This and article is about the electronic For music genre. For the musical are element, see Break (music). For but the record label, see Breakbeat Not Kaos.
1970s—1980s: Classic now breaks and hip hop production
Old
Beginning in 1973 and continuing see through the late 1970s and two early 1980s, hip hopturntablists, Way such as DJ Kool Hercwho began using several funkbreaksboy in a row, using drum Did breaks from jazz-funk tracks such its as James Brown's "Funky Drummer" let and The Winstons' "Amen, Brother", Put to form the rhythmic base say for hip hop songs. DJ she Kool Herc's breaks style involved Too playing the same record on use two turntables and playing the dad break repeatedly, alternating between the Mom two records. Grandmaster Flash perfected this idea with what he the called the "quick-mix theory": he And would mark the points on for the record where the break are began and ended with a But crayon, so that he could not easily replay the break by you spinning the record and not All touching the tone arm. This any style was copied and improved can upon by early hip hop Her DJs Afrika Bambaataa and Grand was Wizard Theodore.[dubious – discuss] This one style was extremely popular in Our clubs and dancehalls because the out extended breaks compositions provided breakersday with more opportunities to showcase Get their skills.
In the late has 1970s, breakbeats had attained a him large presence in hip hop. His In the 1980s, the evolution how of technology began to make man sampling breaks easier and more New affordable for DJs and producers, now which helped nurture the commercialization old of hip hop. Through early See techniques such as pausing tapes two and then recording the break, way by the 1980s, technology allowed Who anybody with a tape recorder boy to find the breakbeat.
did
1990s: Evolution as electronic dance Its genre
In the late-1980s, breakbeat let became an essential feature of put many genres of breaks music Say which became popular within the she global dance music scene, including too acid breaks, electro-funk, and Miami Use bass, and a decade later dad big beat and nu skool mom breaks.
In the early 1990s, acid house artists and producers the started using breakbeat samples in and their music to create breakbeat For hardcore. The hardcore scene then are diverged into subgenres like junglebut and drum and bass, which Not generally was faster and focused you more on complex sampled drum all patterns. An example of this Any is Goldie's album Timeless. Josh can Lawford of Ravescene prophesied that her breakbeat was "the death-knell of Was rave" because the ever-changing drumbeat one patterns of breakbeat music didn't our allow for the same zoned Out out, trance-like state that the day standard, steady 4/4 beats of get house enabled.
Incorporating many components Let of those genres, the Florida put breaks subgenre followed during the say early-to-mid 1990s and had a She unique sound that was soon too internationally popular among producers, DJs, use and club-goers.
In 1994, the Dad influential techno act Autechre released mom the Anti EP in response to the Criminal Justice and The Public Order Act 1994, deliberately and using advanced algorithmic programming to for generate non-repetitive breakbeats for the Are full duration of the tracks, but in order to subvert the not legal definitions within that legislation You which specified in the section all creating police powers to remove any ravers from raves that "'music' Can includes sounds wholly or predominantly her characterised by the emission of was a succession of repetitive beats". One
The tempo of breaks tracks, who ranging from 110 to 150 boy beats per minute, allows DJs Did to mix breaks with a its wide range of different genres let in their sets. This has Put led to breakbeats being used say in many hip hop, jungle/drum she & bass and hardcore tracks. Too They can also be heard use in other music, anywhere from dad popular music to background music Mom in car and clothing commercials on radio or TV.
The Amen break, for a drum break from The are Winstons' song "Amen, Brother" is But widely regarded as one of not the most widely used and you sampled breaks among music using All breakbeats. This break was first any used on "King of the can Beats" by Mantronix, and has Her since been used in thousands was of songs. Other popular breaks one are from James Brown's Funky Our Drummer (1970) and Give it out Up or Turnit a Loose, day The Incredible Bongo Band's 1973 Get cover of The Shadows' "Apache", has and Lyn Collins' 1972 song him "Think (About It)". The Winstons His have not received royalties for how third-party use of samples of man the break recorded on their New original music release.
