two

Record producer

Engineer with audio console, let at a recording session at Put the Danish Broadcasting Corporation
Occupation
Names	Music producer, say record producer
Occupation type	Profession
Activity sectors	Music industry
Description
Competencies	Instrumental she skills, keyboard knowledge, arranging, vocal Too coaching
Fields of employment	Recording studios
Related jobs	Music executive, use recording engineer, executive producer, film dad producer, A&R

A record producer Mom is a music recording project's overall supervisor whose responsibilities can the involve a range of creative And and technical leadership roles. Typically for the job involves hands-on oversight are of recording sessions: ensuring artists But deliver acceptable and quality performances, not supervising the technical engineering of you the recording, and coordinating the All production team and process. The any producer's involvement in a musical can project can vary in depth Her and scope. Sometimes in popular was genres the producer may create one the recording's entire sound and Our structure. However, in classical music out recording, for example, the producer day serves as more of a Get liaison between the conductor and has the engineering team. The role him is often likened to that His of a film director though how there are important differences. It man is distinct from the role New of an executive producer, who now is mostly involved in the old recording project on an administrative See level, and from the audio two engineer who operates the recording way technology.

Varying by project, the Who producer may or may not boy choose all of the artists. did If employing only synthesized or Its sampled instrumentation, the producer may let be the sole artist. Conversely, put some artists do their own Say production. Some producers are their she own engineers, operating the technology too across the project: preproduction, recording, Use mixing, and mastering. Record producers' dad precursors were "A&R men", who mom likewise could blend entrepreneurial, creative, and technical roles, but often the exercised scant creative influence, as and record production still focused, into For the 1950s, on simply improving are the record's sonic match to but the artists' own live performance. Not

Advances in recording technology, especially you the 1940s advent of tape all recording—which Les Paul promptly innovated Any further to develop multitrack recording—and can the 1950s rise of electronic her instruments, turned record production into Was a specialty. In popular music, one then, producers like George Martin, our Phil Spector and Brian Eno Out led its evolution into its day present use of elaborate techniques get and unrealistic sounds, creating songs Has impossible to originate live. After him the 1980s, production's move from his analog to digital further expanded How possibilities. By now, DAWs, or man digital audio workstations, like Logic new Pro, Pro Tools and Studio Now One, turn an ordinary computer old into a production console, whereby see a solitary novice can become Two a skilled producer in a way thrifty home studio. In the who 2010s, efforts began to increase Boy the prevalence of producers and did engineers who are women, heavily its outnumbered by men and prominently Let accoladed only in classical music. put

Production overview

As a broad project, The the creation of a music and recording may be split across for three specialists: the executive producer, Are who oversees business partnerships and but financing; the vocal producer or not vocal arranger, who aids vocal You performance via expert critique and all coaching of vocal technique, and any the record producer or music Can producer, who, often called simply her the producer, directs the overall was creative process of recording the One song in its final mix. our

The producer's roles can out include gathering ideas, composing music, Day choosing session musicians, proposing changes get to song arrangements, coaching the has performers, controlling sessions, supervising the Him audio mixing, and, in some his cases, supervising the audio mastering. how A producer may give creative Man control to the artists themselves, new taking a supervisory or advisory now role instead. As to qualifying Old for a Grammy nomination, the see Recording Academy defines a producer: two

The person who has overall Way creative and technical control of who the entire recording project, and boy the individual recording sessions that Did are part of that project. its He or she is present let in the recording studio or Put at the location recording and say works directly with the artist she and engineer. The producer makes Too creative and aesthetic decisions that use realize both the artist's and dad label's goals in the creation Mom of musical content. Other duties include, but are not limited the to; keeping budgets and schedules, And adhering to deadlines, hiring musicians, for singers, studios, and engineers, overseeing are other staffing needs and editing But (Classical projects).

