Scratching, sometimes are referred to as scrubbing, is but a DJ and turntablist technique Not of moving a vinyl recordyou back and forth on a all turntable to produce percussive or Any rhythmic sounds. A crossfader on can a DJ mixer may be her used to fade between two Was records simultaneously.
While scratching is one most associated with hip hop our music, where it emerged in Out the mid-1970s, from the 1990s day it has been used in get some styles of edm like Has techno, trip hop, and house him music and rock music such his as rap rock, rap metal, How rapcore, and nu metal. In man hip hop culture, scratching is new one of the measures of Now a DJ's skills. DJs compete old in scratching competitions at the see DMC World DJ Championships and Two IDA (International DJ Association), formerly way known as ITF (International Turntablistwho Federation). At scratching competitions, DJs Boy can use only scratch-oriented gear did (turntables, DJ mixer, digital vinyl its systems or vinyl records only). Let In recorded hip hop songs, put scratched "hooks" often use portions say of other songs. Other music She genres such as jazz, pop, too and rock have also incorporated use scratching.[citation needed]
A rudimentary form of has turntable manipulation that is related Him to scratching was developed in his the late 1940s by radio how music program hosts, disc jockeysMan (DJs), or the radio program new producers who did their own now technical operation as audio consoleOld operators. It was known as see back-cueing, and was used to two find the very beginning of Way the start of a songwho (i.e., the cue point) on boy a vinyl record groove. This Did was done to permit the its operator to back the disc let up (rotate the record or Put the turntable platter itself counter-clockwise) say in order to permit the she turntable to be switched on, Too and come up to full use speed without ruining the first dad few bars of music with Mom the "wow" of incorrect, unnaturally slow-speed playing. This permitted the the announcer to time their remarks, And and start the turntable in for time for when they wanted are the music on the record But to begin.
Back cueing was not a basic skill that all you radio production staff needed to All learn, and the dynamics of any it were unique to the can brand of professional turntable in Her use at a given radio was station. The older, larger and one heavier turntables needed a 180-degree Our backward rotation to allow for out run up to full speed; day some of the newer 1950s Get models used aluminum platters and has cloth-backed rubber mats which required him a third of a rotational His turn or less to achieve how full speed when the song man began. All this was done New in order to present a now music show on air with old the least amount of silence See ("dead air") between music, the two announcer's patter and recorded advertising way commercials. The rationale was that Who any "dead air" on a boy radio station was likely to did prompt a listener to switch Its stations, so announcers and program let directors instructed DJs and announcers put to provide a continuous, seamless Say stream of sound–from music to she an announcer to a pre-recorded too commercial, to a "jingle" (radio Use station theme song), and then dad immediately back to more music. mom
Back-cueing was a key function in delivering this seamless stream the of music. Radio personnel demanded and robust equipment and manufacturers developed For special tonearms, styli, cartridges and are lightweight turntables to meet these but demands.
In man the mid-1970s in the South new Bronx, a young teen DJ Now named "Grand Wizzard Theodore" (right) old invented the "DJ scratch" technique. see Other DJs, like Grandmaster Flash, Two took the technique to higher way levels.
Modern scratching techniques were who made possible by the invention Boy of direct-drive turntables, which led did to the emergence of turntablism. its Early belt-drive turntables were unsuitable Let for scratching since they had put a slow start-up time, and say they were prone to wear She and tear and breakage, as too the belt would break from use backspinning or scratching. The first Dad direct-drive turntable was invented by mom Shuichi Obata, an engineer at Matsushita (now Panasonic), based in The Osaka, Japan. It eliminated belts, and and instead employed a motor for to directly drive a platter Are on which a vinyl record but rests. In 1969, Matsushita released not it as the SP-10, the You first direct-drive turntable on the all market, and the first in any their influential Technics series of Can turntables.
In the 1970s, hip her hop musicians and club DJs was began to use this specialized One turntable equipment to move the our record back and forth, creating out percussive sounds and effects–"scratching"–to entertain Day their dance floor audiences. Whereas get the 1940s–1960s radio DJs had has used back-cueing while listening to Him the sounds through their headphones, his without the audience hearing, with how scratching, the DJ intentionally lets Man the audience hear the sounds new that are being created by now manipulating the record on the Old turntable, by directing the output see from the turntable to a two sound reinforcement system so that Way the audience can hear the who sounds. Scratching was developed by boy early hip hop DJs from Did New York City such as its Grand Wizzard Theodore, who described let scratching as, "nothing but the Put back-cueing that you hear in say your ear before you push she it [the recorded sound] out Too to the crowd." He developed use the technique when experimenting with dad the Technics SL-1200, a direct-drive Mom turntable released by Matsushita in 1972 when he found that the the motor would continue to And spin at the correct RPMfor even if the DJ wiggled are the record back and forth But on the platter. Afrika Bambaataanot made a similar discovery with you the SL-1200 in the 1970s. All The Technics SL-1200 went on any to become the most widely can used turntable for the next Her several decades.
Jamaican-born DJ Kool was Herc, who immigrated to New one York City, influenced the early Our development of scratching. Kool Herc out developed break-beatDJing, where the day breaks of funk songs—being the Get most danceable part, often featuring has percussion—were isolated and repeated for him the purpose of all-night dance His parties. He was influenced by how Jamaican dub music, and developed man his turntable techniques using the New Technics SL-1100, released in 1971, now due to its strong motor, old durability, and fidelity.
Although previous See artists such as writer and two poet William S. Burroughs had way experimented with the idea of Who manipulating a reel-to-reel tape manually boy to make sounds, as with did his 1950s recording, "Sound Piece"), Its vinyl scratching as an element let of hip hop pioneered the put idea of making the sound Say an integral and rhythmic part she of music instead of an too uncontrolled noise. Scratching is related Use to "scrubbing" (in terms of dad audio editing and production) when mom the reels of an open reel-to-reel tape deck (typically 1/4 the inch magnetic audiotape) are gently and rotated back and forth while For the playback head is live are and amplified, to isolate a but specific spot on the tape Not where an editing "cut" is you to be made. Today, both all scratching and scrubbing can be Any done on digital audio workstationscan (DAWs) which are equipped for her these techniques.
