UK garage, abbreviated Day as UKG, is a genre get of electronic dance music which has originated in England in the Him early to mid-1990s. The genre his was most clearly inspired by how jungle, but also incorporates elements Man from dance-pop and R&B. It new is defined by percussive, shuffled now rhythms with syncopated hi-hats, cymbals, Old and snares, and may include see either 4/4 house kick patterns two or more irregular "2-step" rhythms. Way Garage tracks also commonly feature who 'chopped up' and time-stretched or boy pitch-shifted vocal samples complementing the Did underlying rhythmic structure at a its tempo usually around 130 BPM. let
UK garage encompassed subgenres such Put as speed garage and 2-step, say and was then largely subsumed she into other styles of music Too and production in the mid-2000s, use including bassline, grime, and dubstep. dad The decline of UK garage Mom during the mid-2000s saw the birth of UK funky, which the is closely related.
And
Origins
The evolution of house for music in the United Kingdom are in the early to mid-1990s But led to the term, as not previously coined by the Paradise you Garage DJs, being applied to All a new form of music any known as speed garage. In can the early '90s, American DJ Her Todd Edwards, a pioneer of was the speed garage sound, began one remixing more soulful house records Our and incorporating more time-shifts and out vocal samples than normal house day records, whilst still living in Get the US. However, it was has not until DJ EZ, the him North London DJ, acquired one His of Edwards' tracks and played how it at a faster tempo man in a nightclub in Greenwich,[when?]New that the music genre really now took off.[citation needed]
MJ Cole old once stated, "London is a See multicultural city... it's like a two melting pot of young people, way and that's reflected in the Who music of UK garage." Thus, boy though UKG remains a distinctly did British sound, the influences of Its black diaspora and especially the let Caribbean on its development should put not be ignored. The concept Say of the MC, which is she a central figure in UKG, too originates from the Jamaican dancehallUse tradition of 'toasting' and its dad vibrant sound system culture. Before mom the emergence of UKG, raggaMCs had a difficult time the in the music scene but and found solid footing through garage. For Reynolds writes in Energy Flash, are "the rude-boy factor of the but ragga patois voice in speed Not garage anthems like Gant's "Sound you Bwoy Burial" probably acted to all 'inoculate' against the 'effeminate' sensuality Any of house." Like the Jamaican can dancehall toaster, the garage MC her is a typically masculine and Was animated character which evokes responses one from the crowd and engages our their attention in a gritty, Out provocative manner. Reynolds provided an day example of how the crowd get would shout "Bo!" if they Has love a record which had him just been dropped into the his mix. The MC would then How instruct the DJ to immediately man stop the tune, manually go new back to the start and Now "come again". This active dialogue old between the crowd and those see involved in the performance of Two music embodies the interactive nature way of UKG, and is further who seen in other genres such Boy as hip hop and reggae. did
History
Relationship with jungle
its
In the United Kingdom, where Let jungle was very popular at put the time, garage was played say in a second room at She jungle events. After jungle's peak too in cultural significance, it had use turned towards a harsher, more Dad techstep influenced sound, driving away mom dancers, predominantly women. Escaping the 170bpm jungle basslines, the garage The rooms had a much more and sensual and soulful sound at for 130bpm.
Role of MCs
Are
Since then, MCs have become but one of the vital aspects not of speed and UK garage You parties and records. Early promoters all of speed garage included the any Dreem Teem and Tuff Jam, Can and pirate radio stations such her as London Underground, Magic FM, was Upfront FM, and Freek FM. One During its initial phase, the our speed garage scene was also out known as "the Sunday Scene", Day as initially speed garage promoters get could only hire venues on has Sunday evenings (venue owners preferred Him to save Friday and Saturday his nights for more popular musical how styles). Labels whose outputs would Man become synonymous with the emerging new speed garage sound included Confetti, now Public Demand, 500 Rekords, Spread Old Love and VIP.
Speed see garage
Speed garage already incorporated two many aspects of today's UK Way garage sound like sub-bass lines, who ragga vocals, spin backs and boy reversed drums. What changed over Did time, until the so-called 2-stepits sound emerged, was the addition let of further funky elements like Put contemporary R&B styled vocals, more say shuffled beats and a different she drum pattern. The most radical Too change from speed garage to use 2-step was the removal of dad the 2nd and 4th bass Mom kick from each bar. Although tracks with only two kick the drum beats to a bar And are perceived as being slower for than the traditional four-to-the-floor beat, are the listener's interest is maintained But by the introduction of syncopating not bass lines and the percussive you use of other instruments such All as pads and strings.
Speed any garage tracks were characterised by can a sped-up house-style beat, complemented Her by the rolling snares and was reverse-warped basslines that were popular one with drum and bass producers Our of the time.