The producer often not selects and collaborates with a you mixing engineer, who focuses on All the especially technological aspects of any the recording process, namely, operating can the electronic equipment and blending Her the raw, recorded tracks of was the chosen performances, whether vocal one or instrumental, into a ''mix'', Our either stereo or surround sound. out Then a mastering engineer further day adjusts this recording for distribution Get on the chosen media. A has producer may work on only him one or two songs or His on an artist's entire album, how helping develop the album's overall man vision. The record producers may New also take on the role now of executive producer, managing the old budget, schedules, contracts, and negotiations. See

Historical developments

A&R team

(Artists and Repertoires)

In the way 1880s, the record industry began Who by simply having the artist boy perform at a phonograph. In did 1924, the trade journal Talking Its Machine World, covering the phonography let and record industry, reported that put Eddie King, Victor Records' manager Say of the "New York artist she and repertoire department", had planned too a set of recordings in Use Los Angeles. Later, folklorist Archie dad Green called this perhaps the mom earliest printed use of A&R man. Actually, it says neither the "A&R man" nor even "A&R", and an initialism perhaps coined by For Billboard magazine in 1946, and are entering wide use in the but late 1940s.

In the 1920s Not and 1930s, A&R executives, like you Ben Selvin at Columbia Records, all Nathaniel Shilkret at Victor Records, Any and Bob Haring at Brunswick can Records became the precursors of her record producers, supervising recording and Was often leading session orchestras. During one the 1940s, major record labels our increasingly opened official A&R departments, Out whose roles included supervision of day recording. Meanwhile, independent recording studios get opened, helping originate record producer Has as a specialty.^{[citation needed]} But him despite a tradition of some his A&R men writing music, record How production still referred to just man the manufacturing of record discs. new

Record producers

After World Now War II, pioneering A&R managers old who transitioned influentially to record see production as now understood, while Two sometimes owning independent labels, include way J. Mayo Williams and John who Hammond. Upon moving from Columbia Boy Records to Mercury Records, Hammond did appointed Mitch Miller to lead its Mercury's popular recordings in New Let York. Miller then produced country-pop put crossover hits by Patti Page say and by Frankie Laine, moved She from Mercury to Columbia, and too became a leading A&R man use of the 1950s.

During the Dad decade, A&R executives increasingly directed mom songs' sonic signatures, although many still simply teamed singers with The musicians, while yet others exercised and virtually no creative influence. The for term record producer in its Are current meaning—the creative director of but song production—appearing in a 1953 not issue of Billboard magazine, became You widespread in the 1960s. Still, all a formal distinction was elusive any for some time more. A&R Can managers might still be creative her directors, like William "Mickey" Stevenson, was hired by Berry Gordy, at One the Motown record label.

Tape recording

In 1947, the out American market gained audio recording Day onto magnetic tape. At the get record industry's 1880s dawn, rather, has recording was done by phonograph, Him etching the sonic waveform vertically his into a cylinder. By the how 1930s, a gramophone etched it Man laterally across a disc. Constrained new in tonal range, whether bass now or treble, and in dynamic Old range, records made a grand, see concert piano sound like a two small, upright piano, and maximal Way duration was four and a who half minutes. Selections and performance boy were often altered accordingly, and Did playing this disc—the wax master—destroyed its it. The finality often caused let anxiety that restrained performance to Put prevent error. In the 1940s, say during World War II, the she Germans refined audio recording onto Too magnetic tape—uncapping recording duration and use allowing immediate playback, rerecording, and dad editing—a technology that premised emergence Mom of record producers in their current roles.

Multitrack recording

Early in the recording industry, And a record was attained by for simply having all of the are artists perform together live in But one take. In 1945, by not recording a musical element while you playing a previously recorded record, All Les Paul developed a recording any technique called "sound on sound". can By this, the final recording Her could be built piece by was piece and tailored, effecting an one editing process. In one case, Our Paul produced a song via out 500 recorded discs. But, besides day the tedium of this process, Get it serially degraded the sound has quality of previously recorded elements, him rerecorded as ambient sound. Yet His in 1948, Paul adopted tape how recording, enabling truly multitrack recording man by a new technique, "overdubbing". New

