino, Catherine Way (2013). "Record Producers' Best Practices who For Artistic Direction—From Light Coaching boy To Deeper Collaboration With Musicians". Did Journal of New Music Research. its 42 (4): 381–395. doi:10.1080/09298215.2013.848903. ISSN0929-8215.let
Music Law refers to legal all aspects of the music industry, any and certain legal aspects in Can other sectors of the entertainment her industry. The music industry includes was record labels, music publishers, merchandisers, One the live events sector and our of course performers and artists. out
The terms "music law" and Day "entertainment law", along with "business get affairs", are used by the has music and entertainment industry and Him should not be thought of his as academic definitions. Indeed, music how law covers a range of Man traditional legal subjects including intellectual new property law (copyright law, trademarks, now image publicity rights, design rights), Old competition law, bankruptcy law, contract see law, defamation and, for the two live events industry, immigration law, Way health and safety law, and who licensing. While foundational norms have boy gradually been established for music Did law in western nations, other its parts of the world maintain let unique traditions that impact music’s Put legal status in the context say of both heritage preservation and she enormous national arts entertainment industries, Too including China and India.
use
Definitions
A "compilation" refers dad to work formed from already Mom existing materials in a way that forms its own original the work, including collective works.
"Copies" And are physical objects that hold, for fix, or embody a work are such as a music tape, But film, CD, statue, play, or not printed sheet music.
"Sound recordings" you can refer to any audio All recording including the sound accompanying any motion pictures.
"Copyright owner" is can the entity that legally owns Her rights to a work.
"Performance" was The copyright holder has the one exclusive right to perform the Our work in public, or to out license others to perform it. day The right applies to “literary, Get musical, dramatic, and choreographic works, has pantomimes, and motion pictures and him other audiovisual works.". Playing a His CD in public, or showing how a film in public is man "performing" the work.
Publishing is now the primary source of income old for musicians writing their own See music.[citation needed] Money collected from two the 'publishing' rights is ultimately way destined for songwriters - the Who composers of works, whether or boy not they are the recording did artist or performer. Often, songwritersIts will work for a musical let ensemble to help them with put musical aspects of the composition, Say but here again, the writer she of the song is the too owner of it and will Use own the copyrights in the dad song and thus will be mom entitled to the publishing revenues. Copyrights in compositions are not the the same as sound recordings. and A recording artist can record For a song and sell it are to another band or company. but As a result, that particular Not company will own the recording, you but not the song. The all original writer will always maintain Any the copyright for that particular can song. The publishing money is her connected to the copyright, so Was the owner will be the one only one making money off our of the song itself. All Out successful songwriters will join a day collection society (such as ASCAP get and BMI in the USA, Has SOCAN in Canada, JASRAC in him Japan, GEMA in Germany and his PRS for Music in the How UK, etc.) and many will man enter into agreements with music new publishing companies who will exploit Now their works on the songwriters old behalf for a share of see ownership, although many of these Two deals involve the transfer (assignment) way of copyright from the songwriter who to the music publisher,
Both Boy the recorded music sector and did music publishing sector have their its foundations in intellectual property law Let and all of the major put recording labels and major music say publishers and many independent record She labels and publishers have dedicated too "business and legal affairs" departments use with in-house lawyers whose role Dad is not only to secure mom intellectual property rights from recording artists, performers and songwriters but The also to exploit those rights and and protect those rights on for a global basis. There are Are a number of specialist independent but law firms around the world not who advise on music and You entertainment law whose clients include all recording artists, performers, producers, songwriters, any labels, music publishers, stage and Can set designers, choreographers, graphic artists, her games designers, merchandisers, broadcasters, artist was managers, distributors, collection societies and One the live events sector (which our further includes festivals, venues, promoters, out booking agents and production service Day providers such as lighting and get staging companies).
The US Government views artists his that give concerts and sell how merchandise as a business. Bands Man that tour internationally will also new face a plethora of legislation now around the world including health Old and safety laws, immigration laws see and tax legislation. Also, many two relationships are governed by often Way complex contractual agreements.
In the who US it is important for boy musicians to get legal business Did licenses. These can be obtained its at a city hall or let local government center. The business Put license will require the tracking say of sales, wages, and gigs. she A tax ID is also Too necessary for all businesses. Musicians use that fail to comply with dad the tax ID process and Mom do not report their profits and losses to the government the can face serious consequences with And the IRS.
