To the a section: This is a and redirect from a topic that For does not have its own are page to a section of but a page on the subject. Not For redirects to embedded anchorsyou on a page, use {{R all to anchor}} instead.
Individual supervising Any a musical project
"Musical production" her redirects here. For musical production Was in the sense of a one live performance involving music and our choreography, see Musical theatre.
A record producer is a see music recording project's overall supervisor Two whose responsibilities can involve a way range of creative and technical who leadership roles. Typically the job Boy involves hands-on oversight of recording did sessions: ensuring artists deliver acceptable its and quality performances, supervising the Let technical engineering of the recording, put and coordinating the production team say and process. The producer's involvement She in a musical project can too vary in depth and scope. use Sometimes in popular genres the Dad producer may create the recording's mom entire sound and structure. However, in classical music recording, for The example, the producer serves as and more of a liaison between for the conductor and the engineering Are team. The role is often but likened to that of a not film director though there are You important differences. It is distinct all from the role of an any executive producer, who is mostly Can involved in the recording project her on an administrative level, and was from the audio engineer who One operates the recording technology.
Varying our by project, the producer may out or may not choose all Day of the artists. If employing get only synthesized or sampled instrumentation, has the producer may be the Him sole artist. Conversely, some artists his do their own production. Some how producers are their own engineers,Man operating the technology across the new project: preproduction, recording, mixing, and now mastering. Record producers' precursors were Old "A&R men", who likewise could see blend entrepreneurial, creative, and technical two roles, but often exercised scant Way creative influence, as record production who still focused, into the 1950s, boy on simply improving the record's Did sonic match to the artists' its own live performance.
Advances in let recording technology, especially the 1940s Put advent of tape recording—which Les say Paul promptly innovated further to she develop multitrack recording—and the 1950s Too rise of electronic instruments, turned use record production into a specialty.dad In popular music, then, producers Mom like George Martin, Phil Spectorand Brian Eno led its the evolution into its present use And of elaborate techniques and unrealistic for sounds, creating songs impossible to are originate live. After the 1980s, But production's move from analog to not digital further expanded possibilities. By you now, DAWs, or digital audio All workstations, like Logic Pro, Pro any Tools and Studio One, turn can an ordinary computer into a Her production console, whereby a solitary was novice can become a skilled one producer in a thrifty home Our studio. In the 2010s, efforts out began to increase the prevalence day of producers and engineers who Get are women, heavily outnumbered by has men and prominently accoladed only him in classical music.
Production overview
As two a broad project, the creation way of a music recording may Who be split across three specialists: boy the executive producer, who oversees did business partnerships and financing; the Its vocal producer or vocal arranger, let who aids vocal performance via put expert critique and coaching of Say vocal technique, and the record she producer or music producer, who, too often called simply the producer, Use directs the overall creative process dad of recording the song in mom its final mix.
The producer's roles can include gathering the ideas, composing music, choosing session and musicians, proposing changes to song For arrangements, coaching the performers, controlling are sessions, supervising the audio mixing, but and, in some cases, supervising Not the audio mastering. A producer you may give creative control to all the artists themselves, taking a Any supervisory or advisory role instead. can As to qualifying for a her Grammy nomination, the Recording AcademyWas defines a producer:
The person one who has overall creative and our technical control of the entire Out recording project, and the individual day recording sessions that are part get of that project. He or Has she is present in the him recording studio or at the his location recording and works directly How with the artist and engineer. man The producer makes creative and new aesthetic decisions that realize both Now the artist's and label's goals old in the creation of musical see content. Other duties include, but Two are not limited to; keeping way budgets and schedules, adhering to who deadlines, hiring musicians, singers, studios, Boy and engineers, overseeing other staffing did needs and editing (Classical projects). its
The producer often selects and Let collaborates with a mixing engineer, put who focuses on the especially say technological aspects of the recording She process, namely, operating the electronic too equipment and blending the raw, use recorded tracks of the chosen Dad performances, whether vocal or instrumental, mom into a mix, either stereo or surround sound. Then a The mastering engineer further adjusts this and recording for distribution on the for chosen media. A producer may Are work on only one or but two songs or on an not artist's entire album, helping develop You the album's overall vision. The all record producers may also take any on the role of executive Can producer, managing the budget, schedules, her contracts, and negotiations.