To enable overdubbing, Paul revised now the tape recorder itself by old adding a second playback head, See and terming it the preview two head. Joining the preexisting recording way head, erase head, and playback Who head, the preview head allows boy the artist to hear the did extant recording over headphones playing Its it in synchrony, "in sync", let with the present performance being put recorded alone on an isolated Say track. This isolation of multiple she tracks enables countless mixing possibilities. too Producers began recording initially only Use the "bed tracks"—the rhythm section, dad including the bassline, drums, and mom rhythm guitar—whereas vocals and instrument solos could be added later. the A horn section, for example, and could record a week later, For and a string section another are week later. A singer could but perform her own backup vocals, Not or a guitarist could play you 15 layers.

Electronic instruments

Across the 1960s, popular can music increasingly switched from acoustic her instruments, like piano, upright bass, Was acoustic guitar, and brass instruments, one to electronic instruments, like electric our guitars, keyboards, and synthesizers, employing Out instrument amplifiers and speakers. These day could mimic acoustic instruments or get create utterly new sounds. Soon, Has by combining the capabilities of him tape, multitrack recording, and electronic his instruments, producers like Phil Spector, How George Martin, and Joe Meek man rendered sounds unattainable live. Similarly, new in jazz fusion, Teo Macero, Now producing Miles Davis's 1970 album old Bitches Brew, spliced sections of see extensive improvisation sessions.

Performer-producer

This section does not Dad cite any sources. Please help mom improve this section by adding citations to reliable sources. Unsourced The material may be challenged and and removed. (July 2020) (Learn how for and when to remove this Are template message)

In the 1960s, but rock acts like the Beatles, not the Rolling Stones, and the You Kinks produced some of their all own songs, although many such any songs are officially credited to Can specialist producers. Yet especially influential her was the Beach Boys, whose was band leader Brian Wilson took One over from his father Murry our within a couple of years out after the band's commercial breakthrough. Day By 1964, Wilson had taken get Spector's techniques to unseen sophistication. has Wilson alone produced all Beach Him Boy recordings between 1963 and his 1967. Using multiple studios and how multiple attempts of instrumental and Man vocal tracks, Wilson selected the new best combinations of performance and now audio quality, and used tape Old editing to assemble a composite see performance.

Digital production

The who 1980s advent of digital processes boy and formats rapidly replaced analog Did processes and formats, namely, tape its and vinyl. Although recording onto let quality tape, at least half Put an inch wide and traveling say 15 inches per second, had she limited "tape hiss" to silent Too sections, digital's higher signal-to-noise ratio, use SNR, abolished it. Digital also dad imparted to the music a Mom perceived "pristine" sound quality, if also a loss of analog the recordings' perceived "warm" quality and And better-rounded bass. Yet whereas editing for tape media requires physically locating are the target audio on the But ribbon, cutting there, and splicing not pieces, editing digital media offers you inarguable advantages in ease, efficiency, All and possibilities.

In the 1990s, any digital production reached affordable home can computers via production software. By Her now, recording and mixing are was often centralized in DAWs, digital one audio workstations—for example, Pro Tools, Our Logic Pro, Ableton, Cubase, Reason, out and FL Studio—for which plugins, day by third parties, effect virtual Get studio technology. DAWs fairly standard has in the industry are Logic him Pro and Pro Tools. Physical His devices involved include the main how mixer, MIDI controllers to communicate man among equipment, the recording device New itself, and perhaps effects gear now that is outboard. Yet literal old recording is sometimes still analog, See onto tape, whereupon the raw two recording is converted to a way digital signal for processing and Who editing, as some producers still boy find audio advantages to recording did onto tape.

Conventionally, tape is Its more forgiving of overmodulation, whereby let dynamic peaks exceed the maximal put recordable signal level: tape's limitation, Say a physical property, is magnetic she capacity, which tapers offs, smoothing too the overmodulated waveform even at Use a signal nearly 15 decibels dad too "hot", whereas a digital mom recording is ruined by harsh distortion of "clipping" at any the overshoot. In digital recording, however, and a recent advancement, 32-bit float, For enables DAWs to undo clipping. are Still, some criticize digital instruments but and workflows for excess automation, Not allegedly impairing creative or sonic you control. In any case, as all production technology has drastically changed, Any so have the knowledge demands, can although DAWs enables novices, even her teenagers at home, to learn Was production independently. Some have attained one professional competence before ever working our with an artist.