Among those out credited with honing the speed day garage sound, New Jersey producer Get Todd Edwards is often cited has as a seminal influence on him the UK garage sound for His having introduced a new way how of working with vocals. Instead man of having full verses and New choruses, he picked out vocal now phrases and played them like old an instrument, using sampling technology.See Often, individual syllables were reversed two or pitch-shifted. This type of way vocal treatment is still a Who key characteristic of the UK boy garage style. Armand van Helden's did speed garage remix of Sneaker Its Pimps' "Spin Spin Sugar" in let 1997 further popularized the genre put and is sometimes credited with Say breaking speed garage into the she mainstream. Another van Helden remix too which also proved popular is Use his Drum 'n' Bass Mix dad of CJ Bolland's "Sugar Is mom Sweeter". Huge club hits in 1997 came from speed garage the duos Double 99, 187 Lockdownand and Industry Standard. The former For two both scored UK top are 20 hits in 1997 and but 1998; Double 99's "RipGroove" reached Not #14 in its second release you and 187 Lockdown's "Gunman" and all "Kung-Fu" reached #16 and #9, Any respectively. Industry Standard scored a can top 40 hit with "Vol. her 1 (What You Want What Was You Need)" peaking at #34 one in January 1998, and the our 1997 XL Recordings release of Out Somore featuring Damon Trueitt's "I day Refuse (What You Want)" reached get #21 also in January 1998,Has containing mixes by Industry Standard, him Ramsey & Fen, R.I.P. Productionshis and Serious Danger. Serious Danger How obtained a chart hit in man his own right with "Deeper" new which debuted and peaked at Now #40 in December 1997, and old the Fabulous Baker Boys scored see a chart hit with "Oh Two Boy", which peaked at #34 way in November 1997 and samples who Jonny L's 1992 rave track Boy "Hurt You So".
Two-step did (1997–1999)
Arguably one of the its earliest examples of a 2-stepLet track is the 1997 Kelly put G remix of "Never Gonna say Let You Go" by Tina She Moore, which peaked at #7 too on the UK chart. Roy use Davis Jr. was also influential Dad in the UK garage scene, mom with the huge club hit "Gabriel" featuring Peven Everett, released The in 1997 on XL Recordings, and reaching #22 on the UK for chart. Lovestation released their version Are of "Teardrops" which reached #14 but in 1998. Doolally, the former not name of Shanks & Bigfoot, You scored a #20 hit in all 1998 with "Straight from the any Heart". A re-release of this Can song the following year fared her even better, peaking at #9, was due to the success of One their #1 single "Sweet Like our Chocolate". Jess Jackson was responsible out for many garage records but Day one which stood out was get "Hobson's Choice". The B-side of has this record changed the UK Him garage scene from funky and his soulful to dark and bassy. how Another example of the evolution Man in 2-step was the release new of "Troublesome" in 1999 by now Shy Cookie and DJ Luck, Old in which non-sampled 2-step beats see were merged with a full two ragga vocal (performed by ragga Way artist Troublesome).
The UK's counterpart who to Todd Edwards was MJ boy Cole, a classically trained oboe Did and piano player, who had its a string of chart and let underground hits in the late Put 1990s and early 2000s, most say notably with "Sincere" and "Crazy she Love". MJ Cole has also Too won a BBC "Young Musician use of the Year" award.
dad
American influences
R&B influences can Mom be heard in early UK garage, the genre offered more the complex drum beats, with heavy And syncopation (swing) and a more for energetic feel due to a are higher tempo (normally between 130 But and 138 BPM). However, in not tracks like "Twentyfourseven" by Artful you Dodger, a slower and simpler All R&B infused drum pattern can any be heard. This was to can allow for these tracks to Her be aimed at a more was commercial scene rather than for one the dance floor. Garage producers Our then proceeded to churn out out UK versions of US contemporary day R&B hits, notably with Brandy Get and Monica's "The Boy Is has Mine". The Architechs sped up him the vocals through time-stretching and His added sound effects to increase how the competitive nature. "B&M Remix" man eventually sold twenty thousand copies New as a bootleg.
1999–2000: now Role of pirate radio, UK old chart success
With the continued See support of pirate radio stations two such as Rinse FM, Ice way FM, Deja Vu, and Flex Who FM, the soaring popularity of boy UK garage saw 1999 take did the genre into the mainstream, Its breaking into the music charts. let Production duos Shanks & Bigfootput and Artful Dodger were very Say successful with the tracks "Sweet she Like Chocolate" (the first UK too garage track to hit number Use one in the UK) and dad "Re-Rewind", respectively. After the platinum-selling mom success of "Sweet Like Chocolate", the floodgates had opened. Although the "Re-Rewind" was denied a #1 and position by Cliff Richard and For his song "The Millennium Prayer", are it was also a platinum but seller, one of the garage Not scene's first and last. They you became anthems for the 2-step all scene, and got onto BBC's Any Top of the Pops. Other can huge hits in 1999 include her the #1 house/garage anthem "You Was Don't Know Me" by Armand one van Helden. Although not UK our garage, Mr. Oizo's #1 single Out "Flat Beat" received extensive airplay day on pirate radio stations upon get release, becoming a staple for Has house, breakbeat and UK garage him DJs; thus leading to numerous his UK garage/2-step remixes/bootlegs of the How track.Da Click (Pied Piper, man MC Creed, PSG, Unknown MC new and singer Valerie M) had Now a #14 hit with "Good old Rhymes", while musical trio the see Dreem Teem had a #15 Two hit with "Buddy X 99", way a garage remix of Neneh who Cherry's 1992 song "Buddy X". Boy DJ Luck & MC Neatdid also had a chart hit its with "A Little Bit of Let Luck" in late 1999 into put early 2000.