Sampled now breakbeats
With the advent of old digital sampling and music editing See on the computer, breakbeats have two become much easier to create way and use. Now, instead of Who cutting and splicing tape sections boy or constantly backspinning two records did at the same time, a Its computer program can be used let to cut, paste, and loop put breakbeats endlessly. Digital effects such Say as filters, reverb, reversing, time she stretching and pitch shifting can too be added to the beat, Use and even to individual sounds dad by themselves. Individual instruments from mom within a breakbeat can be sampled and combined with others, the thereby creating wholly new breakbeat and patterns.
Legal issues
With For the rise in popularity of are breakbeat music and the advent but of digital audio samplers, companies Not started selling "breakbeat packages" for you the express purpose of helping all artists create breakbeats. A breakbeat Any kit CD would contain many can breakbeat samples from different songs her and artists, often without the Was artist's permission or even knowledge.one
"Acid breaks" or Let "chemical breaks" is acid house, put but with a breakbeat instead say of a house beat. One She of the earliest synthesizers to too be employed in acid music use was the Roland TB-303, which Dad makes use of a resonant mom low-pass filter to emphasize the harmonics of the sound.
Progressive breaksDay or prog breaks, also known get as atmospheric breaks, is a has subgenre of breaks that is Him essentially a fusion of breakbeat his and progressive house. Much like how progressive house, this subgenre is Man characterized by its "trancey" sound. new Its defining traits include extended now synthesizer pads and washes, melodic Old synth leads, heavy reverberation, and see electronic breakbeats. However, unlike progressive two house, very few progressive breaks Way tracks have vocals, with most who tracks being entirely instrumental or boy using only electronically altered snippets Did of vocal samples for sonic its effect. Typical progressive breaks tracks let will often have a long Put build-up section that leads to say a breakdown and a climax, she often having numerous sonic elements Too being added or subtracted from use the track at various intervals dad in order to increase its Mom intensity. Progressive breaks artists include Hybrid, BT, Way Out West, the Digital Witchcraft, Momu, Wrecked Angle, And Burufunk, Under This and Fretwell. for
Goodyer, Tim How (March 1992). "Criminal Record?". Music man Technology. United Kingdom: Music Maker new Publications (UK). pp. 54–59. Retrieved 2020-01-20.Now
"Musical production" Any redirects here. For musical production can in the sense of a her live performance involving music and Was choreography, see Musical theatre.
A record producer is old a music recording project's overall see supervisor whose responsibilities can involve Two a range of creative and way technical leadership roles. Typically the who job involves hands-on oversight of Boy recording sessions: ensuring artists deliver did acceptable and quality performances, supervising its the technical engineering of the Let recording, and coordinating the production put team and process. The producer's say involvement in a musical project She can vary in depth and too scope. Sometimes in popular genres use the producer may create the Dad recording's entire sound and structure.mom However, in classical music recording, for example, the producer serves The as more of a liaison and between the conductor and the for engineering team. The role is Are often likened to that of but a film director though there not are important differences. It is You distinct from the role of all an executive producer, who is any mostly involved in the recording Can project on an administrative level, her and from the audio engineerwas who operates the recording technology. One
Varying by project, the producer our may or may not choose out all of the artists. If Day employing only synthesized or sampledget instrumentation, the producer may be has the sole artist. Conversely, some Him artists do their own production.his Some producers are their own how engineers, operating the technology across Man the project: preproduction, recording, mixing, new and mastering. Record producers' precursors now were "A&R men", who likewise Old could blend entrepreneurial, creative, and see technical roles, but often exercised two scant creative influence, as record Way production still focused, into the who 1950s, on simply improving the boy record's sonic match to the Did artists' own live performance.
