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
Alone in My Room (Ami Suzuki song)
"Alone in My Room" is a song by Ami Suzuki, released as her second single in September 1998. "Alone in My Room", like Ami's first single, "Love the Island", was used by the Japanese Government to promote winter tourism on the island of Guam. The song was used multiple times as the opening theme of ASAYAN, a television show; the complete single, including all its tracks, were creations of Ami's music mastermind in the Sony days, Tetsuya Komuro. Two of the remixes bear the initials T. K. because of this. The single was the first one released by Ami in Maxi Single format, including more than three songs on it. Following her blacklisting from the music industry in September 2000, production and distribution of the single stopped in its entirety. Alone in My Room Love the Island Alone in My Room Alone in My Room Oricon Sales Chart Ami Suzuki on Last.fm
Ami Suzuki is a Japanese recording artist, DJ, actress from Zama, Japan. Having been discovered at the talent TV show Asayan, she was one of the most popular female teen idol in the late 1990s. However, in 2000, Suzuki faced legal problems with her management company resulting in a controversial blacklisting from the entertainment industry. Suzuki attempted to resurrect her career under her own steam with two indie singles before signing to Avex Trax in 2005, she released "Delightful", a dance song that reached No. 3 on the Japanese Oricon charts with a style similar to electronic club music different from her pop idol days. Since her appearance in the 2006 film Rainbow Song, Suzuki has made a name for herself in the acting field, starring in various movies, television series, musicals. While attending high school, Ami auditioned for Japanese talent show Asayan, searching for a young vocalist under the direct guidance of Tetsuya Komuro, she preferred athletics to auditions and was reluctant to travel from her home in Kanagawa, but was convinced by a school friend.
The TV contest became popular and the number of viewers watching it grew and grew as the series progressed. From 13,500 contestants, only five girls were chosen to be in the final round, 15-year-old Suzuki won the competition supported by 802,157 phone calls from the audience, she explained her win as being down to her showing her natural-self, as opposed to rehearsing intensely like other contestants. Sony Music signed her to the label, producer Tetsuya Komuro sponsored her career producing all of her material, together with other members of the Komuro Family, such as Marc Panther, Cozy Cubo and Takahiro Maeda, her debut single, "Love the Island", was released on 1 July 1998. The song was used to promote Japanese tourism in the island of Guam, with Suzuki herself starring in the TV commercials; the song was well promoted, with Ami appearing on covers of magazines like Young Jump and traveling to Guam to promote the song live on the local version of the international music channel MTV. The single became a hit.
On 17 September 1998, her second "Alone in My Room" was released. This song was used for Guam tourism campaigns, did well on the charts, debuting at number three on Oricon and selling better than its predecessor. In October 1998, Suzuki started her own radio show on Nippon Hōsō called Run! Run! Ami-Go!, which topped the radio rankings in popularity. She signed a deal with the Japanese product Kissmark for advertisements and promotion all around Asia. Sony began promoting her third single, "All Night Long"; the dance song was featured at the most famous discothèque of Japan at that time and was a big hit. It debuted at number 2 on the Oricon charts; that year, Ami Suzuki won various awards including the Japan Record Award for Best New Artist. In 1999, Suzuki released titled Ami-Go, which sold around 200,000 copies. In March, her debut album SA was released, becoming one of the Top 10 best selling albums of 1999. At the release of her seventh single "Be Together", Ami competed with "rival" Ayumi Hamasaki for the first time for the top position in the charts.
Ayumi released her ninth single, "Girls", on the same day. Ami went to the top position on the Oricon charts for the first time. However, "Boys & Girls" would go on to become a number one single itself and outsell "Be Together", her next single, titled "Our Days" ranked number one in the charts that year. At the end of the year, Ami released her eighth and last single in 1999 entitled "Happy New Millennium", which debuted at number 2 and sold 364,000 copies, becoming Suzuki's second lowest single in 1999. In January 2000, Suzuki released "Don't Need to Say Good Bye" which debuted at number 5. A week Suzuki released her second studio album, Infinity Eighteen Vol. 1, which sold 1,063,000 copies and debuted at number one. Suzuki has said of this first period of her career that she was not free to do what she wanted and only followed what she was told, leaving her feeling "pretty disheartened and down, like there was no future.". Suzuki had been passing them to her manager and producers; the first song to feature them, with the help of Mitsuko and Tetsuya Komuro, was her tenth Sony single, "Don't Need to Say Good Bye".
