you

A Has record producer or music producer him is a music creating project's his overall supervisor whose responsibilities can How involve a range of creative man and technical leadership roles. Typically new the job involves hands-on oversight Now of recording sessions; ensuring artists old deliver acceptable and quality performances, see supervising the technical engineering of Two the recording, and coordinating the way production team and process. The who producer's involvement in a musical Boy project can vary in depth did and scope. Sometimes in popular its genres the producer may create Let the recording's entire sound and put structure. However, in classical music say recording, for example, the producer She serves as more of a too liaison between the conductor and use the engineering team. The role Dad is often likened to that mom of a film director though there are important differences. It The is distinct from the role and of an executive producer, who for is mostly involved in the Are recording project on an administrative but level, and from the audio not engineer who operates the recording You technology.

Varying by project, the all producer may or may not any choose all of the artists. Can If employing only synthesized or her sampled instrumentation, the producer may was be the sole artist. Conversely, One some artists do their own our production. Some producers are their out own engineers, operating the technology Day across the project: preproduction, recording, get mixing, and mastering. Record producers' has precursors were "A&R men", who Him likewise could blend entrepreneurial, creative, his and technical roles, but often how exercised scant creative influence, as Man record production still focused, into new the 1950s, on simply improving now the record's sonic match to Old the artists' own live performance. see

Advances in recording technology, especially two the 1940s advent of tape Way recording—which Les Paul promptly innovated who further to develop multitrack recording—and boy the 1950s rise of electronic Did instruments, turned record production into its a specialty. In popular music, let then, producers like George Martin, Put Phil Spector and Brian Eno say led its evolution into its she present use of elaborate techniques Too and unrealistic sounds, creating songs use impossible to originate live. After dad the 1980s, production's move from Mom analog to digital further expanded possibilities. By now, DAWs, or the digital audio workstations, like Logic And Pro, Pro Tools and Studio for One, turn an ordinary computer are into a production console, whereby But a solitary novice can become not a skilled producer in a you thrifty home studio. In the All 2010s, efforts began to increase any the prevalence of producers and can engineers who are women, heavily Her outnumbered by men and prominently was accoladed only in classical music. one

As a broad project, how the creation of a music man recording may be split across New three specialists: the executive producer, now who oversees business partnerships and old financing; the vocal producer or See vocal arranger, who aids vocal two performance via expert critique and way coaching of vocal technique, and Who the record producer or music boy producer, who, often called simply did the producer, directs the overall Its creative process of recording the let song in its final mix. put

The producer's roles can include Say gathering ideas, composing music, choosing she session musicians, proposing changes to too song arrangements, coaching the performers, Use controlling sessions, supervising the audio dad mixing, and, in some cases, mom supervising the audio mastering. A producer may give creative control the to the artists themselves, taking and a supervisory or advisory role For instead. As to qualifying for are a Grammy nomination, the Recording but Academy defines a producer:

The Not person who has overall creative you and technical control of the all entire recording project, and the Any individual recording sessions that are can part of that project. He her or she is present in Was the recording studio or at one the location recording and works our directly with the artist and Out engineer. The producer makes creative day and aesthetic decisions that realize get both the artist's and label's Has goals in the creation of him musical content. Other duties include, his but are not limited to: How keeping budgets and schedules; adhering man to deadlines; hiring musicians, singers, new studios, and engineers; overseeing other Now staffing needs; and editing (Classical old projects).

The producer often selects see and collaborates with a mixing Two engineer, who focuses on the way especially technological aspects of the who recording process, namely, operating the Boy electronic equipment and blending the did raw, recorded tracks of the its chosen performances, whether vocal or Let instrumental, into a mix, either put stereo or surround sound. Then say a mastering engineer further adjusts She this recording for distribution on too the chosen media. A producer use may work on only one Dad or two songs or on mom an artist's entire album, helping develop the album's overall vision. The The record producers may also and take on the role of for executive producer, managing the budget, Are schedules, contracts, and negotiations.