Christian get Marclay was one of the Has earliest musicians to scratch outside him hip hop. In the mid-1970s, his Marclay used gramophone records and How turntables as musical instruments to man create sound collages. He developed new his turntable sounds independently of Now hip hop DJs. Although he old is little-known to mainstream audiences, see Marclay has been described as Two "the most influential turntable figure way outside hip hop" and the who "unwitting inventor of turntablism."
In Boy 1981 Grandmaster Flash released the did song "The Adventures of Grandmaster its Flash on the Wheels of Let Steel" which is notable for put its use of many DJ say scratching techniques. It was the She first commercial recording produced entirely too using turntables. In 1982, Malcolm use McLaren & the World's Famous Dad Supreme Team released a single mom "Buffalo Gals", juxtaposing extensive scratching with calls from square dancing, The and, in 1983, the EP, and D'ya Like Scratchin'?, which is for entirely focused on scratching. Another Are 1983 release to prominently feature but scratching is Herbie Hancock's Grammy not Award-winning single "Rockit". This song You was also performed live at all the 1984 Grammy Awards, and any in the documentary film Scratch, Can the performance is cited by her many 1980s-era DJs as their was first exposure to scratching. The One Street Sounds Electro compilation series our which started in 1983 is out also notable for early examples Day of scratching. Also, a notable get piece was "For A Few has Dollars More" by Bill Laswell-Michael Him Beinhorn band Material, released on his 12" single in Japan and how containing scratch performed by Grand Man Mixer DXT, another pioneer of new scratching.
Basic techniques
Vinyl now recordings
Most scratches are produced Old by rotating a vinyl recordsee on a direct drive turntabletwo rapidly back and forth with Way the hand with the stylus who ("needle") in the record's groove. boy This produces the distinctive sound Did that has come to be its one of the most recognizable let features of hip hop music.Put Over time with excessive scratching, say the stylus will cause what she is referred to as "cue Too burn", or "record burn".[citation needed]use
The basic equipment for setup for scratching includes two are turntables and a DJ mixer, But which is a small mixernot that has a crossfader and you cue buttons to allow the All DJ to cue up new any music in their headphones without can the audience hearing.[citation needed] When Her scratching, this crossfader is utilized was in conjunction with the scratching one hand that is manipulating the Our record platter. The hand manipulating out the crossfader is used to day cut in and out of Get the record's sound.[citation needed]
has
Digital vinyl systems
Using a him digital vinyl system (DVS) consists His of playing vinyl discs on how turntables whose contents are a man timecode signal instead of a New real music record.
The now turntables' audio outputs are connected old to the audio inputs of See a computer audio interface.
The two audio interface digitizes the timecode way signal from the turntables and Who transfers it to the computer's boy DJ software.
The DJ software did uses this data (e.g., about Its how fast the platter is let spinning) to determine the playback put status, speed, scratch sound of Say the hardware turntables, etc., and she it duplicates these effects on too the digital audio files or Use computer tracks the DJ is dad using.
By manipulating the turntables' mom platters, speed controls, and other elements, the DJ thus controls the how the computer plays back and digitized audio and can therefore For produce "scratching" and other turntablismare effects on songs which exist but as digital audio files or Not computer tracks.
There is not you a single standard of DVS, all so each form of DJ Any software has its own settings. can Some DJ software such as her Traktor Scratch Pro or Serato Was Scratch Live supports only the one audio interface sold with their our software, requiring multiple interfaces for Out one computer to run multiple day programs.
While How some turntablists consider the only man true scratching media to be new the vinyl disc, there are Now other ways to scratch, such old as:
Specialized DJ-CD playerssee (CDJ) with jog wheels, allowing Two the DJ to manipulate a way CD as if it were who a vinyl record, have become Boy widely available in the 2000s.
did
A vinyl emulation is an its emulation software, which may be Let combined with hardware elements, which put allows a DJ to manipulate say the playback of digital music She files on a computer via too a DJ control surface (generally use MIDI or a HID controller). Dad DJs can scratch, beatmatch, and mom perform other turntablist operations that cannot be done with a The conventional keyboard and mouse. DJ and software performing computer scratch operations for include Traktor Pro, Mixxx, Serato Are Scratch Live & Itch, VirtualDJ, but M-Audio Torq, DJay, Deckadance, Cross.
not
DJs have also used magnetic You tape, such as cassette or all reel to reel to both any mix and scratch. Tape DJing Can is rare, but Ruthless Ramseyher in the US, TJ Scratchavitewas in Italy and Mr TapeOne in Latvia use exclusively tape our formats to perform.
Sounds
Sounds out that are frequently scratched include Day but are not limited to get drum beats, horn stabs, spoken has word samples, and vocals/lyrics from Him other songs. Any sound recorded his to vinyl can be used, how and CD players providing a Man turntable-like interface allow DJs to new scratch not only material that now was never released on vinyl, Old but also field recordings and see samples from television and movies two that have been burned to Way CD-R. Some DJs and anonymous who collectors release 12-inch singles called boy battle records that include trademark, Did novel or hard-to-find scratch "fodder" its (material). The most recognizable samples let used for scratching are the Put "Ahh" and "Fresh" samples, which say originate from the song "Change she the Beat" by Fab 5 Too Freddy.
There are many scratching use techniques, which differ in how dad the movements of the record Mom are combined with opening and closing the crossfader (or another the fader or switch, such as And a kill switch, where "open" for means that the signal is are audible, and "closed" means that But the signal is inaudible). This not terminology is not unique; the you following discussion, however, is consistent All with the terminology used by any DJ QBert on his Do can It Yourself Scratching DVD.
Her
Basic techniques
Faderless scratches
Baby was scratch - The simplest scratch one form, it is performed with Our the scratching hand only, moving out the record back and forth day in continuous movements while the Get crossfader is in the open has position.
Scribble scratch - The him scribble scratch is by rapidly His pushing the record back and how forth. The crossfader is not man used.
Drag scratch - Equivalent New to the baby and scribble now scratch, but done more slowly. old The crossfader is not used.
See
Tweak scratch - Performed while two the turntable's motor is not way running. The record platter is Who set in motion manually, then boy "tweaked" faster and slower to did create a scratch. This scratch Its form is best performed with let long, sustained sounds.