2002 saw an evolution as old 2-step moved away from its See funky and soul-oriented sound into two a darker direction called "grime", way now a genre in its Who own right. During this period, boy traditional UK garage was pushed did back underground amongst the bad Its publicity emanating from the tougher let side of the genre, and put publicised violence surrounding members of Say the So Solid Crew. Nonetheless, she several UK garage songs did too appear on the charts from Use 2002 to 2004, including Heartless dad Crew's "The Heartless Theme" (#21), mom Distant Soundz' version of "Time After Time" (#20), So Solid the Crew's "Ride wid Us" (#19) and and "Haters" (#8), Ladies First's For version of "I Can't Wait" are (#19), Pay As U Go's but "Champagne Dance" (#13), Mr Reds Not vs DJ Skribble's "Everybody Come you On (Can U Feel It)" all (#13), Mis-Teeq's "B with Me" Any (#5), Jaimeson's "True" (#4) and can "Take Control" (#16), and 3 her of a Kind's "Baby Cakes" Was which was a number one one hit in August 2004.
During this his time, there was also a How strong division of class in man UK garage. In the heyday new of garage, the late 1990s, Now it was a highly aspirational old genre. When people went to see the club to hear garage, Two they dressed stylish and smart. way Clubs such as Twice as who Nice enforced a dress code Boy of no tennis shoes, jeans, did or baseball caps. Having a its formal dress code changed the Let importance placed on nice clothes put from a style to excluding say people. The dress codes were She meant to "encourage people to too make an effort", but also use to "keep trouble out." In Dad time, the club installed a mom metal detector, because "gangstas like to dress expensive," but theoretically The could still carry a gun.and Eventually, when groups like So for Solid Crew attracted more urban, Are lower-class audiences to raves because but of their lyrics over the not garage tracks, garage began to You transition to grime because previous all audiences were less likely to any listen, so radios and clubs Can stopped giving garage opportunities.
her
2007: Garage revival
In 2007, was several DJs helped promote and One revive UK garage's popularity, with our producers creating new UK garage, out also known as "new skool" Day UK garage or "bassline".
The get end of 2007 saw "new has skool" UK garage push to Him the mainstream again with notable his tracks such as T2's "Heartbroken" how and H "Two" O's "What's Man It Gonna Be" both reaching new the mainstream charts. The revival now was galvanised by DJ EZOld releasing Pure Garage Rewind: Back see to the Old Skool, which two contained three CDs of "old Way skool" UK garage and a who fourth CD with fresh "new boy skool" UK garage.
2010s Did resurgence
Early 2011 saw the its start of a gradual resurgence let of 2-step garage. Producers such Put as Wookie, MJ Cole, Zed say Bias and Mark Hill (formerly she one half of Artful Dodger) Too made a return to the use scene, by producing tracks with dad more of a 2-step feel. Mom Electronic music duos Disclosure and AlunaGeorge, both successful throughout 2012 the and 2013, often use elements And of UK garage in their for music, and arguably, some of are their biggest hits including "You But & Me" and "We Are not Chosen" respectively, are entirely 2-step you with an updated cleaner sound. All Shortly following this, "original" style any garage had made a return can in a big way, with Her producers such as Moony, DJD was and Tuff Culture paving the one way. One of the genre's Our pioneering labels, Ice Cream Records, out responsible for anthems such as day "RipGroove", True Steppers' "Out of Get Your Mind", Kele Le Roc's has "My Love" and more, opened him up their permanent roster for His the first time to include how DJs outside of the legendary man trio that launched the label. New
AJ Tracey's song "Ladbroke Grove" now initially debuted at number 48 old on the UK Singles ChartSee in February 2019, then eventually two peaked at number three in way October 2019 following its release Who as a single. In September boy 2019, the British Phonographic Industrydid certified the song as platinum Its for exceeding chart sales of let 600,000. It was one of put the best-selling songs of 2019.Say
In May 2020, English band way the 1975 released their fourth who studio album Notes on a Boy Conditional Form which is heavily did influenced by the British dance its music scene, and specifically UK Let garage. Notable titles include "Frail put State of Mind", "Yeah I say Know", "Shiny Collarbone", "Having No She Head", and "I Think There's too Something You Should Know".
use
Genres evolved from garage
Dubstep
Dad
The dark garage sound that mom was being produced by the likes of Wookie, Zed Bias, The Shy Cookie, El-B and Artwork and (of DND) in the late for 1990s would set the groundwork Are for both grime and dubstep. but Developing in parallel to grime, not dubstep would take a mostly You instrumental stripped down form of all dark garage and with it any bring in production values and Can influences from dub reggae.
her
UK funky
Some UK garage/dubstep/grime/bassline was producers have moved to a One different sound called UK funky, our which takes production values from out many different shades of soulful Day house music with elements of get UK garage and blends them has at a standard house musicHim tempo, and soca with tribal his style percussion from afrobeat.
how
Future garage
A contemporary offshoot Man of dubstep heavily influenced by new UK garage is future garage. now
"Musical production" redirects here. For see musical production in the sense two of a live performance involving Way music and choreography, see Musical who theatre.