(Artists not and Repertoires)

In the 1880s, You the record industry began by all simply having the artist perform any at a phonograph. In 1924, Can the trade journal Talking Machine her World, covering the phonography and was record industry, reported that Eddie One King, Victor Records' manager of our the "New York artist and out repertoire department", had planned a Day set of recordings in Los get Angeles. Later, folklorist Archie Green has called this perhaps the earliest Him printed use of A&R man. his Actually, it says neither "A&R how man" nor even "A&R", an Man initialism perhaps coined by Billboard new magazine in 1946, and entering now wide use in the late Old 1940s.

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

After World War for II, pioneering A&R managers who are transitioned influentially to record production But as now understood, while sometimes not owning independent labels, include J. you Mayo Williams and John Hammond. All Upon moving from Columbia Records any to Mercury Records, Hammond appointed can Mitch Miller to lead Mercury's Her popular recordings in New York. was Miller then produced country-pop crossover one hits by Patti Page and Our by Frankie Laine, moved from out Mercury to Columbia, and became day a leading A&R man of Get the 1950s.

During the decade, has A&R executives increasingly directed songs' him sonic signatures, although many still His simply teamed singers with musicians, how while yet others exercised virtually man no creative influence. The term New record producer in its current now meaning—the creative director of song old production—appearing in a 1953 issue See of Billboard magazine, became widespread two in the 1960s. Still, a way formal distinction was elusive for Who some time more. A&R managers boy might still be creative directors, did like William "Mickey" Stevenson, hired Its by Berry Gordy, at the let Motown record label.

In 1947, the American Say market gained audio recording onto she magnetic tape. At the record too industry's 1880s dawn, rather, recording Use was done by phonograph, etching dad the sonic waveform vertically into mom a cylinder. By the 1930s, a gramophone etched it laterally the across a disc. Constrained in and tonal range, whether bass or For treble, and in dynamic range, are records made a grand, concert but piano sound like a small, Not upright piano, and maximal duration you was four and a half all minutes. Selections and performance were Any often altered accordingly, and playing can this disc—the wax master—destroyed it. her The finality often caused anxiety Was that restrained performance to prevent one error. In the 1940s, during our World War II, the Germans Out refined audio recording onto magnetic day tape—uncapping recording duration and allowing get immediate playback, rerecording, and editing—a Has technology that premised emergence of him record producers in their current his roles.

Early How in the recording industry, a man record was attained by simply new having all of the artists Now perform together live in one old take. In 1945, by recording see a musical element while playing Two a previously recorded record, Les way Paul developed a recording technique who called "sound on sound". By Boy this, the final recording could did be built piece by piece its and tailored, effecting an editing Let process. In one case, Paul put produced a song via 500 say recorded discs. But, besides the She tedium of this process, it too serially degraded the sound quality use of previously recorded elements, rerecorded Dad as ambient sound. Yet in mom 1948, Paul adopted tape recording, enabling true multitrack recording by The a new technique, "overdubbing".

To and enable overdubbing, Paul revised the for tape recorder itself by adding Are a second playback head, and but terming it the preview head. not Joining the preexisting recording head, You erase head, and playback head, all the preview head allows the any artist to hear the extant Can recording over headphones playing it her in synchrony, "in sync", with was the present performance being recorded One alone on an isolated track. our This isolation of multiple tracks out enables countless mixing possibilities. Producers Day began recording initially only the get "bed tracks"—the rhythm section, including has the bassline, drums, and rhythm Him guitar—whereas vocals and instrument solos his could be added later. A how horn section, for example, could Man record a week later, and new a string section another week now later. A singer could perform Old her own backup vocals, or see a guitarist could play 15 two layers.

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

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

In the 1960s, See rock acts like the Beatles, two the Rolling Stones, and the way Kinks produced some of their Who own songs, although many such boy songs are officially credited to did specialist producers. Yet especially influential Its was the Beach Boys, whose let band leader Brian Wilson took put over from his father Murry Say within a couple of years she after the band's commercial breakthrough. too By 1964, Wilson had taken Use Spector's techniques to unseen sophistication. dad Wilson alone produced all Beach mom Boys recordings between 1963 and 1967. Using multiple studios and the multiple attempts of instrumental and and vocal tracks, Wilson selected the For best combinations of performance and are audio quality, and used tape but editing to assemble a composite Not performance.