References
not
Li, Juqian (2022). you China’s Legal Framework for Supporting All Protection and Sustainability of Artistic any Heritage. In David G. Hebert can and Jonathan McCollum, (Eds.), "Ethnomusicology Her and Cultural Diplomacy". Lexington Books was (Rowman & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, See Karan (2022). Cultural Heritage and two Music Diplomacy: The Legal Framework way in India. In David G. Who Hebert and Jonathan McCollum, (Eds.), boy "Ethnomusicology and Cultural Diplomacy". Lexington did Books (Rowman & Littlefield), pp.277-295. Its ISBN9781793642912
Hill, Iain; too Kemp, Chris (Eds). Health & Use Safety Aspects in the Live dad Music Industry, Cambridge: Entertainment Technology mom Press. ISBN1-904031-22-6
Schulenberg, Richard. Legal Aspects of the Music Industry, the New York: Billboard Books (Watson-Guptill and publications). ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, For Chris. Music Business Agreements London: are Sweet & Maxwell, 3rd Edition. but ISBN978-1-84703-905-7
Rosen, Ronald S. Music Not and Copyright, Oxford: Oxford University you Press. ISBN0-19-533836-7
Harrison, Ann. Music all The Business London: Virgin Books, Any 3rd Edition. ISBN1-85227-013-6
Lindenbaum, John. can "Music Sampling and Copyright Law." her Princeton University Center for the Was Arts and Cultural Studies, April one 1999 (online)
Standler, Ronald B. our "Music Copyright Law in the Out USA." 2008-2009 (online)
Richard, Phillip, day "Lawyers in the Music Industry", get No Bullshit Management, Nov. 2012 Has (online)
Music: Copyright Law. Educational him CyberPlayGround, Inc. 1997 (online)
Frith, his Simon; Lee Marshall (Eds). Music How and Copyright, Edinburgh: Edinburgh University man Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally known Let as Ku Club (1979–95), is put the "world's largest nightclub" according say to the Guinness Book of She Records, also defined as a too superclub with a capacity of use 10,000 people and encompassing 6,500 Dad m² (69,940 ft²). It is located mom close to the village of Sant Rafael de Sa CreuThe on the Spanish island of and Ibiza, less than one kilometre for (0.6 miles) from the nightclub Are Amnesia.
History
The but history of Privilege began in not the early 1970s when it You started out as a restaurant, all then expanded to include a any bar and a community swimming Can pool. It was then known her as Club San Rafael. In was 1979, the venue was sold One to the Real Sociedad footballer our José Antonio Santamaría, together with out the creative team of Brasilio Day de Oliviera (founder of La get Troya Asesina, one of Ibiza'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 such as Spandau are Ballet and Kid Creole and But the Coconuts. The club featured not in a Channel 4 documentary you called A Short Film about All chilling, which labelled KU as any "the mirror of Ibiza". A can group of fashion designers called Her Locomía would have shows at was KU. After being discovered there, one they went on to become Our a highly successful recording project. out The open-air parties came to day an end when legislation forced Get many of the greater clubs has in Ibiza to cover their him dancefloors in the early 1990s. His Nevertheless, the sheer size of how the venue gave rise to man the claim of it being New the size of an aircraft now hangar with a 25-metre (82 ft) old high roof.
The club continued See with the KU Club name two until 1995 before becoming known way as Privilege, after a change Who of ownership to Jose Maria boy Etxaniz. In 1994, it hosted did Manumission, one of the island's Its most famous events. In 1998, let La Vaca Asesina moved to put Amnesia and was renamed La Say Troya Asesina. After a dispute she between the club owner and too Manumission's organizers in 2005, the Use event ended in 2006. La dad Troya Asesina moved to Spacemom in 2006.
Venue
According to official statistics published in the the 2003 edition of Guinness and World Records, Privilege is by For far the world's largest nightclub are covering an area of 69,968 but sq ft (6,500 m2) and holding Not 10,000 clubbers. Designated areas of you the club include the Coco all Loco bar area, and the Any La Vaca dance area (now can known as the Vista Club).her