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cts and collaborates with a mixing engineer who focuses on the especially technological aspects of the recording process namely operating the electronic equipment and blending the raw recorded tracks of the chosen performances whether vocal or instrumental into a mix either stereo or surround sound then a mastering engineer further adjusts this recording for distribution on the chosen media a producer may work on only one or two songs or on an artist s entire album helping develop the album s overall vision the record producers may also take on the role of executive producer managing the budget schedules contracts and negotiations historical developments edit a r team edit artists and repertoires in the 1880s the record industry began by simply having the artist perform at a phonograph 14 in 1924 the trade journal talking machine world covering the phonograph and record industries reported that eddie king victor records manager of the new york artist and repertoire department had planned a set of recordings in los angeles later folklorist archie green called this perhaps the earliest printed use of a r man actually it says neither a r man nor even a r an initialism perhaps coined by billboard magazine in 1946 and entering wide use in the late 1940s 15 in the 1920s and 1930s a r executives like ben selvin at columbia records nathaniel shilkret at victor records and bob haring at brunswick records became the precursors of record producers supervising recording and often leading session orchestras 6 during the 1940s major record labels increasingly opened official a r departments whose roles included supervision of recording 15 meanwhile independent recording studios opened helping originate record producer as a specialty citation needed but despite a tradition of some a r men writing music record production still referred to just the manufacturing of record discs 6 record producers edit after world war ii pioneering a r managers who transitioned influentially to record production as now understood while sometimes owning independent labels include j mayo williams and john hammond upon moving from columbia records to mercury records hammond appointed mitch miller to lead mercury s popular recordings in new york miller then produced country pop crossover hits by patti page and by frankie laine moved from mercury to columbia and became a leading a r man of the 1950s 6 during the decade a r executives increasingly directed songs sonic signatures although many still simply teamed singers with musicians while yet others exercised virtually no creative influence the term record producer in its current meaning the creative director of song production appearing in a 1953 issue of billboard magazine became widespread in the 1960s still a formal distinction was elusive for some time more 6 a r managers might still be creative directors like william mickey stevenson hired by berry gordy at the motown record label 16 tape recording edit in 1947 the american market gained audio recording onto magnetic tape 17 at the record industry s 1880s dawn rather recording was done by phonograph etching the sonic waveform vertically into a cylinder 18 by the 1930s a gramophone etched it laterally across a disc 19 constrained in tonal range whether bass or treble and in dynamic range records made a grand concert piano sound like a small upright piano and maximal duration was four and a half minutes 14 19 selections and performance were often altered accordingly and playing this disc the wax master destroyed it the finality often caused anxiety that restrained performance to prevent error in the 1940s during world war ii the germans refined audio recording onto magnetic tape uncapping recording duration and allowing immediate playback rerecording and editing a technology that premised emergence of record producers in their current roles 19 multitrack recording edit early in the recording industry a record was attained by simply having all of the artists perform together live in one take 18 in 1945 7 by recording a musical element while playing a previously recorded record les paul developed a recording technique called sound on sound by this the final recording could be built piece by piece and tailored effecting an editing process in one case paul produced a song via 500 recorded discs but besides the tedium of this process it serially degraded the sound quality of previously recorded elements rerecorded as ambient sound yet in 1948 paul adopted tape recording enabling true multitrack recording by a new technique overdubbing 18 to enable overdubbing paul revised the tape recorder itself by adding a second playback head and terming it the preview head joining the preexisting recording head erase head and playback head the preview head allows the artist to hear the extant recording over headphones playing it in synchrony in sync with the present performance being recorded alone on an isolated track 7 this isolation of multiple tracks enables countless mixing possibilities producers began recording initially only the bed tracks the rhythm section including the bassline drums and rhythm guitar whereas vocals and instrument solos could be added later a horn section for example could record a week later and a string section another week later a singer could perform her own backup vocals or a guitarist could play 15 layers electronic instruments edit phil spector producing modern folk quartet 1966 across the 1960s popular music increasingly switched from acoustic instruments like piano upright bass acoustic guitar and brass instruments to electronic instruments like electric guitars keyboards and synthesizers employing instrument amplifiers and speakers these could mimic acoustic instruments or create utterly new sounds soon by combining the capabilities of tape multitrack recording and electronic instruments producers like phil spector george martin and joe meek rendered sounds unattainable live 8 similarly in jazz fusion teo macero producing miles davis s 1970 album bitches brew spliced sections of extensive improvisation sessions performer producer edit this section needs more citations please help improve this section by adding citations to reliable sources unsourced material may be challenged and removed july 2025 learn how and when to remove this message brian wilson during a recording session 1966 in the 1960s rock acts like the beatles the rolling stones and the kinks produced some of their own songs 20 although many such songs are officially credited to specialist producers yet especially influential was the beach boys whose band leader brian wilson took over from his father murry within a couple of years after the band s commercial breakthrough by 1964 wilson had taken spector s techniques to unseen sophistication wilson alone produced all beach boys recordings between 1963 and 1967 using multiple studios and multiple attempts of instrumental and vocal tracks wilson selected the best combinations of performance and audio quality and used tape editing to assemble a composite performance digital production edit this section needs more citations please help improve this section by adding citations to reliable sources unsourced material may be challenged and removed july 2025 learn how and when to remove this message the 1980s advent of digital processes and formats rapidly replaced analog processes and formats namely tape and vinyl although recording onto quality tape at