Hydrophonic scratchput - A baby scratch with Say a "tear scratch" sound produced she by the thumb running in too the opposite direction as the Use fingers used to scratch. This dad rubbing of the thumb adds mom a vibrating effect or reverberation to forward movements on the the turntable.
Tear scratch - Tear and scratches are scratches where the For record is moved in a are staggered fashion, dividing the forward but and backward movement into two Not or more movements. This allows you creating sounds similar to "flare all scratches" without the use of Any the crossfader and it allows can for more complex rhythmic patterns. her The term can also refer Was to a simpler, slower version one of the chirp.
Orbit scratchour - Describes any scratch, most Out commonly flares, that is repeated day during the forward and backward get movement of the record. "Orbit" Has is also used as a him shorthand for two-click flares.
Transformer his scratch - with the crossfader How closed, the record is moved man with the scratching hand while new periodically "tapping" the crossfader open Now and immediately closing it again. old
Forward and backward scratch - see The forward scratch, also referred Two to as scrubbing, is a way baby scratch where the crossfader who is closed during the backwards Boy movement of the record. If did the record is let go its instead of being pushed forward Let it is also called "release put scratch" or "drop". Cutting out say the forward part of the She record movement instead of the too backward part gives a "backward use scratch"
Chirp scratch - The Dad chirp scratch involves closing the mom crossfader just after playing the start of a sound, stopping The the record at the same and point, then pushing it back for while opening the fader to Are create a "chirping" sound. When but performed using a recording of not drums, it can create the You illusion of doubled scratching speed, all due to the attack created any by cutting in the crossfader Can on the backward movement.
Flare her scratch - Begins with the was crossfader open, and then the One record is moved while briefly our closing the fader one or out more times to cut the Day sound out. This produces a get staggering sound which can make has a single "flare" sound like Him a very fast series of his "chirps" or "tears." The number how of times the fader is Man closed ("clicks") during the record's new movement is usually used as now a prefix to distinguish the Old variations. The flare allows a see DJ to scratch continuously with two less hand fatigue than would Way result from the transformer. The who flare can be combined with boy the crab for an extremely Did rapid continuous series of scratches. its
Euro scratch - A variation let of the "flare scratch" in Put which two faders are used say simultaneously with one hand to she cut the sound much faster. Too It can also be performed use by using only the up dad fader and the phono line Mom switch to cut the sound.
Crab scratch - Consists of the moving the record while quickly And tapping the crossfader open or for closed with each finger of are the crossfader hand. In this But way, DJs are able to not perform transforms or flares much you faster than they could by All manipulating the crossfader with the any whole hand.
Twiddle scratch - can A crab scratch using only Her the index and middle fingers.
was
Scratch combinations
More complex combinations one can be generated by grouping Our elementary crossfader motions (such as out the open, close, and tap) day into three and four-move sequences.Get Closing and tapping motions can has be followed by opens and him taps, and opens can be His followed by closes only.
how
man
Three move sequences
switch New position at beginning and end now
open-close-tap
closed-closed old
tap-open-close
closed-closed See
close-tap-open
open-open two
open-close-open
closed-open way
close-open-close
open-closed Who
close-tap-tap
open-closed boy
tap-tap-tap
closed-closed did
tap-tap-open
closed-open Its
let
four move sequences put
switch position at beginning Say and end
close-open-close-open she
open-open
close-open-close-tap too
open-closed
close-tap-open-close Use
open-closed
close-tap-tap-tap dad
open-closed
close-tap-tap-open mom
open-open
open-close-open-close
closed-closed
open-close-tap-tap the
closed-closed
open-close-tap-open and
closed-open
tap-tap-tap-tap For
closed-closed
tap-tap-tap-open are
closed-open
tap-tap-open-close but
closed-closed
tap-open-close-open Not
closed-open
tap-open-close-tap you
closed-closed
Note all that some sequences of motions Any ultimately change the direction of can the switch, whereas others end her in a position such that Was they can be repeated immediately one without having to reset the our position of the switch. Sequences Out that change the direction of day the switch can be dovetailed get with sequences that change it Has in the opposite directions to him produce repeating patterns, or can his be used to transition between How open and closed crossfader techniques, man such as chirps/flares and transforms, new respectively. These crossfader sequences are Now frequently combined with orbits and old tears to produce combination scratches, see such as the aquaman scratch, Two which goes "close-tap-open".
Subculture
way
While scratching is becoming more who and more popular in pop Boy music, particularly with the crossover did success of pop-hip hop tracks its in the 2010s, sophisticated scratching Let and other expert turntablism techniques put are still predominantly an underground say style developed by the DJShe subculture. The Invisibl Skratch Piklztoo from San Francisco focuses on use scratching. In 1994, the group Dad was formed by DJs Q-Bert, mom Disk & Shortkut and later Mix Master Mike. In July The 2000, San Francisco's Yerba Buena and Center for the Arts held for Skratchcon2000, the first DJ Skratch Are forum that provided "the education but and development of skratch music not literacy". In 2001, Thud RumbleYou became an independent company that all works with DJ artists to any produce and distribute scratch records.[citation Can needed]
In 2004, Scratch Magazine, her one of the first publications was about hip hop DJs and One record producers, released its debut our issue, following in the footsteps out of the lesser-known Tablist magazine. Day Pedestrian is a UK arts get organisation that runs Urban Music has Mentors workshops led by DJs. Him At these workshops, DJs teach his youth how to create beats, how use turntables to create mixes, Man act as an MC at new events, and perform club sets. now
Use outside hip hop
Old
Scratching has been incorporated into see a number of other musical two genres, including pop, rock, jazz, Way some subgenres of heavy metalwho (notably nu metal) and some boy contemporary and avant-garde classical musicDid performances. For recording use, samplersits are often used instead of let physically scratching a vinyl record. Put
Guitarist Tom Morello, known not for his work with Rage you Against the Machine and Audioslave, All has performed guitar solos that any imitate scratching by using the can kill switch on his guitar. Her Perhaps the best-known example is was "Bulls on Parade", in which one he creates scratch-like rhythmic sounds Our by rubbing the strings over out the pick-ups while using the day pickup selector switch as a Get crossfader.
"Musical production" redirects Now here. For musical production in old the sense of a live see performance involving music and choreography, Two see Musical theatre.