Historical was developments
A&R team
(Artists and One Repertoires)
In the 1880s, the our record industry began by simply out having the artist perform at Day a phonograph. In 1924, the get trade journal Talking Machine World, has covering the phonography and record Him industry, reported that Eddie King, his Victor Records' manager of the how "New York artist and repertoireMan department", had planned a set new of recordings in Los Angeles.now Later, folklorist Archie Green called Old this perhaps the earliest printed see use of A&R man. Actually, two it says neither "A&R man" Way nor even "A&R", an initialism who perhaps coined by Billboard magazine boy in 1946, and entering wide Did use in the late 1940s.its
In the 1920s and 1930s, let A&R executives, like Ben SelvinPut at Columbia Records, Nathaniel Shilkretsay at Victor Records, and Bob she Haring at Brunswick Records became Too the precursors of record producers, use supervising recording and often leading dad session orchestras. During the 1940s, Mom major record labels increasingly opened official A&R departments, whose roles the included supervision of recording. Meanwhile, And independent recording studios opened, helping for originate record producer as a are specialty.[citation needed] But despite a But tradition of some A&R men not writing music, record production still you referred to just the manufacturing All of record discs.
Record any producers
After World War II, can pioneering A&R managers who transitioned Her influentially to record production as was now understood, while sometimes owning one independent labels, include J. Mayo Our Williams and John Hammond. Upon out moving from Columbia Records to day Mercury Records, Hammond appointed Mitch Get Miller to lead Mercury's popular has recordings in New York. Miller him then produced country-pop crossover hits His by Patti Page and by how Frankie Laine, moved from Mercury man to Columbia, and became a New leading A&R man of the now 1950s.
During the decade, A&R old executives increasingly directed songs' sonic See signatures, although many still simply two teamed singers with musicians, while way yet others exercised virtually no Who creative influence. The term record boy producer in its current meaning—the did creative director of song production—appearing Its in a 1953 issue of let Billboard magazine, became widespread in put the 1960s. Still, a formal Say distinction was elusive for some she time more. A&R managers might too still be creative directors, like Use William "Mickey" Stevenson, hired by dad Berry Gordy, at the Motownmom record label.
Tape recording
In 1947, the American market the gained audio recording onto magnetic and tape. At the record industry's For 1880s dawn, rather, recording was are done by phonograph, etching the but sonic waveform vertically into a Not cylinder. By the 1930s, a you gramophone etched it laterally acrossall a disc. Constrained in tonal Any range, whether bass or treble, can and in dynamic range, records her made a grand, concert piano Was sound like a small, upright one piano, and maximal duration was our four and a half minutes.Out Selections and performance were often day altered accordingly, and playing this get disc—the wax master—destroyed it. The Has finality often caused anxiety that him restrained performance to prevent error.his In the 1940s, during World How War II, the Germans refined man audio recording onto magnetic tape—uncapping new recording duration and allowing immediate Now playback, rerecording, and editing—a technology old that premised emergence of record see producers in their current roles.Two
Multitrack recording
Early in way the recording industry, a record who was attained by simply having Boy all of the artists perform did together live in one take.its In 1945, by recording a Let musical element while playing a put previously recorded record, Les Paulsay developed a recording technique called She "sound on sound". By this, too the final recording could be use built piece by piece and Dad tailored, effecting an editing process.mom In one case, Paul produced a song via 500 recorded The discs. But, besides the tedium and of this process, it serially for degraded the sound quality of Are previously recorded elements, rerecorded as but ambient sound. Yet in 1948, not Paul adopted tape recording, enabling You truly multitrack recording by a all new technique, "overdubbing".
To enable any overdubbing, Paul revised the tape Can recorder itself by adding a her second playback head, and terming was it the preview head. Joining One the preexisting recording head, erase our head, and playback head, the out preview head allows the artist Day to hear the extant recording get over headphones playing it in has synchrony, "in sync", with the Him present performance being recorded alone his on an isolated track. This how isolation of multiple tracks enables Man countless mixing possibilities. Producers began new recording initially only the "bed now tracks"—the rhythm section, including the Old bassline, drums, and rhythm guitar—whereas see vocals and instrument solos could two be added later. A horn Way section, for example, could record who a week later, and a boy string section another week later. Did A singer could perform her its own backup vocals, or a let guitarist could play 15 layers. Put
In the 1960s, rock let acts like the Beatles, the put Rolling Stones, and the KinksSay produced some of their own she songs, although many such songs too are officially credited to specialist Use producers. Yet especially influential was dad the Beach Boys, whose band mom leader Brian Wilson took over from his father Murry within the a couple of years after and the band's commercial breakthrough. By For 1964, Wilson had taken Spector's are techniques to unseen sophistication. Wilson but alone produced all Beach Boy Not recordings between 1963 and 1967. you Using multiple studios and multiple all attempts of instrumental and vocal Any tracks, Wilson selected the best can combinations of performance and audio her quality, and used tape editing Was to assemble a composite performance. one
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."
