A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Exile is the third full-length studio album by Australian rock band After the Fall, released through Roadrunner Records on 28 August 2009. The album was produced and mixed by Richard Stolz. In 2008, the band gave fans the opportunity to hear numerous demos from the album through their MySpace blog whilst they were recording. After releasing their albums through major record labels, the band decided to release independently, they moved from Festival Mushroom to release their first album on Roadrunner Records. It was recorded at multiple locations, including a country house in Victoria, Sing Sing Studios, Pete's Ranch, 301 and Paradise. "Break Me" was the first song released, made available through the band's website for free download in 2008. The band opted to not release the song through traditional methods; the first single from the album was "Digital Age", released to the iTunes Store on 12 June 2009. A limited edition was released through JB Hi-Fi featuring two bonus tracks: "All Together Now" and "Home".
The band played two shows prior to the album's release in July 2009, one each in Melbourne and Sydney. They are scheduled to undertake a national tour alongside Calling All Cars in support of the album. "Digital Age" – 3:05 "Scotland Yard" – 3:00 "Desire" – 3:16 "Break Me" – 2:53 "In the End" – 3:31 "Born" – 3:21 "A Feather Afloat" – 3:51 "The Big Exit" – 4:29 "Lullaby" – 3:42 "Pressure" – 3:34 "1969" – 3:43 "All Together Now" – 3:09 "Home" – 3:14 General Specific
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt
Heat is the soundtrack album to the 1995 film Heat. The score is compiled with Elliot Goldenthal's orchestrations although there are a variety of other artists featured including U2/Brian Eno project Passengers, Lisa Gerrard and Terje Rypdal; the track "New Dawn Fades" is only a part of the whole song that fades into the next track and the track "God Moving Over the Face of the Waters" is different from the version used in the film, the version on the score is from Moby's album Everything Is Wrong and the version in the film appears on his 1997 album I Like to Score. The Einstürzende Neubauten track "Armenia" was taken from their 1983 album Zeichnungen des Patienten O. T. and was used by Michael Mann again in his 1999 film The Insider. Goldenthal composed a cue called "Hand in Hand" meant to be played over the end scene, but it was replaced by Moby's "God Moving Over the Face of the Waters", so he used it, replacing guitars with bagpipes, instead for the end titles to Michael Collins. A clip of the track as it was meant to be heard in Heat can be heard below.
There is an "extended version" of the score in bootleg form, with several tracks which can be heard in the film but are not on the score released, available on the internet. Various tracks that were in some points of the film but did not make it to the soundtrack included pieces by William Orbit from his Strange Cargo albums, namely "The Last Lagoon," "Monkey King," and "The Mighty Limpopo." Goldenthal explained his thinking behind the score: In Heat, Michael Mann and I were going for an atmospheric situation. It was the first time I used what I like to call a "guitar orchestra" - where I use six or eight guitars, all playing with different tunings stacked up on top of each other in a musical way, a mixed meter of percussion, it wasn't a type of score where you needed a big orchestral theme or you had to hit certain actions with music at specific times. It was much closer to the European mentality of film scoring; the guitar orchestra, who play most on two of the tracks below, is called "Deaf Elk" who worked with Goldenthal for his scores, In Dreams and Titus.