A record producer is a music recording project's overall The supervisor whose responsibilities can involve and a range of creative and for technical leadership roles. Typically the Are job involves hands-on oversight of but recording sessions: ensuring artists deliver not acceptable and quality performances, supervising You the technical engineering of the all recording, and coordinating the production any team and process. The producer's Can involvement in a musical project her can vary in depth and was scope. Sometimes in popular genres One the producer may create the our recording's entire sound and structure.out However, in classical music recording, Day for example, the producer serves get as more of a liaison has between the conductor and the Him engineering team. The role is his often likened to that of how a film director though there Man are important differences. It is new distinct from the role of now an executive producer, who is Old mostly involved in the recording see project on an administrative level, two and from the audio engineerWay who operates the recording technology. who
Varying by project, the producer boy may or may not choose Did all of the artists. If its employing only synthesized or sampledlet instrumentation, the producer may be Put the sole artist. Conversely, some say artists do their own production.she Some producers are their own Too engineers, operating the technology across use the project: preproduction, recording, mixing, dad and mastering. Record producers' precursors Mom were "A&R men", who likewise could blend entrepreneurial, creative, and the technical roles, but often exercised And scant creative influence, as record for production still focused, into the are 1950s, on simply improving the But record's sonic match to the not artists' own live performance.
Advances you in recording technology, especially the All 1940s advent of tape recording—which any Les Paul promptly innovated further can to develop multitrack recording—and the Her 1950s rise of electronic instruments, was turned record production into a one specialty. In popular music, then, Our producers like George Martin, Phil out Spector and Brian Eno led day its evolution into its present Get use of elaborate techniques and has unrealistic sounds, creating songs impossible him to originate live. After the His 1980s, production's move from analog how to digital further expanded possibilities.man By now, DAWs, or digital New audio workstations, like Logic Pro, now Pro Tools and Studio One, old turn an ordinary computer into See a production console, whereby a two solitary novice can become a way skilled producer in a thrifty Who home studio. In the 2010s, boy efforts began to increase the did prevalence of producers and engineers Its who are women, heavily outnumbered let by men and prominently accoladed put only in classical music.
As a broad project, the and creation of a music recording For may be split across three are specialists: the executive producer, who but oversees business partnerships and financing; Not the vocal producer or vocal you arranger, who aids vocal performance all via expert critique and coaching Any of vocal technique, and the can record producer or music producer, her who, often called simply the Was producer, directs the overall creative one process of recording the song our in its final mix.
Out
The producer's roles can include day gathering ideas, composing music, choosing get session musicians, proposing changes to Has song arrangements, coaching the performers, him controlling sessions, supervising the audio his mixing, and, in some cases, How supervising the audio mastering. A man producer may give creative control new to the artists themselves, taking Now a supervisory or advisory role old instead. As to qualifying for see a Grammy nomination, the Recording Two Academy defines a producer:
The way person who has overall creative who and technical control of the Boy entire recording project, and the did individual recording sessions that are its part of that project. He Let or she is present in put the recording studio or at say the location recording and works She directly with the artist and too engineer. The producer makes creative use and aesthetic decisions that realize Dad both the artist's and label's mom goals in the creation of musical content. Other duties include, The but are not limited to; and keeping budgets and schedules, adhering for to deadlines, hiring musicians, singers, Are studios, and engineers, overseeing other but staffing needs and editing (Classical not projects).
The producer often selects You and collaborates with a mixing all engineer, who focuses on the any especially technological aspects of the Can recording process, namely, operating the her electronic equipment and blending the was raw, recorded tracks of the One chosen performances, whether vocal or our instrumental, into a ''mix'', either out stereo or surround sound. Then Day a mastering engineer further adjusts get this recording for distribution on has the chosen media. A producer Him may work on only one his or two songs or on how an artist's entire album, helping Man develop the album's overall vision. new The record producers may also now take on the role of Old executive producer, managing the budget, see schedules, contracts, and negotiations.
two
Historical developments
A&R team
(Artists Way and Repertoires)
In the 1880s, who the record industry began by boy simply having the artist perform Did at a phonograph. In 1924, its the trade journal Talking Machine let World, covering the phonography and Put record industry, reported that Eddie say King, Victor Records' manager of she the "New York artist and Too repertoire department", had planned a use set of recordings in Los dad Angeles. Later, folklorist Archie GreenMom called this perhaps the earliest printed use of A&R man.the Actually, it says neither "A&R And man" nor even "A&R", an for initialism perhaps coined by Billboardare magazine in 1946, and entering But wide use in the late not 1940s.
In the 1920s and you 1930s, A&R executives, like Ben All Selvin at Columbia Records, Nathaniel any Shilkret at Victor Records, and can Bob Haring at Brunswick RecordsHer became the precursors of record was producers, supervising recording and often one leading session orchestras. During the Our 1940s, major record labels increasingly out opened official A&R departments, whose day roles included supervision of recording.Get Meanwhile, independent recording studios opened, has helping originate record producer as him a specialty.[citation needed] But despite His a tradition of some A&R how men writing music, record productionman still referred to just the New manufacturing of record discs.
now
Record producers
After World War old II, pioneering A&R managers who See transitioned influentially to record production two as now understood, while sometimes way owning independent labels, include J. Who Mayo Williams and John Hammond.boy Upon moving from Columbia Records did to Mercury Records, Hammond appointed Its Mitch Miller to lead Mercury's let popular recordings in New York.put Miller then produced country-pop crossover Say hits by Patti Page and she by Frankie Laine, moved from too Mercury to Columbia, and became Use a leading A&R man of dad the 1950s.
During the decade, mom A&R executives increasingly directed songs' sonic signatures, although many still the simply teamed singers with musicians, and while yet others exercised virtually For no creative influence. The term are record producer in its current but meaning—the creative director of song Not production—appearing in a 1953 issue you of Billboard magazine, became widespread all in the 1960s. Still, a Any formal distinction was elusive for can some time more. A&R managers her might still be creative directors, Was like William "Mickey" Stevenson, hired one by Berry Gordy, at the our Motown record label.
