Record producer

[3] In popular music, then, producers like George Martin, Phil Spector and Brian Eno led its evolution into its present use of elaborate techniques and unrealistic sounds, creating songs impossible to originate live.[11][12] In the 2010s, efforts began to increase the prevalence of producers and engineers who are women, heavily outnumbered by men and prominently accoladed only in classical music.The producer makes creative and aesthetic decisions that realize both the artist's and label's goals in the creation of musical content.Other duties include, but are not limited to: keeping budgets and schedules; adhering to deadlines; hiring musicians, singers, studios, and engineers; overseeing other staffing needs; and editing (Classical projects).[6] 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.[6] 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.[6] A&R managers might still be creative directors, like William "Mickey" Stevenson, hired by Berry Gordy, at the Motown record label.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.[20] 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.[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."[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.[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.