The song "Always Forever Now" was written and performed by U2 and Brian Eno under the alias Passengers, appears on Original Soundtracks 1. But the version featured on this soundtrack, quite prominently in the film, is a longer mix with some minor variations. Composer, Orchestration - Elliot Goldenthal Orchestration - Robert Elhai Musical Score Producer - Matthias Gohl Conductor - Steven Mercurio Conductor - Jonathan Sheffer "Deaf Elk" Guitars - Page Hamilton, Eric Hubel, Bobby Hambel, David Reid Guitar - Michael Thompson Guitar - Mark Stewart Drums - Audun Kleive Performer - The Kronos Quartet Electronic Music Producer - Richard Martinez Engineer, Mixing - Joel Iwataki Music Editor - Christopher Brooks Music Editor - Michael Connell Music Editor, Mastering - Tom Baker Mastering - Vladimir Meller Assistant Engineer - Andrew Warwick Score Mixer & Recordist - Stephen McLaughlin "Always Forever Now" Performer - Passengers Engineer - Danton Supple Assistant Engineer - Rob Kirwan Sequencing - Des Broadbery String Arrangements - Paul Barrett Music Supervisor - Budd Carr"Last Nite", "Mystery Man" Guitar, Performer - Terje Rypdal Performer - The Chasers Bass - Bjorn Kjellemyr Keyboards - Allan Dangerfield Producer - Manfred Eicher"Ultramarine" Producer, Performer - Michael Brook"Armenia" Producer, Performer - Einstürzende Neubauten"New Dawn Fades", "God Moving Over The Face Of The Waters" Producer, Writer - Moby Writer "New Dawn Fades" - Joy Division"Force Marker" Producer, Performer - Brian Eno"La Bas", "Gloradin" Producer, Performer - Lisa Gerrard Executive Producer - Michael Mann Executive in Charge of Music - Gary LeMel Assistant Music Supervisor - Amy Dunn Orchestra Contractor - Debbie Datz-Pyle, Patty Zimmitti Heat - Music From The Motion Picture at Discogs Page for the score on Goldenthal's website
After the Fall (band)
After the Fall are an Australian rock band from the Central Coast of New South Wales, formed in 2000. The band consists of vocalist Benjamin Windsor, drummer Andrew Atkins, bassist Matthew Gore and guitarist Mark Edward Warner. Forming in 2000 on the Central Coast of New South Wales, After the Fall drew influences from Australian icons like Midnight Oil and AC/DC, their debut extended play As Far As Thoughts Can Reach was released in 2003, with the song "Three Quarter Binding" receiving airplay on Triple J. They established a following through tours with the likes of AFI, Dashboard Confessional and 28 Days, their debut studio album, After the Fall, was recorded in 2003 in the band's own rehearsal space. It was produced by Richard Stolz, who had worked with the likes of 28 Days; the single "Mirror Mirror" was high up in the Triple J Net 50 for a period of time following good airplay. Their second album, Always Forever Now, was recorded in March 2005 with Stolz again. Vocalist Ben Windsor said the band were not prepared when commencing studio work for the album.
I had lyrics to finish and we weren’t a 100% on what tracks we were going to lay down... We need to be pushed, that’s what happened." The album peaked at number 23 on the ARIA Charts, boosted by the single "Concrete Boots". After the Fall have released four videos from their two albums: "Mirror Mirror" from their 2004 effort, After the Fall, "Concrete Boots", "The Fighter", "Outta Mind" from Always Forever Now. "The Fighter" appeared in several Australian television advertisements, including one for popular primetime show Smallville. After the Fall have played at festivals such as Homebake, The Falls, Splendour in the Grass and Come Together Music Festival. In March 2005, the band traveled to the USA to play at the SXSW Festival in Texas, they toured, as a supporting act, around Australia with British band The Darkness in April 2006. In mid-2006 guitarist Christopher Butcherine left the band. Butcherine appeared on both the band's self-titled album, second album Always Forever Now and debut EP As Far As Thoughts Can Reach.
From 25 October to 5 November 2006, After the Fall performed on the Coca-Cola Live'N Local Tour encompassing all major Australian cities. They played alongside other Australasian acts Evermore, The Veronicas, End of Fashion and The Hot Lies, they performed on Triple J's Like a Version in March 2007, performing a cover of Billy Joel's "Only the Good Die Young" as well as a new song "All It Takes", rumoured to be featured on their next album. The band performed live on Channel Ten's show Rove. In 2008, After the Fall's track "Cut Your Losses" was put in rotation on Triple J radio; the song is on a compilation album called Turning the Tide. After releasing their albums through major record labels, the band decided to release independently, they recorded a third studio album in 2008, selecting a few locations including a country house in Victoria to record it. "Break Me" was released as a free download from the band's website and was not sold in traditional formats. The album was entitled Exile and released through Roadrunner Records on 28 August 2009.
It was produced by Richard Stolz. 2004: After the Fall 2005: Always Forever Now - AUS No. 23 2009: Exile 2012: Bittersweet As Far As Thoughts Can Reach After the Fall's Official Website After the Fall discography at MusicBrainz