72-735: Martin Charles Rushent (11 July 1948 – 4 June 2011) was an English record producer , best known for his work with the Human League , the Stranglers and Buzzcocks . Rushent was born on 11 July 1948 in Enfield , Middlesex . His father was a car salesman. Rushent attended Minchenden Grammar School in Southgate , Middlesex. Rushent left school and started working at a local chemical factory and then with his father before embarking on his music career in
144-481: A Grammy nomination, the Recording Academy defines a producer: The person who has overall creative and technical control of the entire recording project, and the individual recording sessions that are part of that project. He or she is present in the recording studio or at the location recording and works directly with the artist and engineer. The producer makes creative and aesthetic decisions that realize both
216-485: A Mitsubishi Electric digital recorder costing £75,000. Rushent used his Roland equipment to record Pete Shelley 's first solo album, Homosapien . Originally demos for the planned fourth Buzzcocks album, Shelley and Rushent deemed the recordings releasable, and Shelley was signed to Island Records . They were heard by Simon Draper of Virgin Records , who asked Rushent to produce for the Human League . Rushent's work on
288-482: A hi-hat signal can be used to control a sustained synthesized sound to produce a rhythmic melodic (or harmonic) signal which is perfectly in time with the hi-hat signal. A good example of this use of the device can be found on the Godley & Creme concept album Consequences . The album's story required the creation of a number of special sound effects that would convey the impression of natural disasters . For
360-423: A broad project, the creation of a popular music recording may be split across three specialists: the executive producer , who oversees business partnerships and financing; the vocal producer or vocal arranger, who aids vocal performance via expert critique and coaching of vocal technique, and the record producer or music producer, who, often called simply the producer, directs the overall creative process of recording
432-471: A cylinder. By the 1930s, a gramophone etched it laterally across a disc. 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. 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
504-413: A general "audio glue" for all the other gated sources. Noise gates are useful when editing live recordings to remove background noise between passages or pieces of dialogue. However, care must be taken in setting the gates so they do not trigger due to spurious noises. For vocal applications on stage, an optical microphone switch may be used rather than a noise gate. An infrared sensor senses if someone
576-407: A leading A&R man of the 1950s. 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
648-452: A microphone). The combined voices and crackling created an eerie and quite convincing "talking fire" effect. "One thing I did that I think gave the album a certain sound was I Kepexed everything," said Alan Parsons , engineer on Pink Floyd 's The Dark Side of the Moon . "Kepexes were very early noise gates, and we Kepexed not only going from the first sixteen-track to the second, but also on
720-516: 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
792-542: A new technique, " overdubbing ". 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. This isolation of multiple tracks enables countless mixing possibilities. Producers began recording initially only
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#1733085246553864-414: A precisely controlled chopping of a sustained sound. Noise gates often implement hysteresis , that is, they have two thresholds: one to open the gate and another, set a few dB below, to close the gate. This means that once a signal has dropped below the close threshold, it has to rise to the open threshold for the gate to open, so that a signal that crosses over the close threshold regularly does not open
936-425: A radio or amplifier , and hum from a power system, without greatly affecting the source sound. An audio signal such as music or speech is broken up into many frequency bands by a collection of overlapping band-pass filters , and if the signal amplitude in any one band is lower than a preset threshold, then that band is eliminated from the final sound. This greatly reduces perceptible background noise because only
1008-525: 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. 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
1080-448: A woman the reins of an immense, creative project like making a record." 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. Women producers known for producing records not their own include Sonia Pottinger, Sylvia Robinson and Carla Olson. In January 2018, a research team led by Stacy L. Smith, founder and director of
1152-402: Is commenced. The hold control is often set to ensure the gate does not close during short pauses between words or sentences in a speech signal. The range control is used to set the amount of attenuation to be applied to the signal when the gate is closed. Often there will be complete attenuation, that is no signal will pass when the gate is closed. In some circumstances, complete attenuation