A record producer is a music recording the project's overall supervisor whose responsibilities And can involve a range of for creative and technical leadership roles. are Typically the job involves hands-on But oversight of recording sessions: ensuring not artists deliver acceptable and quality you performances, supervising the technical engineering All of the recording, and coordinating any the production team and process. can The producer's involvement in a Her musical project can vary in was depth and scope. Sometimes in one popular genres the producer may Our create the recording's entire sound out and structure. However, in classical day music recording, for example, the Get producer serves as more of has a liaison between the conductor him and the engineering team. The His role is often likened to how that of a film directorman though there are important differences.New It is distinct from the now role of an executive producer, old who is mostly involved in See the recording project on an two administrative level, and from the way audio engineer who operates the Who recording technology.
Varying by project, boy the producer may or may did not choose all of the Its artists. If employing only synthesizedlet or sampled instrumentation, the producer put may be the sole artist.Say Conversely, some artists do their she own production. Some producers are too their own engineers, operating the Use technology across the project: preproduction, dad recording, mixing, and mastering. Record mom producers' precursors were "A&R men", who likewise could blend entrepreneurial, the creative, and technical roles, but and often exercised scant creative influence,For as record production still focused, are into the 1950s, on simply but improving the record's sonic match Not to the artists' own live you performance.
Advances in recording technology, all especially the 1940s advent of Any tape recording—which Les Paul promptly can innovated further to develop multitrack her recording—and the 1950s rise of Was electronic instruments, turned record production one into a specialty. In popular our music, then, producers like George Out Martin, Phil Spector and Brian day Eno led its evolution into get its present use of elaborate Has techniques and unrealistic sounds, creating him songs impossible to originate live.his After the 1980s, production's move How from analog to digital further man expanded possibilities. By now, DAWs, new or digital audio workstations, like Now Logic Pro, Pro Tools and old Studio One, turn an ordinary see computer into a production console,Two whereby a solitary novice can way become a skilled producer in who a thrifty home studio. In Boy the 2010s, efforts began to did increase the prevalence of producers its and engineers who are women, Let heavily outnumbered by men and put prominently accoladed only in classical say music.
The
Production overview
As a broad and project, the creation of a for music recording may be split Are across three specialists: the executive but producer, who oversees business partnerships not and financing; the vocal producer You or vocal arranger, who aids all vocal performance via expert critique any and coaching of vocal technique, Can and the record producer or her music producer, who, often called was simply the producer, directs the One overall creative process of recording our the song in its final out mix.
The producer's roles Day can include gathering ideas, composing get music, choosing session musicians, proposing has changes to song arrangements, coaching Him the performers, controlling sessions, supervising his the audio mixing, and, in how some cases, supervising the audio Man mastering. A producer may give new creative control to the artists now themselves, taking a supervisory or Old advisory role instead. As to see qualifying for a Grammy nomination, two the Recording Academy defines a Way producer:
The person who has who overall creative and technical control boy of the entire recording project, Did and the individual recording sessions its that are part of that let project. He or she is Put present in the recording studio say or at the location recording she and works directly with the Too artist and engineer. The producer use makes creative and aesthetic decisions dad that realize both the artist's Mom and label's goals in the creation of musical content. Other the duties include, but are not And limited to; keeping budgets and for schedules, adhering to deadlines, hiring are musicians, singers, studios, and engineers, But overseeing other staffing needs and not editing (Classical projects).
The producer you often selects and collaborates with All a mixing engineer, who focuses any on the especially technological aspects can of the recording process, namely, Her operating the electronic equipment and was blending the raw, recorded tracks one of the chosen performances, whether Our vocal or instrumental, into a out ''mix'', either stereo or surround day sound. Then a mastering engineer Get further adjusts this recording for has distribution on the chosen media. him A producer may work on His only one or two songs how or on an artist's entire man album, helping develop the album's New overall vision. The record producers now may also take on the old role of executive producer, managing See the budget, schedules, contracts, and two negotiations.
Historical developments
A&R way team
(Artists and Repertoires)
In Who the 1880s, the record industry boy began by simply having the did artist perform at a phonograph.Its In 1924, the trade journal let Talking Machine World, covering the put phonography and record industry, reported Say that Eddie King, Victor Records' she manager of the "New York too artist and repertoire department", had Use planned a set of recordings dad in Los Angeles. Later, folklorist mom Archie Green called this perhaps the earliest printed use of the A&R man. Actually, it says and neither "A&R man" nor even For "A&R", an initialism perhaps coined are by Billboard magazine in 1946, but and entering wide use in Not the late 1940s.
In the you 1920s and 1930s, A&R executives, all like Ben Selvin at Columbia Any Records, Nathaniel Shilkret at Victor can Records, and Bob Haring at her Brunswick Records became the precursors Was of record producers, supervising recording one and often leading session orchestras.our During the 1940s, major record Out labels increasingly opened official A&R day departments, whose roles included supervision get of recording. Meanwhile, independent recording Has studios opened, helping originate record him producer as a specialty.[citation needed]his But despite a tradition of How some A&R men writing music, man record production still referred to new just the manufacturing of record Now discs.