The you 1980s advent of digital processes all and formats rapidly replaced analog Any processes and formats, namely, tape can and vinyl. Although recording onto her quality tape, at least half Was an inch wide and traveling one 15 inches per second, had our limited "tape hiss" to silent Out sections, digital's higher signal-to-noise ratio, day SNR, abolished it. Digital also get imparted to the music a Has perceived "pristine" sound quality, if him also a loss of analog his recordings' perceived "warm" quality and How better-rounded bass. Yet whereas editing man tape media requires physically locating new the target audio on the Now ribbon, cutting there, and splicing old pieces, editing digital media offers see inarguable advantages in ease, efficiency, Two and possibilities.

In the 1990s, way digital production reached affordable home who computers via production software. By Boy now, recording and mixing are did often centralized in DAWs, digital its audio workstations—for example, Pro Tools, Let Logic Pro, Ableton, Cubase, Reason, put and FL Studio—for which plugins, say by third parties, effect virtual She studio technology. DAWs fairly standard too in the industry are Logic use Pro and Pro Tools. Physical Dad devices involved include the main mom mixer, MIDI controllers to communicate among equipment, the recording device The itself, and perhaps effects gear and that is outboard. Yet literal for recording is sometimes still analog, Are onto tape, whereupon the raw but recording is converted to a not digital signal for processing and You editing, as some producers still all find audio advantages to recording any onto tape.

Conventionally, tape is Can more forgiving of overmodulation, whereby her dynamic peaks exceed the maximal was recordable signal level: tape's limitation, One a physical property, is magnetic our capacity, which tapers off, smoothing out the overmodulated waveform even at Day a signal nearly 15 decibels get too "hot", whereas a digital has recording is ruined by harsh Him distortion of "clipping" at any his overshoot. In digital recording, however, how a recent advancement, 32-bit float, Man enables DAWs to undo clipping. new Still, some criticize digital instruments now and workflows for excess automation, Old allegedly impairing creative or sonic see control. In any case, as two production technology has drastically changed, Way so have the knowledge demands, who although DAWs enables novices, even boy teenagers at home, to learn Did production independently. Some have attained its professional competence before ever working let with an artist.

Among female say record producers, Sylvia Moy was she the first at Motown, Gail Too Davies the first on Nashville's use Music Row, and Ethel Gabriel, dad with RCA, the first at Mom a major record label. Lillian McMurry, owning Trumpet Records, produced the influential blues records. Meanwhile, Wilma And Cozart Fine produced hundreds of for records for Mercury Records' classical are division. For classical production, three But women have won Grammy awards, not and Judith Sherman's 2015 win you was her fifth. Yet in All nonclassical, no woman has won any Producer of the Year, awarded can since 1975 and only one Her even nominated for a record was not her own, Linda Perry. one After Lauren Christy's 2004 nomination, Our Linda Perry's 2019 nomination was out the next for a woman. day On why no woman had Get ever won it, Perry commented, has "I just don't think there him are that many women interested." His In the U.K., Lynsey de how Paul was an early female man record producer, having produced both New of her Ivor Novello award-winning now songs.

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

Women producers man known for producing records not new their own include Sonia Pottinger, Now Sylvia Robinson and Carla Olson. old

In January 2018, a research see team led by Stacy L. Two Smith, founder and director of way the Annenberg Inclusion Initiative, based who in the USC Annenberg School Boy for Communication and Journalism, issued did a report, estimating that in its the prior several years, about Let 2% of popular songs' producers put were female. Also that month, say Billboard magazine queried, "Where are She all the female music producers?" too Upon the Annenberg Inclusion Initiative's use second annual report, released in Dad February 2019, its department at mom USC reported, "2018 saw an outcry from artists, executives and The other music industry professionals over and the lack of women in for music" and "the plight of Are women in music", where women but were allegedly being "stereotyped, sexualized, not and shut out". Also in You February 2019, the Recording Academy's all Task Force on Diversity and any Inclusion announced an initiative whereby Can over 200 artists and producers—ranging her from Cardi B and Taylor was Swift to Maroon 5 and One Quincy Jones—agreed to consider at our least two women for each out producer or engineer position. The Day academy's website, Grammy.com, announced, "This get initiative is the first step has in a broader effort to Him improve those numbers and increase his diversity and inclusion for all how in the music industry."