1224-577: Is in front of the microphone and switches on the microphone. A good example of time-controlled noise gating is the well-known " gated reverb " effect heard on the drums on the Phil Collins hit single " In the Air Tonight ", created by engineer-producer Hugh Padgham , in which the powerful reverberation added to the drums is cut off by the noise gate after a few milliseconds , rather than being allowed to decay naturally. This can also be achieved by: sending
1296-660: 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. In digital recording, however, a recent advancement, 32-bit float , enables DAWs to undo clipping. Still, some criticize digital instruments and workflows for excess automation, allegedly impairing creative or sonic control. In any case, as production technology has drastically changed, so have
1368-399: Is not desired and the range can be changed. Advanced gates have an external sidechain . This is an additional input that allows the gate to be triggered by another audio signal. A variation of a sidechained noise gate used in electronic music production is a trancegate or just simply gate , where the noise gate is not controlled by audio signal but a preprogrammed pattern, resulting in
1440-430: Is often likened to that of a film director though there are important differences. It is distinct from the role of an executive producer , who is mostly involved in the recording project on an administrative level, and from the audio engineer who operates the recording technology. Varying by project, the producer may or may not choose all of the artists. If employing only synthesized or sampled instrumentation,
1512-461: Is the first step in a broader effort to improve those numbers and increase diversity and inclusion for all in the music industry." Noise gate A noise gate or simply gate is an electronic device or software that is used to control the volume of an audio signal . Comparable to a limiter , which attenuates signals above a threshold, such as loud attacks from the start of musical notes, noise gates attenuate signals that register below
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#17330852465531584-528: Is the lead singer of the dance-punk band Does It Offend You, Yeah? . Rushent died on 4 June 2011, at his home in Berkshire. Record producer A record producer or music producer is a music creating project's overall supervisor whose responsibilities can involve a range of creative and technical leadership roles. Typically the job involves hands-on oversight of recording sessions; ensuring artists deliver acceptable and quality performances, supervising
1656-620: Is the use of a gate on a track additional to the one it attenuates, so called because the latter's amplitude profile will then match or closely follow that of the first. Envelope following may be used to create syncopated rhythms or to tighten sloppy performances. For example, a synth pad may play whole notes while keyed to a guitar or percussion part. Examples include DJ Nexus's "Journey into Trance" (1:11), Chic's "Everybody Dance", and Diana Ross's "Upside Down". Noise gates play an important role in drum mic'ing in heavy metal shows. The drum and cymbal mic channels will typically have noise gates so that
1728-787: The Annenberg Inclusion Initiative, based in the USC Annenberg School for Communication and Journalism , issued a report, estimating that in the prior several years, about 2% of popular songs' producers were female. Also that month, Billboard magazine queried, "Where are all the female music producers?" Upon the Annenberg Inclusion Initiative's second annual report, released in February 2019, its department at USC reported, "2018 saw an outcry from artists, executives and other music industry professionals over
1800-508: The early 1970s as a studio engineer. Rushent's first experience in a recording studio was at EMI House in London's Manchester Square , when his school band (of which he was the lead singer) had the opportunity to record a demo. After leaving school, Rushent, who had already experimented with his father's 4-track recorder , worked at a chemical factory before working for his father while applying for studio jobs. After numerous rejections, Rushent
1872-475: The mix . They were quite revolutionary at the time and they had a very individual sound. It was very effective on the heartbeats. That was a kick drum, and you hear the noise being modulated by a noise gate, which is an integral part of that sound." The invention of a technique, called multi-latch gating by Jay Hodgson, common in classical music recordings for years, is often credited to producer Tony Visconti , whose use on David Bowie's " Heroes " may have been
1944-411: The "Fire" sequence, Godley and Creme used a noise gate, triggered by the sound of multitracked voices, that created the "voice" of a raging bushfire . During the recording of this segment, each time the voice signal began, it triggered the noise gate to open up another channel, which carried a pre-recorded loop of a crackling sound (created by overdubbing the sound of Bubble Wrap being popped in front of
2016-707: 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. 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
2088-526: The "dry" snare signal to the reverb (or other process) unit, inserting a noise gate on the path of the reverb signal and connecting the snare sound to the side chain of the gate unit. With the gate unit set to "external sidechain" (or "external key"), the gate will respond to the snare signal level and "cut off" when that has decayed below the threshold, not the reverberated sound. It is a common production trick to use spurious combinations of side chain inputs to control longer, more sustained sounds. For example,