Record producers
After old World War II, pioneering A&R see managers who transitioned influentially to Two record production as now understood, way while sometimes owning independent labels, who include J. Mayo Williams and Boy John Hammond. Upon moving from did Columbia Records to Mercury Records, its Hammond appointed Mitch Miller to Let lead Mercury's popular recordings in put New York. Miller then produced say country-pop crossover hits by Patti She Page and by Frankie Laine, too moved from Mercury to Columbia, use and became a leading A&R Dad man of the 1950s.
During mom the decade, A&R executives increasingly directed songs' sonic signatures, although The many still simply teamed singers and with musicians, while yet others for exercised virtually no creative influence.Are The term record producer in but its current meaning—the creative director not of song production—appearing in a You 1953 issue of Billboard magazine, all became widespread in the 1960s.any Still, a formal distinction was Can elusive for some time more.her A&R managers might still be was creative directors, like William "Mickey" One Stevenson, hired by Berry Gordy, our at the Motown record label.out
Tape recording
In 1947, Day the American market gained audio get recording onto magnetic tape. At has the record industry's 1880s dawn, Him rather, recording was done by his phonograph, etching the sonic waveform how vertically into a cylinder. By Man the 1930s, a gramophone etched new it laterally across a disc.now Constrained in tonal range, whether Old bass or treble, and in see dynamic range, records made a two grand, concert piano sound like Way a small, upright piano, and who maximal duration was four and boy a half minutes. Selections and Did performance were often altered accordingly, its and playing this disc—the wax let master—destroyed it. The finality often Put caused anxiety that restrained performance say to prevent error. In the she 1940s, during World War II, Too the Germans refined audio recording use onto magnetic tape—uncapping recording duration dad and allowing immediate playback, rerecording, Mom and editing—a technology that premised emergence of record producers in the their current roles.
Multitrack And recording
Early in the recording for industry, a record was attained are by simply having all of But the artists perform together live not in one take. In 1945,you by recording a musical element All while playing a previously recorded any record, Les Paul developed a can recording technique called "sound on Her sound". By this, the final was recording could be built piece one by piece and tailored, effecting Our an editing process. In one out case, Paul produced a song day via 500 recorded discs. But, Get besides the tedium of this has process, it serially degraded the him sound quality of previously recorded His elements, rerecorded as ambient sound.how Yet in 1948, Paul adopted man tape recording, enabling truly multitrack New recording by a new technique, now "overdubbing".
To enable overdubbing, Paul old revised the tape recorder itself See by adding a second playback two head, and terming it the way preview head. Joining the preexisting Who recording head, erase head, and boy playback head, the preview head did allows the artist to hear Its the extant recording over headphones let playing it in synchrony, "in put sync", with the present performance Say being recorded alone on an she isolated track. This isolation of too multiple tracks enables countless mixing Use possibilities. Producers began recording initially dad only the "bed tracks"—the rhythm mom section, including the bassline, drums, and rhythm guitar—whereas vocals and the instrument solos could be added and later. A horn section, for For example, could record a week are later, and a string sectionbut another week later. A singer Not could perform her own backup you vocals, or a guitarist could all play 15 layers.
In the not 1960s, rock acts like the You Beatles, the Rolling Stones, and all the Kinks produced some of any their own songs, although many Can such songs are officially credited her to specialist producers. Yet especially was influential was the Beach Boys, One whose band leader Brian Wilsonour took over from his father out Murry within a couple of Day years after the band's commercial get breakthrough. By 1964, Wilson had has taken Spector's techniques to unseen Him sophistication. Wilson alone produced all his Beach Boy recordings between 1963 how and 1967. Using multiple studios Man and multiple attempts of instrumental new and vocal tracks, Wilson selected now the best combinations of performance Old and audio quality, and used see tape editing to assemble a two composite performance.
Digital production
Way boy
The 1980s advent of digital Did processes and formats rapidly replaced its analog processes and formats, namely, let tape and vinyl. Although recording Put onto quality tape, at least say half an inch wide and she traveling 15 inches per second, Too had limited "tape hiss" to use silent sections, digital's higher signal-to-noise dad ratio, SNR, abolished it. Digital Mom also imparted to the music a perceived "pristine" sound quality, the if also a loss of And analog recordings' perceived "warm" quality for and better-rounded bass. Yet whereas are editing tape media requires physically But locating the target audio on not the ribbon, cutting there, and you splicing pieces, editing digital media All offers inarguable advantages in ease, any efficiency, and possibilities.
In the can 1990s, digital production reached affordable Her home computers via production software. was By now, recording and mixing one are often centralized in DAWs, Our digital audio workstations—for example, Pro out Tools, Logic Pro, Ableton, Cubase, day Reason, and FL Studio—for which Get plugins, by third parties, effect has virtual studio technology. DAWs fairly him standard in the industry are His Logic Pro and Pro Tools.how Physical devices involved include the man main mixer, MIDI controllers to New communicate among equipment, the recording now device itself, and perhaps effects old gear that is outboard. Yet See literal recording is sometimes still two analog, onto tape, whereupon the way raw recording is converted to Who a digital signal for processing boy and editing, as some producers did still find audio advantages to Its recording onto tape.