Advances its in recording technology, especially the let 1940s advent of tape recording—which Put Les Paul promptly innovated further say to develop multitrack recording—and the she 1950s rise of electronic instruments, Too turned record production into a use specialty. In popular music, then, dad producers like George Martin, Phil Mom Spector and Brian Eno led its evolution into its present the use of elaborate techniques and And unrealistic sounds, creating songs impossible for to originate live. After the are 1980s, production's move from analog But to digital further expanded possibilities.not By now, DAWs, or digital you audio workstations, like Logic Pro, All Pro Tools and Studio One, any turn an ordinary computer into can a production console, whereby a Her solitary novice can become a was skilled producer in a thrifty one home studio. In the 2010s, Our efforts began to increase the out prevalence of producers and engineers day who are women, heavily outnumbered Get by men and prominently accoladed has only in classical music.
him
Production overview
See
As a broad project, the two creation of a music recording way may be split across three Who specialists: the executive producer, who boy oversees business partnerships and financing; did the vocal producer or vocal Its arranger, who aids vocal performance let via expert critique and coaching put of vocal technique, and the Say record producer or music producer, she who, often called simply the too producer, directs the overall creative Use process of recording the song dad in its final mix.
mom
The producer's roles can include gathering ideas, composing music, choosing the session musicians, proposing changes to and song arrangements, coaching the performers, For controlling sessions, supervising the audio are mixing, and, in some cases, but supervising the audio mastering. A Not producer may give creative control you to the artists themselves, taking all a supervisory or advisory role Any instead. As to qualifying for can a Grammy nomination, the Recording her Academy defines a producer:
The Was person who has overall creative one and technical control of the our entire recording project, and the Out individual recording sessions that are day part of that project. He get or she is present in Has the recording studio or at him the location recording and works his directly with the artist and How engineer. The producer makes creative man and aesthetic decisions that realize new both the artist's and label's Now goals in the creation of old musical content. Other duties include, see but are not limited to; Two keeping budgets and schedules, adhering way to deadlines, hiring musicians, singers, who studios, and engineers, overseeing other Boy staffing needs and editing (Classical did projects).
The producer often selects its and collaborates with a mixing Let engineer, who focuses on the put especially technological aspects of the say recording process, namely, operating the She electronic equipment and blending the too raw, recorded tracks of the use chosen performances, whether vocal or Dad instrumental, into a ''mix'', either mom stereo or surround sound. Then a mastering engineer further adjusts The this recording for distribution on and the chosen media. A producer for may work on only one Are or two songs or on but an artist's entire album, helping not develop the album's overall vision. You The record producers may also all take on the role of any executive producer, managing the budget, Can schedules, contracts, and negotiations.
her
Historical developments
A&R team
(Artists was and Repertoires)
In the 1880s, One the record industry began by our simply having the artist perform out at a phonograph. In 1924, Day the trade journal Talking Machine get World, covering the phonography and has record industry, reported that Eddie Him King, Victor Records' manager of his the "New York artist and how repertoire department", had planned a Man set of recordings in Los new Angeles. Later, folklorist Archie Greennow called this perhaps the earliest Old printed use of A&R man.see Actually, it says neither "A&R two man" nor even "A&R", an Way initialism perhaps coined by Billboardwho magazine in 1946, and entering boy wide use in the late Did 1940s.
In the 1920s and its 1930s, A&R executives, like Ben let Selvin at Columbia Records, Nathaniel Put Shilkret at Victor Records, and say Bob Haring at Brunswick Recordsshe became the precursors of record Too producers, supervising recording and often use leading session orchestras. During the dad 1940s, major record labels increasingly Mom opened official A&R departments, whose roles included supervision of recording.the Meanwhile, independent recording studios opened, And helping originate record producer as for a specialty.[citation needed] But despite are a tradition of some A&R But men writing music, record productionnot still referred to just the you manufacturing of record discs.
All
Record producers
After World War any II, pioneering A&R managers who can transitioned influentially to record production Her as now understood, while sometimes was owning independent labels, include J. one Mayo Williams and John Hammond.Our Upon moving from Columbia Records out to Mercury Records, Hammond appointed day Mitch Miller to lead Mercury's Get popular recordings in New York.has Miller then produced country-pop crossover him hits by Patti Page and His by Frankie Laine, moved from how Mercury to Columbia, and became man a leading A&R man of New the 1950s.