2160-428: The "signal" is above the level of the unwanted " noise ". The threshold is set above the level of the "noise", and so when there is no main "signal", the gate is closed. A common application is with electric guitar to remove hum and hiss noise caused by distortion effects units . A noise gate does not remove noise from the signal itself; when the gate is open, both the signal and the noise will pass through. Even though
2232-457: 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. Early in the recording industry, a record was attained by simply having all of the artists perform together live in one take. In 1945, by recording
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2304-574: The 1950s, on simply improving the record's sonic match to the artists' own live performance. Advances in recording technology, especially the 1940s advent of tape recording —which Les Paul promptly innovated further to develop multitrack recording —and the 1950s rise of electronic instruments, turned record production into a specialty. 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. After
2376-513: The 1960s. Still, a formal distinction was elusive for some time more. A&R managers might still be creative directors, like William "Mickey" Stevenson , hired by Berry Gordy , at the Motown record label. In 1947, the American market gained audio recording onto magnetic tape. At the record industry's 1880s dawn, rather, recording was done by phonograph , etching the sonic waveform vertically into
2448-501: The 1980s, production's move from analog to digital further expanded possibilities. By now, DAWs, or digital audio workstations , like Logic Pro , Pro Tools and Studio One , turn an ordinary computer into a production console, whereby a solitary novice can become a skilled producer in a thrifty home studio. 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. As
2520-459: The Go-Go's in the 1980s. Rushent decided to take a break from production in the 1990s, and sold his assets – including Genetic Studios. He briefly took up a consultancy position with Virgin, but retired from the industry to raise his children. Rushent returned to the music industry in the mid-1990s when he established Gush, a dance club on Greenham Common . The club's opening night was headlined by
2592-637: The Kinks produced some of their own songs, 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
2664-579: The Prodigy with support from Mad Professor and LTJ Bukem . Rushent soon began redeveloping his interest in recording, and decided to catch up on the technological advances he had missed. Rushent built a home studio around a Mackie console , Alesis ADAT HD24 recorder and Cubase 5 , with which he produced music by the Pipettes , Does It Offend You, Yeah? and Killa Kela . In 2005, he produced Hazel O'Connor 's album Hidden Heart . The following year, he
2736-409: 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). The producer often selects and collaborates with a mixing engineer, who focuses on the especially technological aspects of
2808-469: The best combinations of performance and audio quality, and used tape editing to assemble a composite performance. 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
2880-505: The capabilities of tape, multitrack recording, and electronic instruments, producers like Phil Spector , George Martin , and Joe Meek rendered sounds unattainable live. Similarly, in jazz fusion , Teo Macero , producing Miles Davis 's 1970 album Bitches Brew , spliced sections of extensive improvisation sessions. In the 1960s, rock acts like the Beatles , the Rolling Stones , and
2952-731: The company to sign the Stranglers provided that he produced the band's material. Rushent produced the group's Rattus Norvegicus , No More Heroes and Black and White albums and recorded demos for Joy Division , before tiring of his commute to London and left UA at the end of the 1970s. Rushent expressed a desire to move away from guitar bands, and bought a Linn LM-1 drum machine, Roland MC-8 Microcomposer and Jupiter-8 synthesiser to learn sequencing and synthesis techniques. In 1980, Rushent set up his own studio, Genetic , designed by renowned studio designer Eddie Veale, with Synclavier and Fairlight CMI synthesisers and an MCI console. He spent £35,000 on air conditioning alone, and had
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3024-526: The final verse, he has to shout just to be heard....The more Bowie shouts to be heard, in fact, the further back in the mix Visconti's multi-latch system pushes his vocal tracks [dry audio being perceived as front and ambience pushing audio back in the mix], creating a stark metaphor for the situation of Bowie's doomed lovers shouting their love for one another over the Berlin wall." Envelope following (also called trance gating because of its prevalence in trance)
3096-503: The first in rock. Visconti recorded Bowie's vocals in a large space using three microphones placed 9 inches (23 cm), 20 feet (6.1 m), and 50 feet (15.2 m) away, respectively. A different gate was applied to each microphone so that the farther microphone was triggered only when Bowie reached the appropriate volume, and each microphone was muted as the next one was triggered. "Bowie's performance thus grows in intensity precisely as ever more ambience infuses his delivery until, by