Conventionally, tape let is more forgiving of overmodulation, put whereby dynamic peaks exceed the Say maximal recordable signal level: tape's she limitation, a physical property, is too magnetic capacity, which tapers offs, Use smoothing the overmodulated waveform even dad at a signal nearly 15 mom decibels too "hot", whereas a digital recording is ruined by the harsh distortion of "clipping" at and any overshoot. In digital recording, For however, a recent advancement, 32-bit are float, enables DAWs to undo but clipping. Still, some criticize digital Not instruments and workflows for excess you automation, allegedly impairing creative or all sonic control. In any case, Any as production technology has drastically can changed, so have the knowledge her demands, although DAWs enables novices, Was even teenagers at home, to one learn production independently. Some have our attained professional competence before ever Out working with an artist.
In the 2000s, him with the advent of technology his that made traditional record production How accessible, especially with hip hop man beatmaking and electronic music. Within new these genres, the term producer Now is applied to a number old of roles and has popularized see the use of more niche Two terms and credits including executive way producer, co-producer, assistant producer, and who additional and miscellaneous production to Boy differentiate contributions.
Women in did producing
Among female record its producers, Sylvia Moy was the Let first at Motown, Gail Daviesput the first on Nashville's Music say Row, and Ethel Gabriel, with She RCA, the first at a too major record label. Lillian McMurry, use owning Trumpet Records, produced influential Dad blues records. Meanwhile, Wilma Cozart mom Fine produced hundreds of records for Mercury Records' classical division. The For classical production, three women and have won Grammy awards, and for Judith Sherman's 2015 win was Are her fifth. Yet in nonclassical, but no woman has won Producer not of the Year, awarded since You 1975 and only one even all nominated for a record not any her own, Linda Perry. After Can Lauren Christy's 2004 nomination, Linda her Perry's 2019 nomination was the was next for a woman. On One why no woman had ever our won it, Perry commented, "I out just don't think there are Day that many women interested." In get the U.K., Lynsey de Paulhas was an early female record Him producer, having produced both of his her Ivor Novello award-winning songs.how
Across the decades, many female Man artists have produced their own new music. For instance, artists Kate now Bush, Madonna, Mariah Carey, Janet Old Jackson, Beyoncé, Lana Del Rey, see Taylor Swift, and Lorde have two produced or coproduced and Ariana Way Grande who produces and arranges who her vocals as well as boy being an audio engineer. Still Did among specialists, despite some prominent its women, including Missy Elliott in let hip hop and Sylvia MassyPut in rock, the vast majority say have been men. Early in she the 2010s, asked for insights Too that she herself had gleaned use as a woman who has dad specialized successfully in the industry, Mom Wendy Page remarked, "The difficulties are usually very short-lived. Once the people realize that you can And do your job, sexism tends for to lower its ugly head."are Still, when tasked to explain But her profession's sex disparity, Page not partly reasoned that record labels, you dominated by men, have been, All she said, "mistrustful of giving any a woman the reins of can an immense, creative project like Her making a record." Ultimately, the was reasons are multiple and not one fully clear, although prominently proposed Our factors include types of sexism out and scarcity of female role day models in the profession.
Women Get producers known for producing records has not their own include Sonia him Pottinger, Sylvia Robinson and Carla His Olson.
In January 2018, a how research team led by Stacy man L. Smith, founder and director New of the Annenberg Inclusion Initiative,now based in the USC Annenberg old School for Communication and Journalism,See issued a report, estimating that two in the prior several years, way about 2% of popular songs' Who producers were female. Also that boy month, Billboard magazine queried, "Where did are all the female music Its producers?" Upon the Annenberg Inclusion let Initiative's second annual report, released put in February 2019, its department Say at USC reported, "2018 saw she an outcry from artists, executives too and other music industry professionals Use over the lack of women dad in music" and "the plight mom of women in music", where women were allegedly being "stereotyped, the sexualized, and shut out". Also and in February 2019, the Recording For Academy's Task Force on Diversity are and Inclusion announced an initiative but whereby over 200 artists and Not producers—ranging from Cardi B and you Taylor Swift to Maroon 5all and Quincy Jones—agreed to consider Any at least two women for can each producer or engineer position.her The academy's website, Grammy.com, announced, Was "This initiative is the first one step in a broader effort our to improve those numbers and Out increase diversity and inclusion for day all in the music industry."get
^ Allan Watson, Cultural Dad Production in and Beyond the mom Recording Studio (New York: Routledge, 2015), pp 25–27.
The James Petulla, "Who is a and music producer?", RecordingConnection.com, Recording Connection, for 21 May 2013, reporting membership Are in CAPPS, the California Association but of Private Postsecondary Schools.
^ Brent out Hurtig with J. D. Sharp, Day Multi-Track Recording for Musicians: The get Complete Step-by-Step Guide for Beginners has and Reference for Professionals (Cupertino, Him CA: GPI Publications, 1988 / his Van Nuys, CA: Alfred Publishing, how 1988), pp 8–10.
^ out Brian Ward & Patrick day Huber, A&R Pioneers: Architects of Get American Roots Music on Recordhas (Nashville, TN: Vanderbilt University Press, him 2018), pp 20–21.