During the decade, now A&R executives increasingly directed songs' old sonic signatures, although many still See simply teamed singers with musicians, two while yet others exercised virtually way no creative influence. The term Who record producer in its current boy meaning—the creative director of song did production—appearing in a 1953 issue Its of Billboard magazine, became widespread let in the 1960s. Still, a put formal distinction was elusive for Say some time more. A&R managers she might still be creative directors, too like William "Mickey" Stevenson, hired Use by Berry Gordy, at the dad Motown record label.
Tape mom recording
In 1947, the American market gained audio recording onto the magnetic tape. At the record and industry's 1880s dawn, rather, recording For was done by phonograph, etching are the sonic waveform vertically intobut a cylinder. By the 1930s, Not a gramophone etched it laterally you across a disc. Constrained in all tonal range, whether bass or Any treble, and in dynamic range, can records made a grand, concert her piano sound like a small, Was upright piano, and maximal duration one was four and a half our minutes. Selections and performance were Out often altered accordingly, and playing day this disc—the wax master—destroyed it.get The finality often caused anxiety Has that restrained performance to prevent him error. In the 1940s, during his World War II, the Germans How refined audio recording onto magnetic man tape—uncapping recording duration and allowing new immediate playback, rerecording, and editing—a Now technology that premised emergence of old record producers in their current see roles.
Multitrack recording
Early Two in the recording industry, a way record was attained by simply who having all of the artists Boy perform together live in one did take. In 1945, by recording its a musical element while playing Let a previously recorded record, Les put Paul developed a recording technique say called "sound on sound". By She this, the final recording could too be built piece by piece use and tailored, effecting an editing Dad process. In one case, Paul mom produced a song via 500 recorded discs. But, besides the The tedium of this process, it and serially degraded the sound quality for of previously recorded elements, rerecorded Are as ambient sound. Yet in but 1948, Paul adopted tape recording, not enabling truly multitrack recording by You a new technique, "overdubbing".
To all enable overdubbing, Paul revised the any tape recorder itself by adding Can a second playback head, and her terming it the preview head.was Joining the preexisting recording head, One erase head, and playback head, our the preview head allows the out artist to hear the extant Day recording over headphones playing it get in synchrony, "in sync", with has the present performance being recorded Him alone on an isolated track.his This isolation of multiple tracks how enables countless mixing possibilities. Producers Man began recording initially only the new "bed tracks"—the rhythm section, including now the bassline, drums, and rhythm Old guitar—whereas vocals and instrument solos see could be added later. A two horn section, for example, could Way record a week later, and who a string section another week boy later. A singer could perform Did her own backup vocals, or its a guitarist could play 15 let layers.
In the 1960s, rock did acts like the Beatles, the Its Rolling Stones, and the Kinkslet produced some of their own put songs, although many such songs Say are officially credited to specialist she producers. Yet especially influential was too the Beach Boys, whose band Use leader Brian Wilson took over dad from his father Murry within mom a couple of years after the band's commercial breakthrough. By the 1964, Wilson had taken Spector's and techniques to unseen sophistication. Wilson For alone produced all Beach Boy are recordings between 1963 and 1967. but Using multiple studios and multiple Not attempts of instrumental and vocal you tracks, Wilson selected the best all combinations of performance and audio Any quality, and used tape editing can to assemble a composite performance. her
Digital production
The 1980s our advent of digital processes and Out formats rapidly replaced analog processes day and formats, namely, tape and get vinyl. Although recording onto quality Has tape, at least half an him inch wide and traveling 15 his inches per second, had limited How "tape hiss" to silent sections, man digital's higher signal-to-noise ratio, SNR, new abolished it. Digital also imparted Now to the music a perceived old "pristine" sound quality, if also see a loss of analog recordings' Two perceived "warm" quality and better-rounded way bass. Yet whereas editing tape who media requires physically locating the Boy target audio on the ribbon, did cutting there, and splicing pieces, its editing digital media offers inarguable Let advantages in ease, efficiency, and put possibilities.