Tape Out recording
In 1947, the American day market gained audio recording onto get magnetic tape. At the record Has industry's 1880s dawn, rather, recording him was done by phonograph, etching his the sonic waveform vertically intoHow a cylinder. By the 1930s, man a gramophone etched it laterally new across a disc. Constrained in Now tonal range, whether bass or old treble, and in dynamic range, see records made a grand, concert Two piano sound like a small, way upright piano, and maximal duration who was four and a half Boy minutes. Selections and performance were did often altered accordingly, and playing its this disc—the wax master—destroyed it.Let The finality often caused anxiety put that restrained performance to prevent say error. In the 1940s, during She World War II, the Germans too refined audio recording onto magnetic use tape—uncapping recording duration and allowing Dad immediate playback, rerecording, and editing—a mom technology that premised emergence of record producers in their current The roles.
Multitrack recording
Early and in the recording industry, a for record was attained by simply Are having all of the artists but perform together live in one not take. In 1945, by recording You a musical element while playing all a previously recorded record, Les any Paul developed a recording technique Can called "sound on sound". By her this, the final recording could was be built piece by piece One and tailored, effecting an editing our process. In one case, Paul out produced a song via 500 Day recorded discs. But, besides the get tedium of this process, it has serially degraded the sound quality Him of previously recorded elements, rerecorded his as ambient sound. Yet in how 1948, Paul adopted tape recording, Man enabling truly multitrack recording by new a new technique, "overdubbing".
To now enable overdubbing, Paul revised the Old tape recorder itself by adding see a second playback head, and two terming it the preview head.Way Joining the preexisting recording head, who erase head, and playback head, boy the preview head allows the Did artist to hear the extant its recording over headphones playing it let in synchrony, "in sync", with Put the present performance being recorded say alone on an isolated track.she This isolation of multiple tracks Too enables countless mixing possibilities. Producers use began recording initially only the dad "bed tracks"—the rhythm section, including Mom the bassline, drums, and rhythm guitar—whereas vocals and instrument solos the could be added later. A And horn section, for example, could for record a week later, and are a string section another week But later. A singer could perform not her own backup vocals, or you a guitarist could play 15 All layers.
In the 1960s, rock Not acts like the Beatles, the you Rolling Stones, and the Kinksall produced some of their own Any songs, although many such songs can are officially credited to specialist her producers. Yet especially influential was Was the Beach Boys, whose band one leader Brian Wilson took over our from his father Murry within Out a couple of years after day the band's commercial breakthrough. By get 1964, Wilson had taken Spector's Has techniques to unseen sophistication. Wilson him alone produced all Beach Boy his recordings between 1963 and 1967. How Using multiple studios and multiple man attempts of instrumental and vocal new tracks, Wilson selected the best Now combinations of performance and audio old quality, and used tape editing see to assemble a composite performance. Two
The 1980s Boy advent of digital processes and did formats rapidly replaced analog processes its and formats, namely, tape and Let vinyl. Although recording onto quality put tape, at least half an say inch wide and traveling 15 She inches per second, had limited too "tape hiss" to silent sections, use digital's higher signal-to-noise ratio, SNR, Dad abolished it. Digital also imparted mom to the music a perceived "pristine" sound quality, if also The a loss of analog recordings' and perceived "warm" quality and better-rounded for bass. Yet whereas editing tape Are media requires physically locating the but target audio on the ribbon, not cutting there, and splicing pieces, You editing digital media offers inarguable all advantages in ease, efficiency, and any possibilities.
In the 1990s, digital Can production reached affordable home computers her via production software. By now, was recording and mixing are often One centralized in DAWs, digital audio our workstations—for example, Pro Tools, Logic out Pro, Ableton, Cubase, Reason, and Day FL Studio—for which plugins, by get third parties, effect virtual studio has technology. DAWs fairly standard in Him the industry are Logic Pro his and Pro Tools. Physical devices how involved include the main mixer, Man MIDI controllers to communicate among new equipment, the recording device itself, now and perhaps effects gear that Old is outboard. Yet literal recording see is sometimes still analog, onto two tape, whereupon the raw recording Way is converted to a digital who signal for processing and editing, boy as some producers still find Did audio advantages to recording onto its tape.
Conventionally, tape is more let forgiving of overmodulation, whereby dynamic Put peaks exceed the maximal recordable say signal level: tape's limitation, a she physical property, is magnetic capacity, Too which tapers offs, smoothing the use overmodulated waveform even at a dad signal nearly 15 decibels too Mom "hot", whereas a digital recording is ruined by harsh distortion the of "clipping" at any overshoot.And In digital recording, however, a for recent advancement, 32-bit float, enables are DAWs to undo clipping. Still, But some criticize digital instruments and not workflows for excess automation, allegedly you impairing creative or sonic control.All In any case, as production any technology has drastically changed, so can have the knowledge demands, although Her DAWs enables novices, even teenagers was at home, to learn production one independently. Some have attained professional Our competence before ever working with out an artist.
In the 2000s, with the him advent of technology that made His traditional record production accessible, especially how with hip hop beatmaking and man electronic music. Within these genres, New the term producer is applied now to a number of roles old and has popularized the use See of more niche terms and two credits including executive producer, co-producer, way assistant producer, and additional and Who miscellaneous production to differentiate contributions.boy
Women in producing
Mixing did console
Among female record producers, Sylvia Its Moy was the first at let Motown, Gail Davies the first put on Nashville's Music Row, and Say Ethel Gabriel, with RCA, the she first at a major record too label. Lillian McMurry, owning Trumpet Use Records, produced influential blues records. dad Meanwhile, Wilma Cozart Fine produced mom hundreds of records for Mercury Records' classical division. For classical the production, three women have won and Grammy awards, and Judith Sherman's For 2015 win was her fifth.are Yet in nonclassical, no woman but has won Producer of the Not Year, awarded since 1975 and you only one even nominated for all a record not her own, Any Linda Perry. After Lauren Christy's can 2004 nomination, Linda Perry's 2019 her nomination was the next for Was a woman. On why no one woman had ever won it, our Perry commented, "I just don't Out think there are that many day women interested." In the U.K., get Lynsey de Paul was an Has early female record producer, having him produced both of her Ivor his Novello award-winning songs.