least half an inch wide and traveling 15 inches per second had limited tape hiss to silent sections digital s higher signal to noise ratio snr abolished it digital also imparted to the music a perceived pristine sound quality if also a loss of analog recordings perceived warm quality and better rounded bass 21 yet whereas editing tape media requires physically locating the target audio on the ribbon cutting there and splicing pieces editing digital media offers inarguable advantages in ease efficiency and possibilities in the 1990s digital production reached affordable home computers via production software by now recording and mixing are often centralized in daws digital audio workstations for example pro tools logic pro ableton cubase reason and fl studio for which plugins by third parties effect virtual studio technology 9 daws fairly standard in the industry are logic pro and pro tools 10 physical devices involved include the main mixer midi controllers to communicate among equipment the recording device itself and perhaps effects gear that is outboard yet literal recording is sometimes still analog onto tape whereupon the raw recording is converted to a digital signal for processing and editing as some producers still find audio advantages to recording onto tape 21 conventionally tape is more forgiving of overmodulation whereby dynamic peaks exceed the maximal recordable signal level tape s limitation a physical property is magnetic capacity which tapers off smoothing the overmodulated waveform even at a signal nearly 15 decibels too hot whereas a digital recording is ruined by harsh distortion of clipping at any overshoot 21 in digital recording however a recent advancement 32 bit float enables daws to undo clipping 22 still some criticize digital instruments and workflows for excess automation allegedly impairing creative or sonic control 23 in any case as production technology has drastically changed so have the knowledge demands 24 although daws enables novices even teenagers at home to learn production independently 11 some have attained professional competence before ever working with an artist 12 women in producing edit mixing console among female record producers sylvia moy was the first at motown gail davies the first on nashville s music row and ethel gabriel with rca the first at a major record label lillian mcmurry owning trumpet records produced influential blues records meanwhile wilma cozart fine produced hundreds of records for mercury records classical division for classical production three women have won grammy awards and judith sherman s 2015 win was her fifth 12 yet in nonclassical no woman has won producer of the year awarded since 1975 and only one even nominated for a record not her own linda perry after lauren christy s 2004 nomination linda perry s 2019 nomination was the next for a woman 25 on why no woman had ever won it perry commented i just don t think there are that many women interested 12 in the u k lynsey de paul was an early female record producer having produced both of her ivor novello award winning songs citation needed across the decades many female artists have produced their own music for instance artists kate bush madonna mariah carey shakira janet jackson beyoncé even that of destiny s child and the carters lana del rey taylor swift and lorde have produced or coproduced 11 26 and ariana grande who produces and arranges her vocals as well as being an audio engineer 27 28 29 still among specialists despite some prominent women including missy elliott in hip hop and sylvia massy in rock the vast majority have been men 11 early in the 2010s asked for insights that she herself had gleaned as a woman who has specialized successfully in the industry wendy page remarked the difficulties are usually very short lived once people realize that you can do your job sexism tends to lower its ugly head 11 still when tasked to explain her profession s sex disparity page partly reasoned that record labels dominated by men have been she said mistrustful of giving a woman the reins of an immense creative project like making a record 11 ultimately the reasons are multiple and not fully clear although prominently proposed factors include types of sexism and scarcity of female role models in the profession 12 in january 2018 a research team led by stacy l smith founder and director of the annenberg inclusion initiative 30 based in the usc annenberg school for communication and journalism 31 issued a report 32 estimating that in the prior several years about 2 of popular songs producers were female 13 also that month billboard magazine queried where are all the female music producers 12 upon the annenberg inclusion initiative s second annual report released in february 2019 33 its department at usc reported 2018 saw an outcry from artists executives and other music industry professionals over the lack of women in music and the plight of women in music where women were allegedly being stereotyped sexualized and shut out 31 also in february 2019 the recording academy s task force on diversity and inclusion announced an initiative whereby over 200 artists and producers ranging from cardi b and taylor swift to maroon 5 and quincy jones agreed to consider at least two women for each producer or engineer position 13 the academy s website grammy com announced this initiative is the first step in a broader effort to improve those numbers and increase diversity and inclusion for all in the music industry 13 see also edit record production portal business and economics portal music portal audio engineering electronic music hip hop production music executive musician references edit 1 2 3 moorefield v 2010 introduction the producer as composer shaping the sounds of popular music mit press p 13 isbn 978 0 262 26101 2 1 2 3 burgess 2014 p 13 1 2 3 4 5 6 7 watson a 2014 cultural production in and beyond the recording studio routledge studies in human geography taylor francis p 25 isbn 978 1 135 00631 0 music production what does a music producer do recording connection 23 june 2022 what does a music producer do anyway production advice 26 february 2009 1 2 3 4 5 ward huber 2018 p 300 1 2 3 hurtig b multi track recording for musicians alfred music publishing p 8 isbn 978 1 4574 2484 7 1 2 kot greg 10 march 2016 what does a record producer do bbc home 1 2 kadis jay 2006 2013 digital audio workstations pdf center for computer research in music and acoustics stanford university retrieved 11 september 2020 1 2 joseph kiesha 11 february 2016 audio recording software avid pro tools vs apple log pro x f i r s t institute archived from the original on 11 august 2018 1 2 3 4 5 6 7 burgess 2013 p 199 1 2 3 4 5 6 newman melinda 19 january 2018 where are all the female music producers billboard 1 2 3 4 hertweck nate 1 february 2019 recording academy task force on diversity and inclusion announces initiative to expand opportunities for female producers and engineers grammy com 1 2 thompson clive 6 january 2016 how the phonograph changed music forever smithsonian magazine 1 2 ward huber 2018 p 41 ward huber 2018 p 283 curtis jim 1987 rock eras interpretation of music society 1954 1984 bowling green oh bowling green state university popular press p 43 isbn 978 0 87972 369 9 1 2 3 burgess 2014 p 50 1 2 3 philip robert 1998 pianists on record in the early twentieth century in rowland d ed the cambridge companion to the piano cambridge companions to music 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