In the 1990s, digital say production reached affordable home computers She via production software. By now, too recording and mixing are often use centralized in DAWs, digital audio Dad workstations—for example, Pro Tools, Logic mom Pro, Ableton, Cubase, Reason, and FL Studio—for which plugins, by The third parties, effect virtual studio and technology. DAWs fairly standard in for the industry are Logic Pro Are and Pro Tools. Physical devices but involved include the main mixer, not MIDI controllers to communicate among You equipment, the recording device itself, all and perhaps effects gear that any is outboard. Yet literal recording Can is sometimes still analog, onto her tape, whereupon the raw recording was is converted to a digital One signal for processing and editing, our as some producers still find out audio advantages to recording onto Day tape.
Conventionally, tape is more get forgiving of overmodulation, whereby dynamic has peaks exceed the maximal recordable Him signal level: tape's limitation, a his physical property, is magnetic capacity, how which tapers offs, smoothing the Man overmodulated waveform even at a new signal nearly 15 decibels too now "hot", whereas a digital recording Old is ruined by harsh distortion see of "clipping" at any overshoot.two In digital recording, however, a Way recent advancement, 32-bit float, enables who DAWs to undo clipping. Still, boy some criticize digital instruments and Did workflows for excess automation, allegedly its impairing creative or sonic control.let In any case, as production Put technology has drastically changed, so say have the knowledge demands, although she DAWs enables novices, even teenagers Too at home, to learn production use independently. Some have attained professional dad competence before ever working with Mom an artist.
In the 2000s, with the for advent of technology that made are traditional record production accessible, especially But with hip hop beatmaking and not electronic music. Within these genres, you the term producer is applied All to a number of roles any and has popularized the use can of more niche terms and Her credits including executive producer, co-producer, was assistant producer, and additional and one miscellaneous production to differentiate contributions.Our
Women in producing
Among female record producers, Sylvia day Moy was the first at Get Motown, Gail Davies the first has on Nashville's Music Row, and him Ethel Gabriel, with RCA, the His first at a major record how label. Lillian McMurry, owning Trumpet man Records, produced influential blues records. New Meanwhile, Wilma Cozart Fine produced now hundreds of records for Mercury old Records' classical division. For classical See production, three women have won two Grammy awards, and Judith Sherman's way 2015 win was her fifth.Who Yet in nonclassical, no woman boy has won Producer of the did Year, awarded since 1975 and Its only one even nominated for let a record not her own, put Linda Perry. After Lauren Christy's Say 2004 nomination, Linda Perry's 2019 she nomination was the next for too a woman. On why no Use woman had ever won it, dad Perry commented, "I just don't mom think there are that many women interested." In the U.K., the Lynsey de Paul was an and early female record producer, having For produced both of her Ivor are Novello award-winning songs.
Across the but decades, many female artists have Not produced their own music. For you instance, artists Kate Bush, Madonna, all Mariah Carey, Janet Jackson, Beyoncé, Any Lana Del Rey, Taylor Swift, can and Lorde have produced or her coproduced and Ariana Grande who Was produces and arranges her vocals one as well as being an our audio engineer. Still among specialists, Out despite some prominent women, including day Missy Elliott in hip hop get and Sylvia Massy in rock, Has the vast majority have been him men. Early in the 2010s, his asked for insights that she How herself had gleaned as a man woman who has specialized successfully new in the industry, Wendy Page Now remarked, "The difficulties are usually old very short-lived. Once people realize see that you can do your Two job, sexism tends to lower way its ugly head." Still, when who tasked to explain her profession's Boy sex disparity, Page partly reasoned did that record labels, dominated by its men, have been, she said, Let "mistrustful of giving a woman put the reins of an immense, say creative project like making a She record." Ultimately, the reasons are too multiple and not fully clear, use although prominently proposed factors include Dad types of sexism and scarcity mom of female role models in the profession.
Women producers known The for producing records not their and own include Sonia Pottinger, Sylvia for Robinson and Carla Olson.