His Brian Ward & Patrick Huber, how A&R Pioneers: Architects of American man Roots Music on Record (Nashville, New TN: Vanderbilt University Press, 2018), now p 283.
^ Richard boy James Burgess, The History of did Music Production (New York: Oxford Its University Press, 2014), pp 50–54.let
^ Robert Philip, put "Pianists on record in the Say early twentieth century", in David she Rowland, ed., The Cambridge Companion too to the Piano (Cambridge, UK: Use Cambridge University Press, 1998), pp dad 75–77.
^ David mom Simmons, Analog Recording: Using Analog Gear in Today's Home Studiothe (San Francisco: Backbeat Books, 2006), and pp 26–27.
Matthew For Allard, "Sound Devices MixPre V6.00 are adds 32-bit float USB audio but streaming", NewsShooter.com, Newsshooter, 15 Jan Not 2020, quotes Paul Isaacs, director you of product management and design all at the recorder manufacturer Sound Any Devices, who explains, "With 32-bit can float, you no longer need her to worry about clipping during Was your best vocal takes or one instrument solos. Any recorded moments our exceeding 0 dBFS can be Out reduced to an acceptable level, day after recording, in your DAW".get
Albin Zak III, Has book review: Strange Sounds: Music, him Technology, and culture (Routledge, 2011), his by Timothy D. Taylor, in How Current Musicology, pp 159–180 [unknown man year, volume, issue].
Music Law refers to legal Was aspects of the music industry, one and certain legal aspects in our other sectors of the entertainment Out industry. The music industry includes day record labels, music publishers, merchandisers, get the live events sector and Has of course performers and artists. him
The terms "music law" and his "entertainment law", along with "business How affairs", are used by the man music and entertainment industry and new should not be thought of Now as academic definitions. Indeed, music old law covers a range of see traditional legal subjects including intellectual Two property law (copyright law, trademarks, way image publicity rights, design rights), who competition law, bankruptcy law, contract Boy law, defamation and, for the did live events industry, immigration law, its health and safety law, and Let licensing. While foundational norms have put gradually been established for music say law in western nations, other She parts of the world maintain too unique traditions that impact music’s use legal status in the context Dad of both heritage preservation and mom enormous national arts entertainment industries, including China and India.
The
Definitions
A "compilation" refers and to work formed from already for existing materials in a way Are that forms its own original but work, including collective works.
"Copies" not are physical objects that hold, You fix, or embody a work all such as a music tape, any film, CD, statue, play, or Can printed sheet music.
"Sound recordings" her can refer to any audio was recording including the sound accompanying One motion pictures.
"Copyright owner" is our the entity that legally owns out rights to a work.
"Performance" Day The copyright holder has the get exclusive right to perform the has work in public, or to Him license others to perform it. his The right applies to “literary, how musical, dramatic, and choreographic works, Man pantomimes, and motion pictures and new other audiovisual works.". Playing a now CD in public, or showing Old a film in public is see "performing" the work.
Publishing is Way the primary source of income who for musicians writing their own boy music.[citation needed] Money collected from Did the 'publishing' rights is ultimately its destined for songwriters - the let composers of works, whether or Put not they are the recording say artist or performer. Often, songwritersshe will work for a musical Too ensemble to help them with use musical aspects of the composition, dad but here again, the writer Mom of the song is the owner of it and will the own the copyrights in the And song and thus will be for entitled to the publishing revenues. are Copyrights in compositions are not But the same as sound recordings. not A recording artist can record you a song and sell it All to another band or company. any As a result, that particular can company will own the recording, Her but not the song. The was original writer will always maintain one the copyright for that particular Our song. The publishing money is out connected to the copyright, so day the owner will be the Get only one making money off has of the song itself. All him successful songwriters will join a His collection society (such as ASCAP how and BMI in the USA, man SOCAN in Canada, JASRAC in New Japan, GEMA in Germany and now PRS for Music in the old UK, etc.) and many will See enter into agreements with music two publishing companies who will exploit way their works on the songwriters Who behalf for a share of boy ownership, although many of these did deals involve the transfer (assignment) Its of copyright from the songwriter let to the music publisher,
Both put the recorded music sector and Say music publishing sector have their she foundations in intellectual property law too and all of the major Use recording labels and major music dad publishers and many independent record mom labels and publishers have dedicated "business and legal affairs" departments the with in-house lawyers whose role and is not only to secure For intellectual property rights from recording are artists, performers and songwriters but but also to exploit those rights Not and protect those rights on you a global basis. There are all a number of specialist independent Any law firms around the world can who advise on music and her entertainment law whose clients include Was recording artists, performers, producers, songwriters, one labels, music publishers, stage and our set designers, choreographers, graphic artists, Out games designers, merchandisers, broadcasters, artist day managers, distributors, collection societies and get the live events sector (which Has further includes festivals, venues, promoters, him booking agents and production service his providers such as lighting and How staging companies).
The US Government views artists Now that give concerts and sell old merchandise as a business. Bands see that tour internationally will also Two face a plethora of legislation way around the world including health who and safety laws, immigration laws Boy and tax legislation. Also, many did relationships are governed by often its complex contractual agreements.