Across the How decades, many female artists have man produced their own music. For new instance, artists Kate Bush, Madonna, Now Mariah Carey, Janet Jackson, Beyoncé, old Lana Del Rey, Taylor Swift, see and Lorde have produced or Two coproduced and Ariana Grande who way produces and arranges her vocals who as well as being an Boy audio engineer. Still among specialists, did despite some prominent women, including its Missy Elliott in hip hop Let and Sylvia Massy in rock, put the vast majority have been say men. Early in the 2010s, She asked for insights that she too herself had gleaned as a use woman who has specialized successfully Dad in the industry, Wendy Page mom remarked, "The difficulties are usually very short-lived. Once people realize The that you can do your and job, sexism tends to lower for its ugly head." Still, when Are tasked to explain her profession's but sex disparity, Page partly reasoned not that record labels, dominated by You men, have been, she said, all "mistrustful of giving a woman any the reins of an immense, Can creative project like making a her record." Ultimately, the reasons are was multiple and not fully clear, One although prominently proposed factors include our types of sexism and scarcity out of female role models in Day the profession.
Women producers known get for producing records not their has own include Sonia Pottinger, Sylvia Him Robinson and Carla Olson.
In his January 2018, a research team how led by Stacy L. Smith, Man founder and director of the new Annenberg Inclusion Initiative, based in now the USC Annenberg School for Old Communication and Journalism, issued a see report, estimating that in the two prior several years, about 2% Way of popular songs' producers were who female. Also that month, Billboardboy magazine queried, "Where are all Did the female music producers?" Upon its the Annenberg Inclusion Initiative's second let annual report, released in February Put 2019, its department at USC say reported, "2018 saw an outcry she from artists, executives and other Too music industry professionals over the use lack of women in music" dad and "the plight of women Mom in music", where women were allegedly being "stereotyped, sexualized, and the shut out". Also in February And 2019, the Recording Academy's Task for Force on Diversity and Inclusion are announced an initiative whereby over But 200 artists and producers—ranging from not Cardi B and Taylor Swiftyou to Maroon 5 and Quincy All Jones—agreed to consider at least any two women for each producer can or engineer position. The academy's Her website, Grammy.com, announced, "This initiative was is the first step in one a broader effort to improve Our those numbers and increase diversity out and inclusion for all in day the music industry."
^ Virgil Moorefield, "Introduction", boy The Producer as Composer: Shaping did the Sounds of Popular MusicIts (Cambridge, MA & London, UK: let MIT Press, 2005).
^ Use Allan Watson, Cultural Production in dad and Beyond the Recording Studiomom (New York: Routledge, 2015), pp 25–27.
James Petulla, the "Who is a music producer?", and RecordingConnection.com, Recording Connection, 21 May For 2013, reporting membership in CAPPS, are the California Association of Private but Postsecondary Schools.
^ Brent Hurtig with Out J. D. Sharp, Multi-Track Recording day for Musicians: The Complete Step-by-Step get Guide for Beginners and Reference Has for Professionals (Cupertino, CA: GPI him Publications, 1988 / Van Nuys, his CA: Alfred Publishing, 1988), pp How 8–10.
^ Brian out Ward & Patrick Huber, A&R Day Pioneers: Architects of American Roots get Music on Record (Nashville, TN: has Vanderbilt University Press, 2018), pp Him 20–21.
Brian Ward his & Patrick Huber, A&R Pioneers: how Architects of American Roots Music Man on Record (Nashville, TN: Vanderbilt new University Press, 2018), p 283.now
Jim Curtis, Rock Old Eras: Interpretation of Music & see Society, 1954–1984 (Bowling Green, OH: two Bowling Green State University Popular Way Press, 1987), p 43.
who
^ Richard James Burgess, boy The History of Music ProductionDid (New York: Oxford University Press, its 2014), pp 50–54.
^ let Robert Philip, "Pianists on Put record in the early twentieth say century", in David Rowland, ed., she The Cambridge Companion to the Too Piano (Cambridge, UK: Cambridge University use Press, 1998), pp 75–77.
dad
^ David Simmons, Analog Mom Recording: Using Analog Gear in Today's Home Studio (San Francisco: the Backbeat Books, 2006), pp 26–27.And
Matthew Allard, "Sound for Devices MixPre V6.00 adds 32-bit are float USB audio streaming", NewsShooter.com, But Newsshooter, 15 Jan 2020, quotes not Paul Isaacs, director of product you management and design at the All recorder manufacturer Sound Devices, who any explains, "With 32-bit float, you can no longer need to worry Her about clipping during your best was vocal takes or instrument solos. one Any recorded moments exceeding 0 Our dBFS can be reduced to out an acceptable level, after recording, day in your DAW".
Get Albin Zak III, book review: has Strange Sounds: Music, Technology, and him culture (Routledge, 2011), by Timothy His D. Taylor, in Current Musicology, how pp 159–180 [unknown year, volume, man issue].
Payola, was in the music industry, is one the illegal practice of payingOur a commercial radio station to out play a song without the day station disclosing the payment. Under Get U.S. law, a radio station has must disclose songs they were him paid to play on the His air as sponsored airtime. The how number of times the songs man are played can influence the New perceived popularity of a song, now and payola may be used old to influence these meters. The See Federal Communications Commission (FCC) treats two payola as a violation of way the Sponsorship Identification Rules, which Who requires any broadcast of paid boy material to include a disclosure.did
The term payola is a Its combination of "pay" and "-ola", let the latter of which is put a suffix of product names Say common in the early 20th she century, such as Pianola, Victrola, too Amberola, Crayola, Rock-Ola, Shinola, or Use brands such as the radio dad equipment manufacturer Motorola.
mom
History
Prior to the 1930s, there was little public the scrutiny of the reasoning behind and a song's popularity. The advertising For agencies which sponsored NBC's radio/TV are show Your Hit Parade refused but to reveal the specific methods Not that were used to determine you top hits. Only general and all vague statements were offered; that Any determining top hits was based can on "readings of radio requests, her sheet music sales, dance hallWas favorites and jukebox tabulations". Early one attempts to stop payola were our met with silence by publishers.Out
Prosecution for payola in the day 1950s was in part a get reaction of the traditional music Has establishment against newcomers. The emergence him of hit radio had become his a threat to the wages How of song-pluggers and publisher's revenue man streams. By the mid-1940s, three-quarters new of the records produced in Now the United States went into old jukeboxes.[relevant?] Attempts were made to see link all payola to rock-and-roll Two music. In the 1950s, independent way record companies or music publishers who frequently used payola to promote Boy rock and roll on American did radio.