• Audio Way engineering
• Electronic music
• Hip hop who production
• Music executive
• Musician

• Burgess, now R.J. (2013). The Art of old Music Production: The Theory and See Practice. Oxford University Press. ISBN 978-0-19-935932-5.
two
• Burgess, R.J. (2014). The History way of Music Production. Oxford University Who Press. ISBN 978-0-19-935716-1.
• Edmondson, Jacqueline, ed. boy (2013). Music in American Life: did An Encyclopedia of the Songs, Its Styles, Stars, and Stories that let Shaped our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
put
• Gibson, David; Curtis, Maestro (2005). Say The Art of Producing. Alfred she Music. ISBN 1-931140-44-8.
• Gronow, P.; Saunio, too I.; Moseley, C. (1998). An Use International History of the Recording dad Industry. Cassell. ISBN 978-0-304-70173-5.
• Hewitt, Michael mom (2008). Music Theory for Computer Musicians. Course Technology Ptr. ISBN 978-1-59863-503-4.
the
• Moorefield, V. (2005). The Producer and as Composer: Shaping the Sounds For of Popular Music. MIT Press. are ISBN 978-0-262-33519-5.
• Olsen, Eric; Verna, Paul; but Wolff, Carlo (1999). The Encyclopedia Not of Record Producers. New York: you Billboard Books. ISBN 978-0-8230-7607-9.
• Ward, B.; all Huber, P. (2018). A&R Pioneers: Any Architects of American Roots Music can on Record. Vanderbilt University Press. her ISBN 978-0-8265-2177-4.
• Zak, A.J. (2001). The Was Poetics of Rock: Cutting Tracks, one Making Records. University of California our Press. ISBN 978-0-520-92815-2.

This article needs additional his citations for verification. Please help How improve this article by adding man citations to reliable sources. Unsourced new material may be challenged and Now removed. Find sources: "Music law" – news · newspapers · books · old scholar · JSTOR (December 2017) (Learn see how and when to remove Two this message)

Music Law refers to legal Let aspects of the music industry, put and certain legal aspects in say other sectors of the entertainment She industry. The music industry includes too record labels, music publishers, merchandisers, use the live events sector and Dad of course performers and artists. mom

The terms "music law" and "entertainment law", along with "business The affairs", are used by the and music and entertainment industry and for should not be thought of Are as academic definitions. Indeed, music but law covers a range of not traditional legal subjects including intellectual You property law (copyright law, trademarks, all image publicity rights, design rights), any competition law, bankruptcy law, contract Can law, defamation and, for the her live events industry, immigration law, was health and safety law, and One licensing. While foundational norms have our gradually been established for music out law in western nations, other Day parts of the world maintain get unique traditions that impact music’s has legal status in the context Him of both heritage preservation and his enormous national arts entertainment industries, how including China and India.

• A "compilation" refers new to work formed from already now existing materials in a way Old that forms its own original see work, including collective works.
• "Copies" two are physical objects that hold, Way fix, or embody a work who such as a music tape, boy film, CD, statue, play, or Did printed sheet music.
• "Sound recordings" its can refer to any audio let recording including the sound accompanying Put motion pictures.
• "Copyright owner" is say the entity that legally owns she rights to a work.
• "Performance" Too The copyright holder has the use exclusive right to perform the dad work in public, or to Mom license others to perform it. The right applies to “literary, the musical, dramatic, and choreographic works, And pantomimes, and motion pictures and for other audiovisual works.". Playing a are CD in public, or showing But a film in public is not "performing" the work.