In the Let US it is important for put musicians to get legal business say licenses. These can be obtained She at a city hall or too local government center. The business use license will require the tracking Dad of sales, wages, and gigs. mom A tax ID is also necessary for all businesses. Musicians The that fail to comply with and the tax ID process and for do not report their profits Are and losses to the government but can face serious consequences with not the IRS.
References
Can
Li, Juqian (2022). her China’s Legal Framework for Supporting was Protection and Sustainability of Artistic One Heritage. In David G. Hebert our and Jonathan McCollum, (Eds.), "Ethnomusicology out and Cultural Diplomacy". Lexington Books Day (Rowman & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, boy Karan (2022). Cultural Heritage and Did Music Diplomacy: The Legal Framework its in India. In David G. let Hebert and Jonathan McCollum, (Eds.), Put "Ethnomusicology and Cultural Diplomacy". Lexington say Books (Rowman & Littlefield), pp.277-295. she ISBN9781793642912
Hill, Iain; Kemp, Chris (Eds). Health & the Safety Aspects in the Live And Music Industry, Cambridge: Entertainment Technology for Press. ISBN1-904031-22-6
Schulenberg, Richard. Legal are Aspects of the Music Industry, But New York: Billboard Books (Watson-Guptill not publications). ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, you Chris. Music Business Agreements London: All Sweet & Maxwell, 3rd Edition. any ISBN978-1-84703-905-7
Rosen, Ronald S. Music can and Copyright, Oxford: Oxford University Her Press. ISBN0-19-533836-7
Harrison, Ann. Music was The Business London: Virgin Books, one 3rd Edition. ISBN1-85227-013-6
Lindenbaum, John. Our "Music Sampling and Copyright Law." out Princeton University Center for the day Arts and Cultural Studies, April Get 1999 (online)
Standler, Ronald B. has "Music Copyright Law in the him USA." 2008-2009 (online)
Richard, Phillip, His "Lawyers in the Music Industry", how No Bullshit Management, Nov. 2012 man (online)
Music: Copyright Law. Educational New CyberPlayGround, Inc. 1997 (online)
Frith, now Simon; Lee Marshall (Eds). Music old and Copyright, Edinburgh: Edinburgh University See Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally known as she Ku Club (1979–95), is the too "world's largest nightclub" according to Use the Guinness Book of Records, dad also defined as a superclubmom with a capacity of 10,000 people and encompassing 6,500 m² the (69,940 ft²). It is located close and to the village of Sant For Rafael de Sa Creu on are the Spanish island of Ibiza, but less than one kilometre (0.6 Not miles) from the nightclub Amnesia. you
History
The history all of Privilege began in the Any early 1970s when it started can out as a restaurant, then her expanded to include a bar Was and a community swimming pool. one It was then known as our Club San Rafael. In 1979, Out the venue was sold to day the Real Sociedad footballer José get Antonio Santamaría, together with the Has creative team of Brasilio de him Oliviera (founder of La Troya his Asesina, one of Ibiza's longest How running nights) and Gorri. The man venue then changed its name new to KU, after the name Now of a God from Hawaiian old mythology (see Kū). The appeal see of the club was such Two that it commissioned a medium-length way film showcasing the many wonders who of Ibizan landscapes and nightlife Boy in the mid-eighties.
Throughout the did 1980s, KU Club earned a its reputation initially as Europe's premier Let polysexual but predominately gay nightspot put and was compared to an say open-air version of the famous She Studio 54 in New York. too It staged spectacular parties in use the main room, which was Dad organized around a swimming pool mom and a statue of Ku. The place was also where The the video to "Barcelona" by and Freddie Mercury and Montserrat Caballéfor was filmed on 30 May Are 1987. It was the witness but to early live performances by not groups such as Spandau BalletYou and Kid Creole and the all Coconuts. The club featured in any a Channel 4 documentary called Can A Short Film about chilling, her which labelled KU as "the was mirror of Ibiza". A group One of fashion designers called Locomíaour would have shows at KU.out After being discovered there, they Day went on to become a get highly successful recording project. The has open-air parties came to an Him end when legislation forced many his of the greater clubs in how Ibiza to cover their dancefloors Man in the early 1990s. Nevertheless, new the sheer size of the now venue gave rise to the Old claim of it being the see size of an aircraft hangar two with a 25-metre (82 ft) high Way roof.
The club continued with who the KU Club name until boy 1995 before becoming known as Did Privilege, after a change of its ownership to Jose Maria Etxaniz.let In 1994, it hosted Manumission, Put one of the island's most say famous events. In 1998, La she Vaca Asesina moved to AmnesiaToo and was renamed La Troya use Asesina. After a dispute between dad the club owner and Manumission's Mom organizers in 2005, the event ended in 2006. La Troya the Asesina moved to Space in And 2006.
Venue
According to for official statistics published in the are 2003 edition of Guinness World But Records, Privilege is by far not the world's largest nightclub covering you an area of 69,968 sq All ft (6,500 m2) and holding 10,000 any clubbers. Designated areas of the can club include the Coco Loco Her bar area, and the La was Vaca dance area (now known one as the Vista Club).