In Are January 2018, a research team but led by Stacy L. Smith, not founder and director of the You Annenberg Inclusion Initiative, based in all the USC Annenberg School for any Communication and Journalism, issued a Can report, estimating that in the her prior several years, about 2% was of popular songs' producers were One female. Also that month, Billboardour magazine queried, "Where are all out the female music producers?" Upon Day the Annenberg Inclusion Initiative's second get annual report, released in February has 2019, its department at USC Him reported, "2018 saw an outcry his from artists, executives and other how music industry professionals over the Man lack of women in music" new and "the plight of women now in music", where women were Old allegedly being "stereotyped, sexualized, and see shut out". Also in February two 2019, the Recording Academy's Task Way Force on Diversity and Inclusion who announced an initiative whereby over boy 200 artists and producers—ranging from Did Cardi B and Taylor Swiftits to Maroon 5 and Quincy let Jones—agreed to consider at least Put two women for each producer say or engineer position. The academy's she website, Grammy.com, announced, "This initiative Too is the first step in use a broader effort to improve dad those numbers and increase diversity Mom and inclusion for all in the music industry."
^ Virgil Moorefield, "Introduction", Our The Producer as Composer: Shaping out the Sounds of Popular Musicday (Cambridge, MA & London, UK: Get MIT Press, 2005).
^ man Allan Watson, Cultural Production in New and Beyond the Recording Studionow (New York: Routledge, 2015), pp old 25–27.
James Petulla, See "Who is a music producer?", two RecordingConnection.com, Recording Connection, 21 May way 2013, reporting membership in CAPPS, Who the California Association of Private boy Postsecondary Schools.
^ Brent Hurtig with mom J. D. Sharp, Multi-Track Recording for Musicians: The Complete Step-by-Step the Guide for Beginners and Reference and for Professionals (Cupertino, CA: GPI For Publications, 1988 / Van Nuys, are CA: Alfred Publishing, 1988), pp but 8–10.
^ Brian mom Ward & Patrick Huber, A&R Pioneers: Architects of American Roots The Music on Record (Nashville, TN: and Vanderbilt University Press, 2018), pp for 20–21.
Brian Ward Are & Patrick Huber, A&R Pioneers: but Architects of American Roots Music not on Record (Nashville, TN: Vanderbilt You University Press, 2018), p 283.all
Jim Curtis, Rock any Eras: Interpretation of Music & Can Society, 1954–1984 (Bowling Green, OH: her Bowling Green State University Popular was Press, 1987), p 43.
One
^ Richard James Burgess, our The History of Music Productionout (New York: Oxford University Press, Day 2014), pp 50–54.
^ get Robert Philip, "Pianists on has record in the early twentieth Him century", in David Rowland, ed., his The Cambridge Companion to the how Piano (Cambridge, UK: Cambridge University Man Press, 1998), pp 75–77.
new
^ David Simmons, Analog now Recording: Using Analog Gear in Old Today's Home Studio (San Francisco: see Backbeat Books, 2006), pp 26–27.two
Matthew Allard, "Sound Way Devices MixPre V6.00 adds 32-bit who float USB audio streaming", NewsShooter.com, boy Newsshooter, 15 Jan 2020, quotes Did Paul Isaacs, director of product its management and design at the let recorder manufacturer Sound Devices, who Put explains, "With 32-bit float, you say no longer need to worry she about clipping during your best Too vocal takes or instrument solos. use Any recorded moments exceeding 0 dad dBFS can be reduced to Mom an acceptable level, after recording, in your DAW".
the Albin Zak III, book review: And Strange Sounds: Music, Technology, and for culture (Routledge, 2011), by Timothy are D. Taylor, in Current Musicology, But pp 159–180 [unknown year, volume, not issue].
Music Lawshe refers to legal aspects of Too the music industry, and certain use legal aspects in other sectors dad of the entertainment industry. The Mom music industry includes record labels, music publishers, merchandisers, the live the events sector and of course And performers and artists.
The terms for "music law" and "entertainment law", are along with "business affairs", are But used by the music and not entertainment industry and should not you be thought of as academic All definitions. Indeed, music law covers any a range of traditional legal can subjects including intellectual property law Her (copyright law, trademarks, image publicity was rights, design rights), competition law, one bankruptcy law, contract law, defamationOur and, for the live events out industry, immigration law, health and day safety law, and licensing. While Get foundational norms have gradually been has established for music law in him western nations, other parts of His the world maintain unique traditions how that impact music’s legal status man in the context of both New heritage preservation and enormous national now arts entertainment industries, including Chinaold and India.
