Recording producers or a track producer or a music producer oversee and manage sound recordings and band production or player music, which can range from recording a song to a recording long concept album. A producer has many roles during the recording process. The role of a producer is different. They can collect musical ideas for projects, collaborate with artists to choose original cover songs or songs by artists/groups, work with artists and help them to improve their songs, lyrics or arrangements.
The producer can also:
- Select a musician session to play the accompaniment section of the accompaniment or solo
- Shared together.
- Propose changes to song settings, and
- Train the singers and musicians in the studio
Producers usually oversee the entire process from preproduction, to sound recording and mixing stages, and, in some cases, to the mastery of audio. Producers can perform this role themselves, or help select engineers, and advise engineers. Producers can also pay for session musicians and engineers and ensure that the entire project is completed within the recording company's budget.
Video Record producer
Function
Recording producers or music producers have a very broad role in overseeing and managing the recording and production of band or player music. Producers have many roles that may include, but are not limited to, collecting ideas for projects, composing music for projects, selecting songs or musician sessions, suggesting changes to track arrangements, training artists and musicians in the studio, controlling recording sessions, and overseeing the entire process through mixing audio (music recording) and, in some cases, to the audio mastery stage. Manufacturers also often take on a broader entrepreneurial role, with responsibilities for budgets, schedules, contracts, and negotiations. In 2010, the recording industry has two different types of producers: executive producer and music producer . Executive producers oversee project finance while music producers oversee the creative process for recording songs or albums.
In many cases, the music producer is also a competent arranger, composer, musician, or songwriter who can bring new ideas to a project. As well as making adjustments to songwriting and setting, producers often choose or advise mixing engineers, who take track recordings and raw edits and modify them with hardware and software and create a "stereo" or surround sound mix of all individual sounds and instrument, which in turn is given further adjustment by the master engineer. Producers will also work with recording engineers who concentrate on the technical aspects of recording, while executive producers oversee the marketing of the project as a whole.
Producer Phil Ek describes his role as "the person who creatively guides or directs the recording process," like a movie director. Indeed, in Bollywood music, the title is the music director. The job of music producers is to create, shape, and shape music. The scope of responsibility can be one or two songs or an entire album of artists - in this case the producer will usually develop an overall vision for the album and how the various songs can be interconnected.
Maps Record producer
History
At the beginning of the recording industry, the role of the producer was technically limited to record, in one shot, the artist performing live.
The role of producers changed progressively during the 1950s and 1960s due to technological developments. The development of multitrack recordings led to major changes in the recording process. Before multitracking, all elements of a song (main vocals, backup vocals, rhythm instrument accompaniment, solos and orchestral parts) should be performed simultaneously. All these singers and musicians have to be assembled in a large studio and the show should be recorded. With multitrack recording, "sleep tracks" (part rhythm companion parts such as bassline, drums, and rhythm guitar can be recorded first, and then vocals and solos can be added later, using as much "take" (or effort) In addition, for songs that use 20 instruments, no more need to get all the players in the studio at the same time.The pop bands can record their supporting songs one week, and then the horn part can be Brought in a week later to add horn and hit shots, and then the string part can be brought in a week after that.
While this facilitates the recording process and allows multiple retrieval, multitrack recording has a profound effect on music production that allows producers and audio engineers to create new sounds that are impossible to do in ordering live performance styles. Examples include the psychedelic rock sound effects of the 1960s, for example playing back the sound of recorded instruments in reverse altering the recording to produce a unique sound effect. During the same period, popular musical instruments began to shift from traditional musical acoustic instruments (piano, upright bass bass, acoustic guitar) to electric pianos, electronic organs, synthesizers, electric basses and electric guitars. These new instruments are electric or electronic, and thus they use instrument amplifiers and speaker enclosures (speaker cabinets) to create sound.
Electrical and electronic instruments and amplifiers allow players and producers to change the tone and sound of the instrument to produce unique electrical noises that are impossible to achieve with acoustic instruments and live performances, such as making the singer perform his own backup vocals or having a guitarist playing 15 layers of backing parts for his own solo.
New technologies such as multitracking change the purpose of recording: A producer can unite multiple captures and edit together different parts to create the desired sound. For example, in the Bandleader fusion album-jazz composer Miles Davis, Bitches Brew, producers cut and edited sections together from an extensive improvisation session.
