Editing Record producer (section)

=== Tape recording ===

In 1947, the American market gained audio recording onto magnetic tape.<ref>{{cite book |first=Jim |last=Curtis |title=Rock Eras: Interpretation of Music & Society, 1954–1984 |location=Bowling Green, OH |publisher=[[Bowling Green State University]] Popular Press |year=1987 |url=https://books.google.com/books?id=F0xAUXaBYqoC&dq=world&pg=PA43 |page= 43|isbn=978-0-87972-369-9 }}</ref> At the record industry's 1880s dawn, rather, recording was done by [[phonograph]], etching the sonic waveform vertically ''into'' a cylinder.{{sfn|Burgess | 2014 | page=50}} By the 1930s, a gramophone etched it laterally ''across'' a disc.<ref name="Philip-1998">{{cite book |first=Robert |last=Philip |chapter=Pianists on record in the early twentieth century | editor-last=Rowland | editor-first=D. | title=The Cambridge Companion to the Piano | publisher=Cambridge University Press | series=Cambridge Companions to Music | year=1998 | isbn=978-0-521-47986-8 | chapter-url=https://books.google.com/books?id=kEy1MRsnVHIC&pg=PA75 | page=75}}</ref> 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.<ref name="Thompson-2016" /><ref name="Philip-1998" /> Selections and performance were often altered accordingly, and playing this disc—the wax master—destroyed it.<ref name="Philip-1998" /> The finality often caused anxiety that restrained performance to prevent error.<ref name="Philip-1998" /> In 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.<ref name="Philip-1998" />