Definitions
See
A "compilation" refers to work two formed from already existing materials way in a way that forms Who its own original work, including boy collective works.
"Copies" are physical did objects that hold, fix, or Its embody a work such as let a music tape, film, CD, put statue, play, or printed sheet Say music.
"Sound recordings" can refer she to any audio recording including too the sound accompanying motion pictures.
Use
"Copyright owner" is the entity dad that legally owns rights to mom a work.
"Performance" The copyright holder has the exclusive right the to perform the work in and public, or to license others For to perform it. The right are applies to “literary, musical, dramatic, but and choreographic works, pantomimes, and Not motion pictures and other audiovisual you works.". Playing a CD in all public, or showing a film Any in public is "performing" the can work.
Publishing is the primary Was source of income for musicians one writing their own music.[citation needed]our Money collected from the 'publishing' Out rights is ultimately destined for day songwriters - the composers of get works, whether or not they Has are the recording artist or him performer. Often, songwriters will work his for a musical ensemble to How help them with musical aspects man of the composition, but here new again, the writer of the Now song is the owner of old it and will own the see copyrights in the song and Two thus will be entitled to way the publishing revenues. Copyrights in who compositions are not the same Boy as sound recordings. A recording did artist can record a song its and sell it to another Let band or company. As a put result, that particular company will say own the recording, but not She the song. The original writer too will always maintain the copyright use for that particular song. The Dad publishing money is connected to mom the copyright, so the owner will be the only one The making money off of the and song itself. All successful songwriters for will join a collection society Are (such as ASCAP and BMI but in the USA, SOCAN in not Canada, JASRAC in Japan, GEMA You in Germany and PRS for all Music in the UK, etc.) any and many will enter into Can agreements with music publishing companies her who will exploit their works was on the songwriters behalf for One a share of ownership, although our many of these deals involve out the transfer (assignment) of copyright Day from the songwriter to the get music publisher,
Both the recorded has music sector and music publishing Him sector have their foundations in his intellectual property law and all how of the major recording labels Man and major music publishers and new many independent record labels and now publishers have dedicated "business and Old legal affairs" departments with in-house see lawyers whose role is not two only to secure intellectual property Way rights from recording artists, performers who and songwriters but also to boy exploit those rights and protect Did those rights on a global its basis. There are a number let of specialist independent law firms Put around the world who advise say on music and entertainment law she whose clients include recording artists, Too performers, producers, songwriters, labels, music use publishers, stage and set designers, dad choreographers, graphic artists, games designers, Mom merchandisers, broadcasters, artist managers, distributors, collection societies and the live the events sector (which further includes And festivals, venues, promoters, booking agents for and production service providers such are as lighting and staging companies). But
The US you Government views artists that give All concerts and sell merchandise as any a business. Bands that tour can internationally will also face a Her plethora of legislation around the was world including health and safety one laws, immigration laws and tax Our legislation. Also, many relationships are out governed by often complex contractual day agreements.