The lyrics were influenced by events occurring in her personal life at that time her upcoming high school graduation and she has said: "it was more important to me than sales and chart rankings to know that I had put my thoughts and feelings into what I was singing." Three months after Infinity Eighteen Vol.1, Suzuki released her twelfth single, "Thank You 4 Every Day Every Body" in the beginning of April and third studio album, Infinity Eighteen Vol.2 at the end of April. "Thank You 4 Every Day Every Body" sold a total of 234,000 copies reaching number one and Infinity Eighteen Vol.2 sold a total of 427,000 copies reaching number two. "Reality/Dancin' in Hip-Hop" was Suzuki's 12th single released under the Sony Music Japan label, on 27 September 2000. It sold a total of 211,000 copies. A compilation album of Suzuki's tracks, Fun for Fan, was released on 30 May 2001, it reached number 1 on the Oricon charts, despite the fact that by this point, Suzuki herself had vanished from the public eye and Sony had taken all of her previous singles and albums off CD shelves.
In 2000 Suzuki's career came to an abrupt halt when Eiji Yamada, the Presid
Ami Selection is the second compilation album by Japanese recording artist Ami Suzuki, her first released on the Avex label. It was released on December 7, 2011. Despite being Ami's first greatest hits album on Avex, more than a half of the album consists of songs from the time when she was with Sony Music. For this album a total of 8 songs from Ami's Sony era were re-recorded with new vocals, including her debut single "Love the Island", her first number one single, "Be Together"; the newly recorded version of "Love the Island" was released on digital format, on July 27, 2011. Singles that enjoyed moderate success, such as "Eventful", "Fantastic", "Like a Love?" or "One" didn't make to the final track listing. The limited edition version comes with a DVD that includes music videos and some songs that were performed live at the 29th Anniversary Live; the day it was released, the album peaked at nº 18 on the Oricon Daily charts. After the first week on sale the album reached nº 43 on the Oricon Weekly charts, selling 3,127 copies.
Ami Suzuki - vocals
J-pop, natively known as pops, is a musical genre that entered the musical mainstream of Japan in the 1990s. Modern J-pop has its roots in traditional Japanese music, but in 1960s pop and rock music, such as The Beatles and The Beach Boys, which led to Japanese rock bands such as Happy End fusing rock with Japanese music in the early 1970s. J-pop was further defined by new wave groups in the late 1970s electronic synth-pop band Yellow Magic Orchestra and pop rock band Southern All Stars. J-pop replaced kayōkyoku in the Japanese music scene; the term was coined by the Japanese media to distinguish Japanese music from foreign music and now refers to most Japanese popular music. Popular styles of Japanese pop music included technopop during the 1970s–1980s, city pop in the 1980s, Shibuya-kei in the 1990s; the origin of modern J-pop is said to be Japanese-language rock music inspired by the likes of The Beatles. Unlike the Japanese music genre called kayōkyoku, J-pop uses a special kind of pronunciation, similar to that of English.
One notable singer to do so is Keisuke Kuwata. Additionally, unlike Western music, the major second was not used in Japanese music, except art music, before rock music became popular in Japan; when the Group Sounds genre, inspired by Western rock, became popular, Japanese pop music adopted the major second, used in the final sounds of The Beatles' song "I Want to Hold Your Hand" and The Rolling Stones' song " Satisfaction". Although Japanese pop music changed from music based on Japanese pentatonic scale and distortional tetrachord to the more occidental music over time, music that drew from the traditional Japanese singing style remained popular. At first, the term J-pop was used only for Western-style musicians in Japan, such as Pizzicato Five and Flipper's Guitar, just after Japanese radio station J-Wave was established. On the other hand, Mitsuhiro Hidaka of AAA from Avex Trax said that J-pop was derived from the Eurobeat genre. However, the term became a blanket term, covering other music genres—such as the majority of Japanese rock music of the 1990s.
In 1990, the Japanese subsidiary of Tower Records defined J-pop as all Japanese music belonging to the Recording Industry Association of Japan except Japanese independent music. Ito Music City, a Japanese record store, adopted expanded classifications including Group Sounds, idol of the 1970s–1980s, enka and established musicians of the 1970s–1980s, in addition to the main J-pop genres. Whereas rock musicians in Japan hate the term "pop", Taro Kato, a member of pop punk band Beat Crusaders, pointed out that the encoded pop music, like pop art, was catchier than "J-pop" and he said that J-pop was the pops music, memorable for its frequency of airplay, in an interview when the band completed their first full-length studio album under a major label, P. O. A.: Pop on Arrival, in 2005. Because the band did not want to perform J-pop music, their album featured the 1980s Pop of MTV. According to his fellow band member Toru Hidaka, the 1990s music that influenced him was not listened to by fans of other music in Japan at that time.