3168-514: The frequency components of the noise that are within the gated passbands survive. The technique was implemented in real-time electronics in some audiophile record players as early as the 1980s , and is now commonly used in audio production post-processing , where software to Fourier transform the audio signal can yield a very detailed spectrum of the background noise. Common digital audio editing software packages such as CoolEdit and Audacity include easy-to-use digital noise gating code:
3240-411: The further distance of the kick drum from the snare microphone). If the threshold level of the noise gate is set correctly, a snare drum signal can be isolated. To fully isolate the snare drum signal, the release rate has to be quite fast, which can cause the tail end of the snare sound to be "chopped off". This can usually be remedied by the inclusion of one or more overhead microphones , which can act as
3312-692: The gate and cause chattering . A longer hold time also helps to avoid chattering, as described above. The basic function of a noise gate is to eliminate sounds below a given threshold. Noise gates are commonly used in the recording studio and sound reinforcement . Rock musicians may also use small portable "stompbox" units to control unwanted noise from their guitar amplification systems. Band-limited noise gates are also used to eliminate background noise from audio recordings by eliminating frequency bands that contain only static . In audio post-processing , noise gating reduces steady noise sources such as rumble from LP records , hiss from audio tape, static from
3384-399: The gate re-opens. Release is the second-most common control to find on a gate, after threshold. The attack control is used to define the length of time the gate takes to change from closed to fully open. It is the fade-in duration. The hold control is used to define the length of time the gate will stay fully open after the signal falls below the threshold, and before the release period
3456-418: The gate will open. More advanced noise gates have more features. The release control is used to define the length of time the gate takes to change from open to fully closed. It is the fade-out duration. A fast release abruptly cuts off the sound, whereas a slower release smoothly attenuates the signal from open to closed, resulting in a slow fade-out. If the release time is too short, a click can be heard when
3528-521: The group's 1981 album Dare earned him a BRIT Award in 1982 for Best British producer. Rushent's production on Dare frustrated the group's guitarist Jo Callis , as the only guitar on the album was used to trigger a gate on the synthesiser. Singer Susanne Sulley was also frustrated by the lengthy process of Rushent's synth programming. In 1983, Rushent walked out of his own studio after Sulley made an off-the-cuff comment toward him. Rushent also produced albums by Generation X , Altered Images and
3600-460: The industry are Logic Pro and Pro Tools. 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. Conventionally, tape
3672-669: The knowledge demands, although DAWs enables novices, even teenagers at home, to learn production independently. Some have attained professional competence before ever working with an artist. 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
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#17330852465533744-507: The lack of women in music" and "the plight of women in music", where women were allegedly being "stereotyped, sexualized, and shut out". 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. The academy's website, Grammy.com , announced, "This initiative
3816-419: The leakage of sound into a microphone from sources other than the one the microphone was intended for. One example involves the mic-ing up of a drumkit. In most multi-mic drum recordings, one microphone will be used to capture the snare drum sound and another to capture the kick drum sound. The snare microphone will output a signal composed of a high level snare signal and a lower level kick drum signal (due to
3888-571: The manufacturing of record discs. 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
3960-770: The music a perceived "pristine" sound quality, if also a loss of analog recordings' perceived "warm" quality and better-rounded bass. 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 . DAWs fairly standard in
4032-438: The precursors of record producers, supervising recording and often leading session orchestras. During the 1940s, major record labels increasingly opened official A&R departments, whose roles included supervision of recording. Meanwhile, independent recording studios opened, helping originate record producer as a specialty. But despite a tradition of some A&R men writing music, record production still referred to just
4104-438: The producer may be the sole artist. Conversely, some artists do their own production. Some producers are their own engineers, operating the technology across the project: preproduction, recording, mixing , and mastering . Record producers' precursors were "A&R men", who likewise could blend entrepreneurial, creative, and technical roles, but often exercised scant creative influence, as record production still focused, into
4176-463: 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
4248-438: The role of executive producer, managing the budget, schedules, contracts, and negotiations. (Artists and Repertoires) In the 1880s, the record industry began by simply having the artist perform at a phonograph . In 1924, the trade journal Talking Machine World , covering the phonography and record industry, reported that Eddie King, Victor Records ' manager of the "New York artist and repertoire department", had planned