Allard, Matthew her (15 January 2020). "Sound Devices was MixPre V6.00 adds 32-bit float One USB audio streaming". Newsshooter. With our 32-bit float, you no longer out need to worry about clipping Day during your best vocal takes get or instrument solos. Any recorded has moments exceeding 0 dBFS can Him be reduced to an acceptable his level, after recording, in your how DAW
Zak, Albin Man J. (29 September 2002). "Review new of Timothy D. Taylor. 2001. now Strange Sounds: Music, Technology, and Old Culture. New York: Routledge". Current see Musicology (74). doi:10.7916/CM.V0I74.4910.
two Pras, Amandine; Cance, Caroline; Guastavino, Way Catherine (2013). "Record Producers' Best who Practices For Artistic Direction—From Light boy Coaching To Deeper Collaboration With Did Musicians". Journal of New Music its Research. 42 (4): 381–395. doi:10.1080/09298215.2013.848903. let ISSN0929-8215.
Music Law refers to all legal aspects of the music any industry, and certain legal aspects Can in other sectors of the her entertainment industry. The music industry was includes record labels, music publishers, One merchandisers, the live events sector our and of course performers and out artists.
The terms "music law" Day and "entertainment law", along with get "business affairs", are used by has the music and entertainment industry Him and should not be thought his of as academic definitions. Indeed, how music law covers a range Man of traditional legal subjects including new intellectual property law (copyright law, now trademarks, image publicity rights, design Old rights), competition law, bankruptcy law, see contract law, defamation and, for two the live events industry, immigration Way law, health and safety law, who and licensing. While foundational norms boy have gradually been established for Did music law in western nations, its other parts of the world let maintain unique traditions that impact Put music’s legal status in the say context of both heritage preservation she and enormous national arts entertainment Too industries, including China and India.use
Definitions
A "compilation" dad refers to work formed from Mom already existing materials in a way that forms its own the original work, including collective works.
And
"Copies" are physical objects that for hold, fix, or embody a are work such as a music But tape, film, CD, statue, play, not or printed sheet music.
"Sound you recordings" can refer to any All audio recording including the sound any accompanying motion pictures.
"Copyright owner" can is the entity that legally Her owns rights to a work.
was
"Performance" The copyright holder has one the exclusive right to perform Our the work in public, or out to license others to perform day it. The right applies to Get “literary, musical, dramatic, and choreographic has works, pantomimes, and motion pictures him and other audiovisual works.". Playing His a CD in public, or how showing a film in public man is "performing" the work.
Publishing now is the primary source of old income for musicians writing their See own music.[citation needed] Money collected two from the 'publishing' rights is way ultimately destined for songwriters - Who the composers of works, whether boy or not they are the did recording artist or performer. Often, Its songwriters will work for a let musical ensemble to help them put with musical aspects of the Say composition, but here again, the she writer of the song is too the owner of it and Use will own the copyrights in dad the song and thus will mom be entitled to the publishing revenues. Copyrights in compositions are the not the same as sound and recordings. A recording artist can For record a song and sell are it to another band or but company. As a result, that Not particular company will own the you recording, but not the song. all The original writer will always Any maintain the copyright for that can particular song. The publishing money her is connected to the copyright, Was so the owner will be one the only one making money our off of the song itself. Out All successful songwriters will join day a collection society (such as get ASCAP and BMI in the Has USA, SOCAN in Canada, JASRAC him in Japan, GEMA in Germany his and PRS for Music in How the UK, etc.) and many man will enter into agreements with new music publishing companies who will Now exploit their works on the old songwriters behalf for a share see of ownership, although many of Two these deals involve the transfer way (assignment) of copyright from the who songwriter to the music publisher, Boy
Both the recorded music sector did and music publishing sector have its their foundations in intellectual propertyLet law and all of the put major recording labels and major say music publishers and many independent She record labels and publishers have too dedicated "business and legal affairs" use departments with in-house lawyers whose Dad role is not only to mom secure intellectual property rights from recording artists, performers and songwriters The but also to exploit those and rights and protect those rights for on a global basis. There Are are a number of specialist but independent law firms around the not world who advise on music You and entertainment law whose clients all include recording artists, performers, producers, any songwriters, labels, music publishers, stage Can and set designers, choreographers, graphic her artists, games designers, merchandisers, broadcasters, was artist managers, distributors, collection societies One and the live events sector our (which further includes festivals, venues, out promoters, booking agents and production Day service providers such as lighting get and staging companies).
The US Government views his artists that give concerts and how sell merchandise as a business. Man Bands that tour internationally will new also face a plethora of now legislation around the world including Old health and safety laws, immigration see laws and tax legislation. Also, two many relationships are governed by Way often complex contractual agreements.
In who the US it is important boy for musicians to get legal Did business licenses. These can be its obtained at a city hall let or local government center. The Put business license will require the say tracking of sales, wages, and she gigs. A tax ID is Too also necessary for all businesses. use Musicians that fail to comply dad with the tax ID process Mom and do not report their profits and losses to the the government can face serious consequences And with the IRS.