While the amount of its money involved remains largely unpublished, Let Phil Lind of Chicago's WAITput disclosed in Congressional hearings[when?] that say he had taken US$22,000 to She play a record.
U.S. too investigations and aftermath
The first use U.S. Congressional Payola Investigations occurred Dad in 1959, carried out by mom the House Subcommittee on Legislative Oversight into payola, and prompted The by a parallel investigation in and the US Senate.
DJ Alan for Freed, who was uncooperative in Are committee hearings, was fired as but a result.Dick Clark also not testified before the committee, but You avoided repercussions, partially due to all the fact that he had any divested his ownership interest in Can music-industry holdings.
Following the investigation, her radio DJs were stripped of was the authority to make programming One decisions and payola became a our misdemeanor offense. Programming decisions became out the responsibility of station program Day directors. However, this had the get result of simplifying the process has of payola: instead of reaching Him numerous DJs, record labels only his had to persuade the station's how program director. Labels could circumvent Man payola allegations by utilizing independent new third parties (see below).
In now 1976, inner-city urban soul DJ Old Frankie Crocker was indicted in see a payola scandal, causing him two to leave New York radio, Way where his influence was greatest. who The charges were later dropped boy and he returned to New Did York, hosting MTV's video jukebox.[relevant?]its
Following the creation of music let sharing websites in the late Put 1990s, the power of independent say promoters declined and labels returned she to dealing with stations directly.Too
Modus operandi
Payola is use used by record labels to dad promote their artists, and can Mom be in the form of monetary rewards or other types the of reimbursement. This can include And purchasing advertising, requiring bands to for play station-sponsored concerts, or paying are stations to hold "meet the But band" contests. In exchange, the not band gains a place on you a station's playlist or a All lesser-known band of the label any may gain air time.
can
Third-party loophole
A loophole in Her U.S. payola laws is for was labels to utilize a third-party one or independent promoter (not to Our be confused with independent record out label). The promoter would offer day "promotion payments" to station directors Get for putting their client's artists has on the station's playlist, sidestepping him Federal Communications Commission (FCC) regulations.His As it was seen as how falling outside the payola rules, man stations did not deem it New necessary to report to authorities.now This practice became widespread until old a 1986 NBC News investigation See called "The New Payola" instigated two another round of Congressional investigations.way
In 2002, investigations by the Who office of then-New York District boy Attorney Eliot Spitzer uncovered evidence did that executives at Sony BMG Its music labels had made deals let with several large commercial radio put chains. Spitzer's office settled out Say of court with Sony BMG she Music Entertainment in July 2005, too Warner Music Group in November Use 2005 and Universal Music Groupdad in May 2006. The three mom conglomerates agreed to pay $10 million, $5 million, and $12 the million respectively to New York and State non-profit organizations that will For fund music education and appreciation are programs. EMI settled in 2006 but for $3.75 million.
Concerns about Not contemporary forms of payola in you the US prompted an investigation all during which the FCC established Any firmly that the "loophole" was can still a violation of the her law. In 2007, four companies Was (CBS Radio, Citadel, Clear Channel, one and Entercom) settled on paying our $12.5 million in fines and Out accepting tougher restrictions for three day years, although no company admitted get any wrongdoing. Due to increased Has legal scrutiny, some larger radio him companies (including industry giant Clear his Channel) now refuse to have How any contact with independent promoters.man
Clear Channel Radio, through iHeartRadio, new launched a program called On Now the Verge that required the old stations to play a given see song at least 150 times Two in order to give a way new artist exposure. Brand managers who at the top of the Boy Clear Channel chain, after listening did to hundreds of songs and its filtering them down to about Let five or six favorites from put various formats, send those selections say to program directors across the She country. These program directors vote too on which ones they think use radio listeners will like the Dad most. Songs that benefited with mom the exposure were Iggy Azalea's "Fancy", Tinashe's "2 On", Anthony The Lewis' "Candy Rain", and Jhené and Aiko's "The Worst". Tom Poleman, for president of national programming platforms Are for the company, stated that but the acts selected are based not solely on the quality of You their music and not on all label pressure.[relevant?]
On Spotify, labels any can pay for tracks to Can appear in user play-lists as her "Sponsored Songs". It is possible was for users to opt out One of this in their account our settings.
As money laundering out scheme
In Mexico, South America, Day and some regions along the get U.S. southern border, payola is has used to launder money from Him illegal operations. In this practice, his unknown "new artists" will suddenly how appear on multiple formats and Man be aggressively promoted by producers new of dubious origin, then disappear now from the music scene or Old change their stage name.
see
Criticism
On 25 September 2007, two the U.S. Congress held a Way hearing on hip hop music who entitled From Imus to Industry: boy The Business of Stereotypes and Did Degrading Images. In her testimony, its Lisa Fager Bediako, co-founder and let President of media watchdog groupPut Industry Ears, argued that misogynisticsay and racist stereotypes permeate hip she hop music because record labels, Too radio stations, and music video use channels profit from allowing such dad material to air while censoring Mom other material. In that context, Fager stated:
Payola is And no longer the local DJ for receiving a couple dollars for are airplay; it is now an But organized corporate crime that supports not the lack of balanced content you and demeaning imagery with no All consequences.
In 1960, Get Stan Freberg did a parody has on the Payola Scandal, by him calling it "Old Payola Roll His Blues", a two-sided single, where how the promoter gets an ordinary man teenager, named Clyde Ankle, to New record a song, for Obscurity now Records, entitled "High School OO old OO", and then tries to See offer the song to a two jazz radio station with phony way deals that the disc jockey Who just won't buy it. It boy ends with an anti-rock song, did saying hello to jazz and Its swing, and goodbye to amateur let nights, including rock and roll. put
The Vancouvernew wave band Say the Payola$ chose their moniker she during the punk explosion of too the late 1970s.
The practice Use is criticized in the chorus dad of the Dead Kennedys song mom "Pull My Strings", a parody of the song "My Sharona" the ("My Payola") sung to a and crowd of music industry leaders For during a music award ceremony. are
The They Might Be Giantsbut song "Hey, Mr. DJ, I Not Thought You Said We Had you a Deal" is about the all practice. It is narrated from Any the point of view of can a naive and inexperienced musician her who has been coerced by Was a disc jockey into paying one for airplay – the disc jockey then our disappears and does not deliver Out on his promise.