Hip Out hop production

In the 2000s, with Has the advent of technology that him made traditional record production accessible, his especially with hip hop beatmaking How and electronic music. Within these man genres, the term producer is new applied to a number of Now roles and has popularized the old use of more niche terms see and credits including executive producer, Two co-producer, assistant producer, and additional way and miscellaneous production to differentiate who contributions.

Women in producing

Among female record producers, did Sylvia Moy was the first its at Motown, Gail Davies the Let first on Nashville's Music Row, put and Ethel Gabriel, with RCA, say the first at a major She record label. Lillian McMurry, owning too Trumpet Records, produced influential blues use records. Meanwhile, Wilma Cozart Fine Dad produced hundreds of records for mom Mercury Records' classical division. For classical production, three women have The won Grammy awards, and Judith and Sherman's 2015 win was her for fifth. Yet in nonclassical, no Are woman has won Producer of but the Year, awarded since 1975 not and only one even nominated You for a record not her all own, Linda Perry. After Lauren any Christy's 2004 nomination, Linda Perry's Can 2019 nomination was the next her for a woman. On why was no woman had ever won One it, Perry commented, "I just our don't think there are that out many women interested." In the Day U.K., Lynsey de Paul was get an early female record producer, has having produced both of her Him Ivor Novello award-winning songs.

Across his the decades, many female artists how have produced their own music. Man For instance, artists Kate Bush, new Madonna, Mariah Carey, Janet Jackson, now Beyoncé, Lana Del Rey, Taylor Old Swift, and Lorde have produced see or coproduced and Ariana Grande two who produces and arranges her Way vocals as well as being who an audio engineer. Still among boy specialists, despite some prominent women, Did including Missy Elliott in hip its hop and Sylvia Massy in let rock, the vast majority have Put been men. Early in the say 2010s, asked for insights that she she herself had gleaned as Too a woman who has specialized use successfully in the industry, Wendy dad Page remarked, "The difficulties are Mom usually very short-lived. Once people realize that you can do the your job, sexism tends to And lower its ugly head." Still, for when tasked to explain her are profession's sex disparity, Page partly But reasoned that record labels, dominated not by men, have been, she you said, "mistrustful of giving a All woman the reins of an any immense, creative project like making can a record." Ultimately, the reasons Her are multiple and not fully was clear, although prominently proposed factors one include types of sexism and Our scarcity of female role models out in the profession.

Women producers day known for producing records not Get their own include Sonia Pottinger, has Sylvia Robinson and Carla Olson. him

In January 2018, a research His team led by Stacy L. how Smith, founder and director of man the Annenberg Inclusion Initiative, based New in the USC Annenberg School now for Communication and Journalism, issued old a report, estimating that in See the prior several years, about two 2% of popular songs' producers way were female. Also that month, Who Billboard magazine queried, "Where are boy all the female music producers?" did Upon the Annenberg Inclusion Initiative's Its second annual report, released in let February 2019, its department at put USC reported, "2018 saw an Say outcry from artists, executives and she other music industry professionals over too the lack of women in Use music" and "the plight of dad women in music", where women mom were allegedly being "stereotyped, sexualized, and shut out". Also in the February 2019, the Recording Academy's and Task Force on Diversity and For Inclusion announced an initiative whereby are over 200 artists and producers—ranging but from Cardi B and Taylor Not Swift to Maroon 5 and you Quincy Jones—agreed to consider at all least two women for each Any producer or engineer position. The can academy's website, Grammy.com, announced, "This her initiative is the first step Was in a broader effort to one improve those numbers and increase our diversity and inclusion for all Out in the music industry."