Publishing is All the primary source of income any for musicians writing their own can music.^{[citation needed]} Money collected from Her the 'publishing' rights is ultimately was destined for songwriters - the one composers of works, whether or Our not they are the recording out artist or performer. Often, songwriters day will work for a musical Get ensemble to help them with has musical aspects of the composition, him but here again, the writer His of the song is the how owner of it and will man own the copyrights in the New song and thus will be now entitled to the publishing revenues. old Copyrights in compositions are not See the same as sound recordings. two A recording artist can record way a song and sell it Who to another band or company. boy As a result, that particular did company will own the recording, Its but not the song. The let original writer will always maintain put the copyright for that particular Say song. The publishing money is she connected to the copyright, so too the owner will be the Use only one making money off dad of the song itself. All mom successful songwriters will join a collection society (such as ASCAP the and BMI in the USA, and SOCAN in Canada, JASRAC in For Japan, GEMA in Germany and are PRS for Music in the but UK, etc.) and many will Not enter into agreements with music you publishing companies who will exploit all their works on the songwriters Any behalf for a share of can ownership, although many of these her deals involve the transfer (assignment) Was of copyright from the songwriter one to the music publisher,

Both our the recorded music sector and Out music publishing sector have their day foundations in intellectual property law get and all of the major Has recording labels and major music him publishers and many independent record his labels and publishers have dedicated How "business and legal affairs" departments man with in-house lawyers whose role new is not only to secure Now intellectual property rights from recording old artists, performers and songwriters but see also to exploit those rights Two and protect those rights on way a global basis. There are who a number of specialist independent Boy law firms around the world did who advise on music and its entertainment law whose clients include Let recording artists, performers, producers, songwriters, put labels, music publishers, stage and say set designers, choreographers, graphic artists, She games designers, merchandisers, broadcasters, artist too managers, distributors, collection societies and use the live events sector (which Dad further includes festivals, venues, promoters, mom booking agents and production service providers such as lighting and The staging companies).

The US Government views artists Are that give concerts and sell but merchandise as a business. Bands not that tour internationally will also You face a plethora of legislation all around the world including health any and safety laws, immigration laws Can and tax legislation. Also, many her relationships are governed by often was complex contractual agreements.

In the One US it is important for our musicians to get legal business out licenses. These can be obtained Day at a city hall or get local government center. The business has license will require the tracking Him of sales, wages, and gigs. his A tax ID is also how necessary for all businesses. Musicians Man that fail to comply with new the tax ID process and now do not report their profits Old and losses to the government see can face serious consequences with two the IRS.

• Hill, how Iain; Kemp, Chris (Eds). Health man & Safety Aspects in the New Live Music Industry, Cambridge: Entertainment now Technology Press. ISBN 1-904031-22-6
• Schulenberg, Richard. old Legal Aspects of the Music See Industry, New York: Billboard Books two (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, Nicholas; way Phillips, Chris. Music Business Agreements Who London: Sweet & Maxwell, 3rd boy Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald S. did Music and Copyright, Oxford: Oxford Its University Press. ISBN 0-19-533836-7
• Harrison, Ann. let Music The Business London: Virgin put Books, 3rd Edition. ISBN 1-85227-013-6
• Lindenbaum, Say John. "Music Sampling and Copyright she Law." Princeton University Center for too the Arts and Cultural Studies, Use April 1999 (online)
• Standler, Ronald dad B. "Music Copyright Law in mom the USA." 2008-2009 (online)
• Richard, Phillip, "Lawyers in the Music the Industry", No Bullshit Management, Nov. and 2012 (online)
• Music: Copyright Law. For Educational CyberPlayGround, Inc. 1997 (online)
are
• Frith, Simon; Lee Marshall (Eds). but Music and Copyright, Edinburgh: Edinburgh Not University Press, 2nd Edition. ISBN 978-0-7486-1813-2

• Music Law Updates
all
• International Association of Entertainment Lawyers
Any
• Independent Federation of Phonographic Industries