4320-406: The signal and the unwanted noise are both present in open gate status, the noise is not as noticeable. The noise becomes most noticeable during periods where the main signal is not present, such as a bar of rest in a guitar solo . Gates typically feature "attack", "release", and "hold" settings and may feature a "look-ahead" function. Noise gates have a threshold control to set the level at which
4392-448: The signal merges with the background static (for example, the brushed drum sounds in the " Sun King " track on the Beatles album Abbey Road ) or is weak compared to the noise (as in very faint tape recordings , the noise gating can add artifacts that are more distracting than the original static. In the context of a multi-microphone recording session, noise gating is employed to reduce
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#17330852465534464-431: The song in its final mix. The producer's roles can include gathering ideas, composing music, choosing session musicians , proposing changes to song arrangements, coaching the performers, controlling sessions, supervising the audio mixing , and, in some cases, supervising the audio mastering . A producer may give creative control to the artists themselves, taking a supervisory or advisory role instead. As to qualifying for
4536-544: The studio when he was not ready to leave, and chased the studio staff around the complex until they locked themselves in a different studio. Rushent progressed to senior assistant engineer, staff engineer, and eventually head engineer. He then began working freelance , where he built his reputation and was employed by United Artists (UA). While with UA, Rushent recorded sessions alongside Martin Davies, recording artists such as Shirley Bassey and Buzzcocks , as well as convincing
4608-419: The technical engineering of the recording, and coordinating the production team and process. The producer's involvement in a musical project can vary in depth and scope. Sometimes in popular genres the producer may create the recording's entire sound and structure. However, in classical music recording, for example, the producer serves as more of a liaison between the conductor and the engineering team. The role
4680-403: The threshold. However, noise gates attenuate signals by a fixed amount, known as the range. In its simplest form, a noise gate allows a main signal to pass through only when it is above a set threshold: the gate is "open". If the signal falls below the threshold, no signal is allowed to pass (or the signal is substantially attenuated): the gate is "closed". A noise gate is used when the level of
4752-480: The time of his death, Rushent was working on a 30th anniversary version of Dare , remixed like Love and Dancing but using traditional musical instruments instead of synthesisers. In 1972, Rushent married Linda Trodd, with whom he had three children. They separated in the 1980s, and Rushent later married Ceri Davis, with whom he had a daughter. Rushent lived in Berkshire village of Upper Basildon . Rushent's son James
4824-403: The user selects a segment of audio that contains only static, and the amplitude levels in each frequency band are used to determine the threshold levels to be applied across the signal as a whole. Noise gating works well when the static is steady and either narrowly confined in frequency (e.g. hum from AC power) or well below the main signal level (15 dB minimum is desirable). In cases where
4896-481: The vast majority have been men. 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." 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
4968-653: Was an early female record producer, having produced both of her Ivor Novello award-winning songs. Across the decades, many female artists have produced their own music. For instance, artists Kate Bush , Madonna , Mariah Carey , Janet Jackson , Beyoncé (even that of Destiny's Child and the Carters ), Lana Del Rey , Taylor Swift , and Lorde have produced or coproduced and Ariana Grande who produces and arranges her vocals as well as being an audio engineer. Still among specialists, despite some prominent women, including Missy Elliott in hip hop and Sylvia Massy in rock,
5040-434: Was employed by Advision Studios as a 35mm film projectionist. After approximately three months, Rushent began working in the audio department as a tape operator alongside Tony Visconti . He worked on sessions for Fleetwood Mac , T. Rex , Yes , Emerson, Lake & Palmer , Petula Clark , Jerry Lee Lewis and Osibisa . Rushent stated that while at Advision, Jerry Lee Lewis threw a tantrum as Yes had been booked into
5112-451: Was her fifth. 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. On why no woman had ever won it, Perry commented, "I just don't think there are that many women interested." In the U.K., Lynsey de Paul
5184-605: Was involved with the BBC Electric Proms when he recorded Enid Blitz , winners in the Brighton area, at a 15th-century manor house in Brentford , using a BBC truck as the control room . In 2007, Rushent produced the recording Cherry Vanilla by the (Fabulous) Cult of John Harley. The recording was used by the American singer and actress Cherry Vanilla in the launch of her autobiography Lick Me: How I Became Cherry Vanilla . At
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