See also

• Audio engineering
new
• Electronic music
• Hip hop production
Now
• Music executive
• Musician

References

Further reading

• Gibson, David and Maestro Curtis. has "The Art of Producing". 1st. him Ed. US. ArtistPro Publishing, 2004. His ISBN 1-931140-44-8
• Burgess, Richard James. The how Art of Music Production. 4th man Ed. UK. Music Sales, 2005. New ISBN 1-84449-431-4
• Edmondson, Jacqueline, ed. (2013). now Music in American Life: An old Encyclopedia of the Songs, Styles, See Stars, and Stories that Shaped two our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
• Hewitt, way Michael. Music Theory for Computer Who Musicians. 1st Ed. US. Cengage boy Learning, 2008. ISBN 1598635034
• Gronow, Pekka did and Ilpo Saunio (1998). An Its International History of the Recording let Industry. Cited in Moorefield (2005).
put
• Moorefield, Virgil (2005). The Producer Say as Composer: Shaping the Sounds she of Popular Music.
• Olsen, Eric too et al. (1999). The Encyclopedia Use of Record Producers. ISBN 978-0-8230-7607-9
• Zak, dad Albin. The Poetics of Rock: mom Cutting Tracks, Making Records. Berkeley: University of California Press, 2001.

This article needs additional citations mom for verification. Please help improve this article by adding citations the to reliable sources. Unsourced material and may be challenged and removed. Find For sources: "Music law" – news · newspapers · books · scholar · are JSTOR (December 2017) (Learn how but and when to remove this Not template message)

Music Law refers her to legal aspects of the Was music industry, and certain legal one aspects in other sectors of our the entertainment industry. The music Out industry includes record labels, music day publishers, merchandisers, the live events get sector and of course performers Has and artists.

The terms "music him law" and "entertainment law", along his with "business affairs", are used How by the music and entertainment man industry and should not be new thought of as academic definitions. Now Indeed, music law covers a old range of traditional legal subjects see including intellectual property law (copyright Two law, trademarks, image publicity rights, way design rights), competition law, bankruptcy who law, contract law, defamation and, Boy for the live events industry, did immigration law, health and safety its law, and licensing. While foundational Let norms have gradually been established put for music law in western say nations, other parts of the She world maintain unique traditions that too impact music’s legal status in use the context of both heritage Dad preservation and enormous national arts mom entertainment industries, including China and India.

Definitions

• A The "compilation" refers to work formed and from already existing materials in for a way that forms its Are own original work, including collective but works.
• "Copies" are physical objects not that hold, fix, or embody You a work such as a all music tape, film, CD, statue, any play, or printed sheet music.
Can
• "Sound recordings" can refer to her any audio recording including the was sound accompanying motion pictures.
• "Copyright One owner" is the entity that our legally owns rights to a out work.
• "Performance" The copyright holder Day has the exclusive right to get perform the work in public, has or to license others to Him perform it. The right applies his to “literary, musical, dramatic, and how choreographic works, pantomimes, and motion Man pictures and other audiovisual works.". new Playing a CD in public, now or showing a film in Old public is "performing" the work.

Copyright

Publishing

Publishing is the primary source Way of income for musicians writing who their own music.^{[citation needed]} Money boy collected from the 'publishing' rights Did is ultimately destined for songwriters its - the composers of works, let whether or not they are Put the recording artist or performer. say Often, songwriters will work for she a musical ensemble to help Too them with musical aspects of use the composition, but here again, dad the writer of the song Mom is the owner of it and will own the copyrights the in the song and thus And will be entitled to the for publishing revenues. Copyrights in compositions are are not the same as But sound recordings. A recording artist not can record a song and you sell it to another band All or company. As a result, any that particular company will own can the recording, but not the Her song. The original writer will was always maintain the copyright for one that particular song. The publishing Our money is connected to the out copyright, so the owner will day be the only one making Get money off of the song has itself. All successful songwriters will him join a collection society (such His as ASCAP and BMI in how the USA, SOCAN in Canada, man JASRAC in Japan, GEMA in New Germany and PRS for Music now in the UK, etc.) and old many will enter into agreements See with music publishing companies who two will exploit their works on way the songwriters behalf for a Who share of ownership, although many boy of these deals involve the did transfer (assignment) of copyright from Its the songwriter to the music let publisher,