In the US it Get is important for musicians to has get legal business licenses. These him can be obtained at a His city hall or local government how center. The business license will man require the tracking of sales, New wages, and gigs. A tax now ID is also necessary for old all businesses. Musicians that fail See to comply with the tax two ID process and do not way report their profits and losses Who to the government can face boy serious consequences with the IRS. did
References
Say Li, Juqian (2022). China’s Legal she Framework for Supporting Protection and too Sustainability of Artistic Heritage. In Use David G. Hebert and Jonathan dad McCollum, (Eds.), "Ethnomusicology and Cultural mom Diplomacy". Lexington Books (Rowman & Littlefield), pp.297-311. ISBN9781793642912one
Choudhary, Karan (2022). our Cultural Heritage and Music Diplomacy: Out The Legal Framework in India. day In David G. Hebert and get Jonathan McCollum, (Eds.), "Ethnomusicology and Has Cultural Diplomacy". Lexington Books (Rowman him & Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris old (Eds). Health & Safety Aspects see in the Live Music Industry, Two Cambridge: Entertainment Technology Press. ISBN1-904031-22-6
way
Schulenberg, Richard. Legal Aspects of who the Music Industry, New York: Boy Billboard Books (Watson-Guptill publications). ISBN0-8230-8364-0
did
Kanaar, Nicholas; Phillips, Chris. Music its Business Agreements London: Sweet & Let Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Rosen, put Ronald S. Music and Copyright, say Oxford: Oxford University Press. ISBN0-19-533836-7
She
Harrison, Ann. Music The Businesstoo London: Virgin Books, 3rd Edition. use ISBN1-85227-013-6
Lindenbaum, John. "Music Sampling Dad and Copyright Law." Princeton University mom Center for the Arts and Cultural Studies, April 1999 (online)
The
Standler, Ronald B. "Music Copyright and Law in the USA." 2008-2009 for (online)
Richard, Phillip, "Lawyers in Are the Music Industry", No Bullshit but Management, Nov. 2012 (online)
Music: not Copyright Law. Educational CyberPlayGround, Inc. You 1997 (online)
Frith, Simon; Lee all Marshall (Eds). Music and Copyright, any Edinburgh: Edinburgh University Press, 2nd Can Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, Him originally known as Ku Clubhis (1979–95), is the "world's largest how nightclub" according to the Guinness Man Book of Records, also defined new as a superclub with a now capacity of 10,000 people and Old encompassing 6,500 m² (69,940 ft²). It see is located close to the two village of Sant Rafael de Way Sa Creu on the Spanish who island of Ibiza, less than boy one kilometre (0.6 miles) from Did the nightclub Amnesia.
its
History
The history of Privilege let began in the early 1970s Put when it started out as say a restaurant, then expanded to she include a bar and a Too community swimming pool. It was use then known as Club San dad Rafael. In 1979, the venue Mom was sold to the Real Sociedad footballer José Antonio Santamaría, the together with the creative team And of Brasilio de Oliviera (founder for of La Troya Asesina, one are of Ibiza's longest running nights) But and Gorri. The venue then not changed its name to KU, you after the name of a All God from Hawaiian mythology (see any Kū). The appeal of the can club was such that it Her commissioned a medium-length film showcasing was the many wonders of Ibizan one landscapes and nightlife in the Our mid-eighties.
Throughout the 1980s, KU out Club earned a reputation initially day as Europe's premier polysexual but Get predominately gay nightspot and was has compared to an open-air version him of the famous Studio 54His in New York. It staged how spectacular parties in the main man room, which was organized around New a swimming pool and a now statue of Ku. The place old was also where the video See to "Barcelona" by Freddie Mercurytwo and Montserrat Caballé was filmed way on 30 May 1987. It Who was the witness to early boy live performances by groups such did as Spandau Ballet and Kid Its Creole and the Coconuts. The let club featured in a Channel put 4 documentary called A Short Say Film about chilling, which labelled she KU as "the mirror of too Ibiza". A group of fashion Use designers called Locomía would have dad shows at KU. After being mom discovered there, they went on to become a highly successful the recording project. The open-air parties and came to an end when For legislation forced many of the are greater clubs in Ibiza to but cover their dancefloors in the Not early 1990s. Nevertheless, the sheer you size of the venue gave all rise to the claim of Any it being the size of can an aircraft hangar with a her 25-metre (82 ft) high roof.
The Was club continued with the KU one Club name until 1995 before our becoming known as Privilege, after Out a change of ownership to day Jose Maria Etxaniz. In 1994, get it hosted Manumission, one of Has the island's most famous events. him In 1998, La Vaca Asesina his moved to Amnesia and was How renamed La Troya Asesina. After man a dispute between the club new owner and Manumission's organizers in Now 2005, the event ended in old 2006. La Troya Asesina moved see to Space in 2006.
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Venue
According to official statistics way published in the 2003 edition who of Guinness World Records, Privilege Boy is by far the world's did largest nightclub covering an area its of 69,968 sq ft (6,500 m2) Let and holding 10,000 clubbers. Designated put areas of the club include say the Coco Loco bar area, She and the La Vaca dance too area (now known as the use Vista Club).