Producers like Phil Spector and George Martin soon made a recording that, in practical terms, is almost impossible to realize in live performances. Producers became creative figures in the studio. Other examples of such engineers include Joe Meek, Teo Macero, Brian Wilson, and Biddu.
Another related phenomenon in the 1960s was the rise of producer-players. As pop acts such as The Beatles, The Rolling Stones, The Beach Boys and The Kinks gained expertise in studio recording techniques, many of these groups eventually took over as producers (often not reputable) of their own work. Many recordings by acts such as The Rolling Stones, The Kinks and The Who were officially credited to their various producers at the time, but a number of these players have stated that many of their recordings during this period, either fully self-produced. (eg Decca Rolling Stones 'recordings) or collaborations between groups and their recording engineers (eg The Small Faces' Live Recordings, made with Olympic Studios engineer Glyn Johns).
The Beach Boys is probably the best example of the artist trend being a producer - in two years of commercial breakthroughs of the band, group leader Brian Wilson has taken over from his father, Murry, and he is the sole producer of all their recordings between 1963 and 1967. Along with The Beatles and Martin, Wilson also pioneered many production innovations - in 1964 he has developed Spector techniques to a new level of sophistication, using multiple studios and some instrumental and vocal parts "capture" to capture the best combination of sound and performance, and then use extensive ribbon editing to collect the perfect composite performance of these elements.
At the end of the 20th century, digital recording and production tools, the wide availability of relatively affordable computers with music software made music production more accessible.
Tools and technology
There are many technologies used by record manufacturers. In modern recording, recording and mixing tasks are typically centered inside a computer using digital audio workstations like Pro Tools, Logic Pro, Ableton, Cubase, and FL Studio, all of which are often used with third-party virtual studio technology plugins. Logic Pro and Pro Tools are considered as industry standard DAW. However, there is also a main mixer, tooth paste effect, MIDI controller, and the tape recorder itself.
While most music production is done using sophisticated software, some musicians and producers prefer little things from older analog technology. Professor Albin Zak claims that increased automation of both newer processes and newer instruments reduces the level of control and manipulation available to musicians and producers.
Studio app
Production has changed drastically over the years with technological advances. When producers' roles have changed, they are always seen as the jack of all trades, because their task requires extensive knowledge of the recording process.
Tracking
Tracking is the act of recording audio to DAW (digital audio workstation) or in some cases to tape. Although digital technology has largely replaced the use of the band in the studio, "track" the longer term is still used in the 2010s. Audio tracking is primarily the role of audio engineers. Producers working side by side with the artists when they play or sing their parts and train them on how to do it and how to get the best technical accuracy (eg, intonation). In some cases, the producer will even sing backing vocals or playing instruments.
Postproduction
See also
- Audio techniques
- Electronic music
- Hip-hop production
- Music executive
- Musicians
Note
References
Further reading
- Gibson, David and Maestro Curtis. "The Art of Producing". 1. Ed. UNITED STATES OF AMERICA. ArtistPro Publishing, 2004. ISBNÃ, 1-931140-44-8
- Burgess, Richard James. Art of Music Production . Ed 4th. UK. Music Sales, 2005. ISBNÃ, 1-84449-431-4
- Edmondson, Jacqueline, ed. (2013). Music in American Life: Encyclopedia of Song, Style, Stars, and Stories That Shape Budaya Kita . ABC-CLIO. ISBN 978-0-313-39348-8.
- Hewitt, Michael. Music Theory for Computer Musicians . Ed 1. UNITED STATES. Cengage Learning, 2008. ISBNÃ, 1598635034
- Gronow, Pekka and Ilpo Saunio (1998). International Recording Industry History . Quoted in Moorefield (2005).
- Moorefield, Virgil (2005). Producer as Composer: Shaped Popular Music Sound .
- Olsen, Eric et al. (1999). The Encyclopedia of Record Producers. ISBN: 978-0-8230-7607-9
- Zak, Albin. The Poetics of Rock: Tracing the Trail, Making Notes. Berkeley: University of California Press, 2001.
Source of the article : Wikipedia
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