In contrast to this, although many Japanese rock musicians until the late 1980s disrespected the kayōkyoku music, many of Japanese rock bands of the 1990s—such as Glay—assimilated kayōkyoku into their music. After the late 1980s, breakbeat and samplers changed the Japanese music scene, where expert drummers had played good rhythm because traditional Japanese music did not have the rhythm based on rock or blues. Hide of Greeeen described their music genre as J-pop, he said, "I love rock, hip hop and breakbeats, but my field is J-pop. For example, hip hop musicians learn'the culture of hip hop'. We are not like those musicians and we love the music as sounds much; those professional people may say'What are you doing?' but I think that our musical style is cool after all. The good thing is good." Japanese popular music, called ryūkōka before being split into enka and poppusu, has origins in the Meiji period, but most Japanese scholars consider the Taishō period to be the actual starting point of ryūkōka, as it is the era in which the genre first gained nationwide popularity.
By the Taishō period, Western musical techniques and instruments, introduced to Japan in the Meiji period, were used. Influenced by Western genres such as jazz and blues, ryūkōka incorporated Western instruments such as the violin and guitar. However, the melodies were written according to the traditional Japanese pentatonic scale. In the 1930s, Ichiro Fujiyama released popular songs with his tenor voice. Fujiyama sang songs with a lower volume than opera through the microphone. Jazz musician Ryoichi Hattori attempted to produce Japanese native music which had a "flavor" of blues, he composed Noriko Awaya's hit song "Wakare no Blues". Awaya was called "Queen of Blues" in Japan. Due to pressure from the Imperial Army during the war, the performance of jazz music was temporarily halted in Japan. Hattori, who
Supreme Show is the seventh studio album by Japanese recording artist Ami Suzuki. It was released on November 2008 by Avex Trax as her 10th Anniversary album, it was released ten months after her joint project album, Dolce. Supreme Show is Suzuki's first album to be produced and arranged by Japanese musician and Capsule member Yasutaka Nakata. Suzuki contributed to the album as the lead vocalist, background vocalist, co-songwriter for the track "Love Mail". With tracks recorded in both English and Japanese language, Supreme Show is an electronic dance music album. Four different formats were released to promote the album. Three different artworks were issued for the album. Upon the album's release, it was met with favourable reviews from music critics. Critics commended the album's production and the accompanying single releases for their commercial quality. Commercially, Supreme Show was a moderate success. Supreme Show became Suzuki's first studio album to reach the top twenty on Japan's Oricon Albums Chart, since Around the World in 2005.
Despite this, it charted with lukewarm success, reaching number sixteen and selling over 13,000 units in that region. Two singles were released from Supreme Show, its lead single "One" was a moderate commercial success, peaking at number 16 on the Japanese Oricon Singles Chart and 57 on the Japan Hot 100 chart. It sold over 8,000 physical units in that region; the albums second and final single, "Can't Stop the Disco", was a moderate commercial success. Suzuki promoted the album on concert performances. In September 2008, it was confirmed by Suzuki. Supreme Show is Suzuki's first solo studio album since Around the World in 2005. Suzuki and her record label Avex Trax hired Japanese musician and Capsule member Yasutaka Nakata to compose, produce and arrange the then-upcoming album; this marks Nakata's first full-length production effort with Suzuki, his second collaboration with Suzuki since their August 2007 a-side single "Free Free" and "Super Music Maker". Supreme Show was Nakata's fourth produced studio album in 2008, his last production of 2008.
More! More! by Capsule. Supreme Show marks her seventh studio album to be produced by a sole producer. Supreme Show is an electronic dance music album with numerous elements of dance-pop, synthpop, J-pop. According to Suzuki, she stated. An editor from Channel-Ai labelled Suzuki during her 2008 music period as a "disco queen". Suzuki had spoken with Robert Michael Poole from The Japan Times, stated during the process. I had been going to a lot of club events with Nakata... That scene attracts hardcore music fans, I realized that working with this producer would be cool and would transcend Japanese pop convention." She stated "I have made a lot of different styles of music in my career, I want to be free to go with what I feel in my bones at the time. People may wonder which form is the one I enjoy the most, or which one fits me best, but at this time I can say with confidence that this electro style is great for me."Majority of the album's tracks are composed as electronic dance songs, Suzuki's vocals on every track are processed with autotune and vocoder post-production work.