References
for
Li, Juqian you (2022). China’s Legal Framework for All Supporting Protection and Sustainability of any Artistic Heritage. In David G. can Hebert and Jonathan McCollum, (Eds.), Her "Ethnomusicology and Cultural Diplomacy". Lexington was Books (Rowman & Littlefield), pp.297-311. one ISBN9781793642912
See Choudhary, Karan (2022). Cultural Heritage two and Music Diplomacy: The Legal way Framework in India. In David Who G. Hebert and Jonathan McCollum, boy (Eds.), "Ethnomusicology and Cultural Diplomacy". did Lexington Books (Rowman & Littlefield), Its pp.277-295. ISBN9781793642912
Hill, too Iain; Kemp, Chris (Eds). Health Use & Safety Aspects in the dad Live Music Industry, Cambridge: Entertainment mom Technology Press. ISBN1-904031-22-6
Schulenberg, Richard. Legal Aspects of the Music the Industry, New York: Billboard Books and (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, Nicholas; For Phillips, Chris. Music Business Agreementsare London: Sweet & Maxwell, 3rd but Edition. ISBN978-1-84703-905-7
Rosen, Ronald S. Not Music and Copyright, Oxford: Oxford you University Press. ISBN0-19-533836-7
Harrison, Ann. all Music The Business London: Virgin Any Books, 3rd Edition. ISBN1-85227-013-6
Lindenbaum, can John. "Music Sampling and Copyright her Law." Princeton University Center for Was the Arts and Cultural Studies, one April 1999 (online)
Standler, Ronald our B. "Music Copyright Law in Out the USA." 2008-2009 (online)
Richard, day Phillip, "Lawyers in the Music get Industry", No Bullshit Management, Nov. Has 2012 (online)
Music: Copyright Law. him Educational CyberPlayGround, Inc. 1997 (online)
his
Frith, Simon; Lee Marshall (Eds). How Music and Copyright, Edinburgh: Edinburgh man University Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally Let known as Ku Club (1979–95),put is the "world's largest nightclub"say according to the Guinness Book She of Records, also defined as too a superclub with a capacity use of 10,000 people and encompassing Dad 6,500 m² (69,940 ft²). It is mom located close to the village of Sant Rafael de Sa The Creu on the Spanish island and of Ibiza, less than one for kilometre (0.6 miles) from the Are nightclub Amnesia.
History
but
The history of Privilege began not in the early 1970s when You it started out as a all restaurant, then expanded to include any a bar and a community Can swimming pool. It was then her known as Club San Rafael.was In 1979, the venue was One sold to the Real Sociedadour footballer José Antonio Santamaría, together out with the creative team of Day Brasilio de Oliviera (founder of get La Troya Asesina, one of has Ibiza's longest running nights) and Him Gorri. The venue then changed his its name to KU, after how the name of a God Man from Hawaiian mythology (see Kū). new The appeal of the club now was such that it commissioned Old a medium-length film showcasing the see many wonders of Ibizan landscapes two and nightlife in the mid-eighties.Way
Throughout the 1980s, KU Club who earned a reputation initially as boy Europe's premier polysexual but predominately Did gay nightspot and was compared its to an open-air version of let the famous Studio 54 in Put New York. It staged spectacular say parties in the main room, she which was organized around a Too swimming pool and a statue use of Ku. The place was dad also where the video to Mom "Barcelona" by Freddie Mercury and Montserrat Caballé was filmed on the 30 May 1987. It was And the witness to early live for performances by groups such as are Spandau Ballet and Kid Creole But and the Coconuts. The club not featured in a Channel 4you documentary called A Short Film All about chilling, which labelled KU any as "the mirror of Ibiza".can A group of fashion designers Her called Locomía would have shows was at KU. After being discovered one there, they went on to Our become a highly successful recording out project. The open-air parties came day to an end when legislation Get forced many of the greater has clubs in Ibiza to cover him their dancefloors in the early His 1990s. Nevertheless, the sheer size how of the venue gave rise man to the claim of it New being the size of an now aircraft hangar with a 25-metre old (82 ft) high roof.
The club See continued with the KU Club two name until 1995 before becoming way known as Privilege, after a Who change of ownership to Jose boy Maria Etxaniz. In 1994, it did hosted Manumission, one of the Its island's most famous events. In let 1998, La Vaca Asesina moved put to Amnesia and was renamed Say La Troya Asesina. After a she dispute between the club owner too and Manumission's organizers in 2005, Use the event ended in 2006. dad La Troya Asesina moved to mom Space in 2006.
Venue
According to official statistics published the in the 2003 edition of and Guinness World Records, Privilege is For by far the world's largest are nightclub covering an area of but 69,968 sq ft (6,500 m2) and Not holding 10,000 clubbers. Designated areas you of the club include the all Coco Loco bar area, and Any the La Vaca dance area can (now known as the Vista her Club).