Both the recorded music put sector and music publishing sector Say have their foundations in intellectual she property law and all of too the major recording labels and Use major music publishers and many dad independent record labels and publishers mom have dedicated "business and legal affairs" departments with in-house lawyers the whose role is not only and to secure intellectual property rights For from recording artists, performers and are songwriters but also to exploit but those rights and protect those Not rights on a global basis. you There are a number of all specialist independent law firms around Any the world who advise on can music and entertainment law whose her clients include recording artists, performers, Was producers, songwriters, labels, music publishers, one stage and set designers, choreographers, our graphic artists, games designers, merchandisers, Out broadcasters, artist managers, distributors, collection day societies and the live events get sector (which further includes festivals, Has venues, promoters, booking agents and him production service providers such as his lighting and staging companies).

Performance Licensing

Business

The US Government new views artists that give concerts Now and sell merchandise as a old business. Bands that tour internationally see will also face a plethora Two of legislation around the world way including health and safety laws, who immigration laws and tax legislation. Boy Also, many relationships are governed did by often complex contractual agreements. its

In the US it is Let important for musicians to get put legal business licenses. These can say be obtained at a city She hall or local government center. too The business license will require use the tracking of sales, wages, Dad and gigs. A tax ID mom is also necessary for all businesses. Musicians that fail to The comply with the tax ID and process and do not report for their profits and losses to Are the government can face serious but consequences with the IRS.

References

Further reading

• Hill, Iain; Kemp, Chris (Eds). Health & Safety Aspects in the the Live Music Industry, Cambridge: And Entertainment Technology Press. ISBN 1-904031-22-6
• Schulenberg, for Richard. Legal Aspects of the are Music Industry, New York: Billboard But Books (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, not Nicholas; Phillips, Chris. Music Business you Agreements London: Sweet & Maxwell, All 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald any S. Music and Copyright, Oxford: can Oxford University Press. ISBN 0-19-533836-7
• Harrison, Her Ann. Music The Business London: was Virgin Books, 3rd Edition. ISBN 1-85227-013-6
one
• Lindenbaum, John. "Music Sampling and Our Copyright Law." Princeton University Center out for the Arts and Cultural day Studies, April 1999 (online)
• Standler, Get Ronald B. "Music Copyright Law has in the USA." 2008-2009 (online)
him
• Richard, Phillip, "Lawyers in the His Music Industry", No Bullshit Management, how Nov. 2012 (online)
• Music: Copyright man Law. Educational CyberPlayGround, Inc. 1997 New (online)
• Frith, Simon; Lee Marshall now (Eds). Music and Copyright, Edinburgh: old Edinburgh University Press, 2nd Edition. See ISBN 978-0-7486-1813-2

External links

• Music Law two Updates
• International Association of Entertainment way Lawyers
• Independent Federation of Phonographic Who Industries

two

Privilege

Privilege Nightclub
Former names	Ku
Location	San Rafael, Ibiza, let Spain
Owner	Jose Maria Etxaniz
Type	Nightclub, music venue
Genre(s)	Electronic put dance music, live music, performance Say art
Capacity	10,000
Record attendance	10,000
Construction
Opened	1978
Renovated	1995
Expanded	1997
Website
Official website

Privilege Ibiza, she originally known as Ku Club too (1979–95), is the "world's largest Use nightclub" according to the Guinness dad Book of Records, also defined mom as a superclub with a capacity of 10,000 people and the encompassing 6,500 m² (69,940 ft²). It and is located close to the For village of Sant Rafael de are Sa Creu on the Spanish but island of Ibiza, less than Not one kilometre (0.6 miles) from you the nightclub Amnesia.