This is Suzuki's second studio album to use vocoder effects since Dolce. "Can't Stop the Disco", the album's second single, was described as a dance-pop song with numerous musical elements, including techno and club music. "Super Music Maker" is a remixed version by Nakata. "Climb up to the Top" was described as a 1990s inspired dance song. "Mysterious" was described as a "sexy" atmopsheric song by critics, whilst "A Token of Love" was noted for its strong rhythm. "One" was described as a dance-pop song including club music. Suzuki contributed to the album as the lead vocalist, background vocalist, co-songwriter for the track "Love Mail"; the album is Suzuki's second album. Supreme Show was released in four different formats on November 12, 2008, by Avex Trax as her 10th anniversary album, it was released ten months after her joint project album Dolce, but this album was not recognized as a 10th anniversary album. This is Suzuki's first double album release in one year. Supreme Show's first format, the stand-alone CD, features the eleven tracks in a jewel case, with first press editions including an
Sony Corporation is a Japanese multinational conglomerate corporation headquartered in Kōnan, Tokyo. Its diversified business includes consumer and professional electronics, gaming and financial services; the company owns the largest music entertainment business in the world, the largest video game console business and one of the largest video game publishing businesses, is one of the leading manufacturers of electronic products for the consumer and professional markets, a leading player in the film and television entertainment industry. Sony was ranked 97th on the 2018 Fortune Global 500 list. Sony Corporation is the electronics business unit and the parent company of the Sony Group, engaged in business through its four operating components: electronics, motion pictures and financial services; these make Sony one of the most comprehensive entertainment companies in the world. The group consists of Sony Corporation, Sony Pictures, Sony Mobile, Sony Interactive Entertainment, Sony Music, Sony/ATV Music Publishing, Sony Financial Holdings, others.
Sony is among the semiconductor sales leaders and since 2015, the fifth-largest television manufacturer in the world after Samsung Electronics, LG Electronics, TCL and Hisense. The company's current slogan is Be Moved, their former slogans were The One and Only, It's like.no.other and make.believe. Sony has a weak tie to the Sumitomo Mitsui Financial Group corporate group, the successor to the Mitsui group. Sony began in the wake of World War II. In 1946, Masaru Ibuka started an electronics shop in a department store building in Tokyo; the company started with a total of eight employees. In May 1946, Ibuka was joined by Akio Morita to establish a company called Tokyo Tsushin Kogyo; the company built Japan's first tape recorder, called the Type-G. In 1958, the company changed its name to "Sony"; when Tokyo Tsushin Kogyo was looking for a romanized name to use to market themselves, they considered using their initials, TTK. The primary reason they did not is that the railway company Tokyo Kyuko was known as TTK.
The company used the acronym "Totsuko" in Japan, but during his visit to the United States, Morita discovered that Americans had trouble pronouncing that name. Another early name, tried out for a while was "Tokyo Teletech" until Akio Morita discovered that there was an American company using Teletech as a brand name; the name "Sony" was chosen for the brand as a mix of two words: one was the Latin word "sonus", the root of sonic and sound, the other was "sonny", a common slang term used in 1950s America to call a young boy. In 1950s Japan, "sonny boys" was a loan word in Japanese, which connoted smart and presentable young men, which Sony founders Akio Morita and Masaru Ibuka considered themselves to be; the first Sony-branded product, the TR-55 transistor radio, appeared in 1955 but the company name did not change to Sony until January 1958. At the time of the change, it was unusual for a Japanese company to use Roman letters to spell its name instead of writing it in kanji; the move was not without opposition: TTK's principal bank at the time, had strong feelings about the name.
They pushed for a name such as Sony Teletech. Akio Morita was firm, however. Both Ibuka and Mitsui Bank's chairman gave their approval. According to Schiffer, Sony's TR-63 radio "cracked open the U. S. market and launched the new industry of consumer microelectronics." By the mid-1950s, American teens had begun buying portable transistor radios in huge numbers, helping to propel the fledgling industry from an estimated 100,000 units in 1955 to 5 million units by the end of 1968. Sony co-founder Akio Morita founded Sony Corporation of America in 1960. In the process, he was struck by the mobility of employees between American companies, unheard of in Japan at that time; when he returned to Japan, he encouraged experienced, middle-aged employees of other companies to reevaluate their careers and consider joining Sony. The company filled many positions in this manner, inspired other Japanese companies to do the same. Moreover, Sony played a major role in the development of Japan as a powerful exporter during the 1960s, 1970s and 1980s.
It helped to improve American perceptions of "made in Japan" products. Known for its production quality, Sony was able to charge above-market prices for its consumer electronics and resisted lowering prices. In 1971, Masaru Ibuka handed the position of president over to his co-founder Akio Morita. Sony began a life insurance company in one of its many peripheral businesses. Amid a global recession in the early 1980s, electronics sales dropped and the company was forced to cut prices. Sony's profits fell sharply. "It's over for Sony," one analyst concluded. "The company's best days are behind it." Around that time, Norio Ohga took up the role of president. He encouraged the development of the Compact Disc in the 1970s and 1980s, of the PlayStation in the early 1990s. Ohga went on to purchase CBS Records in 1988 and Columbia Pictures in 1989 expanding Sony's media presence. Ohga would succeed Morita as chief executive officer in 1989. Under the vision of co-founder Akio Morita and his successors, the company had aggressively expanded in