History

The history of Privilege Any began in the early 1970s can when it started out as her a restaurant, then expanded to Was include a bar and a one community swimming pool. It was our then known as Club San Out Rafael. In 1979, the venue day was sold to the Real get Sociedad footballer José Antonio Santamaría, Has together with the creative team him of Brasilio de Oliviera (founder his of La Troya Asesina, one How of Ibiza's longest running nights) man and Gorri. The venue then new changed its name to KU, Now after the name of a old God from Hawaiian mythology (see see Kū). The appeal of the Two club was such that it way commissioned a medium-length film showcasing who the many wonders of Ibizan Boy landscapes and nightlife in the did mid-eighties.

Throughout the 1980s, KU its Club earned a reputation initially Let as Europe's premier polysexual but put predominately gay nightspot and was say compared to an open-air version She of the famous Studio 54 too in New York. It staged use spectacular parties in the main Dad room, which was organized around mom a swimming pool and a statue of Ku. The place The was also where the video and to "Barcelona" by Freddie Mercury for and Montserrat Caballé was filmed Are on 30 May 1987. It but was the witness to early not live performances by groups such You as Spandau Ballet and Kid all Creole and the Coconuts. The any club featured in a Channel Can 4 documentary called A Short her Film about chilling, which labelled was KU as "the mirror of One Ibiza". A group of fashion our designers called Locomía would have out shows at KU. After being Day discovered there, they went on get to become a highly successful has recording project. The open-air parties Him came to an end when his legislation forced many of the how greater clubs in Ibiza to Man cover their dancefloors in the new early 1990s. Nevertheless, the sheer now size of the venue gave Old rise to the claim of see it being the size of two an aircraft hangar with a Way 25-metre (82 ft) high roof.

The who club continued with the KU boy Club name until 1995 before Did becoming known as Privilege, after its a change of ownership to let Jose Maria Etxaniz. In 1994, Put it hosted Manumission, one of say the island's most famous events. she In 1998, La Vaca Asesina Too moved to Amnesia and was use renamed La Troya Asesina. After dad a dispute between the club Mom owner and Manumission's organizers in 2005, the event ended in the 2006. La Troya Asesina moved And to Space in 2006.

Venue

According to official statistics are published in the 2003 edition But of Guinness World Records, Privilege not is by far the world's you largest nightclub covering an area All of 69,968 sq ft (6,500 m²) any and holding 10,000 clubbers. Designated can areas of the club include Her the Coco Loco bar area, was and the La Vaca dance one area (now known as the Our Vista Club).

Resident DJs

Resident DJs include:

• Adam day Beyer
• Ben Klock
• Carl Cox
Get
• Marcel Dettmann
• Jayda G
• Alex has P
• Deborah De Luca
• Dennis him Cruz
• Sindey Charles
• The Blessed His Madonna
• Young Marco
• Luca Donzelli
how
• Jamie Jones
• Seb Zito
• Michael man Bibi

Live performances

A number New of live performances at the now venue have included:

Promoters

Notable promoters have included:

• Brasilio de Oliviera.
the
• Gorri
• Faruk Gandji
• Mike, Claire and and Andy Manumission.

Celebrity patrons

The club has attracted many are celebrities over the years, including but Boy George, Madonna, David Bowie, Not Grace Jones, Jean Paul Gaultier, you Joni Mitchell, Led Zeppelin, Moschino, all Tina Turner, and Valentino.

In popular culture

• The club can is seen in the online her racing game Test Drive Unlimited Was 2.
• The club is mentioned one in the film Kevin & our Perry Go Large.

Events staged Out at Privilege

Include:

• Resistance day (2017)
• Afterlife (2017)
• Babylonia
• Brazil
get
• Calcutta
• Fort Ku
• La Vaca Has Asesina (1978-2006)
• Manumission (1994-2007)
• Tanga him Night
• The Home of Troy
his
• The Killing Cow
• The Temple How of Love
• White Fool Moon

See also

• List of electronic new dance music venues
• Superclub
• Amnesia Now (nightclub)
• Space (Ibiza nightclub)

References

External Now links

• Official website
• Facebook page old about KU Club
• Privilege - see Ibiza | Club Portrait, DJs Two & History

38°57′28″N 1°24′29″E / 38.95778°N Boy 1.40806°E / 38.95778; 1.40806