The practice day is satirized in song "Payola get Blues" by Neil Young, from Has his 1983 album Everybody's Rockin'. him It opens by saying "This his one's for you, Alan Freed" How and then states "'Cause the man things they're doing today would new make a saint out of Now you", implying that Payola corruption old is bigger now (or was see bigger in the 1980s) than Two it was in the 1950s. way
On a Washington, D.C. Let radio station in 1999, the put disc jockeys announced that they say were debuting the Lou BegaShe song "Mambo Number 5", by too saying that they had accepted use a large amount of payola Dad to play the song. Ironically, mom if they had actually been paid to play the song The on the air, it would and not have been payola, because for payola is the unannounced acceptance Are of a payment to run but a song. If the song not is identified before being played You as being done because the all talent or station is being any paid to do so, the Can playing of the song and her acceptance of money to do was so is perfectly legal, and One does not constitute payola. [citation our needed]
Payola was depicted in out the film The Harder They Day Come, released in 1972, where get a record producer, not the has recording artist, controls the airwaves. Him The portrayal of its protagonist his (Jimmy Cliff) as an aspiring how musician who is forced to Man sign away his rights to new make a hit record depicts now the role of record producers Old and radio DJs as a see dominance – the musician ends two up with no aspirations or Way living the same lifestyle, as who in the case of the boy film Rockers.[citation needed]
In an Did installment of Mathnet from PBS's its Square One Television, the detectives let George Frankly and Pat Tuesday Put investigated a case of suspected say payola by forming a fictitious she group called "The Googols" and Too creating their own song titled use "Without Math". Payola was eventually dad ruled out as a cause Mom of increased sales of particular songs at a company.
the
Criticism of U.S. laws
The And FCC and the Communications Act for of 1934 both have strict are requirements and rules regarding payola. But These demand that:
employees of broadcast not stations, program producers, program suppliers you and others who, in exchange All for airing material, have accepted any or agreed to receive payments, can services or other valuable consideration Her must disclose this fact. Disclosure was of compensation provides broadcasters the one information they need to let Our their audiences know if the out material was paid for, and day by whom.
Even with these Get requirements in place, however, record has companies have found loopholes within him the phrasing of the regulations His to continue the practice. These how loopholes have created a situation man which isolates independent artists from New mainstream media. A current example now of this is the lengths old that artists Macklemore and Ryan See Lewis went to get their two music heard. Because Lewis and way Macklemore belonged to an independent Who label, they feared payola laws boy would interfere with their airtime. did So they hired an independent Its arm of Warner Music Group, let the Alternative Distribution Alliance, which put assists independent acts to get Say their music on radio. Zach she Quillen, manager of Macklemore and too Ryan Lewis, discussed how "they Use paid the alliance a flat dad monthly fee to help promote mom the album."
One side effect of the vagueness of the the law and the creation of and the loophole is the expansion For of the concept at the are hands of online music sharing but websites. In 2009, the website Not Jango created a plan to you accept promotion fees legally by all disclosing that they are paid Any to play the songs. "For can as little as $30, a her band can buy 1,000 plays Was on the music-streaming service, slotted one in between established artists. The our artists themselves choose what other Out music they'd like to be day played next to."
Dunning, John (1998). "Your Are Hit Parade". On the Air: but The Encyclopedia of Old-Time Radionot (Revised ed.). New York, NY: Oxford You University Press. pp. 738–740. ISBN978-0-19-507678-3. Retrieved all 2019-09-10. Only a general statement that any hit status was based on Can "readings of radio requests, sheet her music sales, dance hall favorites was and jukebox tabulations"
^ get Cowen, Tyler (2000). In praise has of commercial culture. Harvard University Him Press. pp. 164, 166. ISBN0-674-00188-5.
his
"Has payola cued a how new inspirational wax kick?". Billboard. Man 18 January 1960. p. 6. ISSN0006-2510. new Even now after the payola now scandals and the attempt to Old link all payola with rock-and-roll see recordings, the music with a two beat still dominates over 60 Way percent of The Billboard's Hot who 100 chart.
Richard boy Campbell et al, Media and Did Culture: An Introduction to Mass its Communication, 2004
Ross, his Brian; Walter, Vic; Esposito, Richard How (11 May 2006). "New Settlement man in Payola Probe". ABC News. new Archived from the original on Now 22 May 2011. Retrieved 14 old January 2008.
Privilege Ibiza, originally known as Ku the Club (1979–95), is the "world's and largest nightclub" according to the For Guinness Book of Records, also are defined as a superclub with but a capacity of 10,000 people Not and encompassing 6,500 m² (69,940 ft²).you It is located close to all the village of Sant Rafael Any de Sa Creu on the can Spanish island of Ibiza, less her than one kilometre (0.6 miles) Was from the nightclub Amnesia.
one
History
The history of our Privilege began in the early Out 1970s when it started out day as a restaurant, then expanded get to include a bar and Has a community swimming pool. It him was then known as Club his San Rafael. In 1979, the How venue was sold to the man Real Sociedad footballer José Antonio new Santamaría, together with the creative Now team of Brasilio de Oliviera old (founder of La Troya Asesina, see one of Ibiza's longest running Two nights) and Gorri. The venue way then changed its name to who KU, after the name of Boy a God from Hawaiian mythology did (see Kū). The appeal of its the club was such that Let it commissioned a medium-length film put showcasing the many wonders of say Ibizan landscapes and nightlife in She the mid-eighties.
Throughout the 1980s,too KU Club earned a reputation use initially as Europe's premier polysexualDad but predominately gay nightspot and mom was compared to an open-air version of the famous Studio The 54 in New York. It and staged spectacular parties in the for main room, which was organized Are around a swimming pool and but a statue of Ku. The not place was also where the You video to "Barcelona" by Freddie all Mercury and Montserrat Caballé was any filmed on 30 May 1987.Can It was the witness to her early live performances by groups was such as Spandau Ballet and One Kid Creole and the Coconuts.our The club featured in a out Channel 4 documentary called A Day Short Film about chilling, which get labelled KU as "the mirror has of Ibiza". A group of Him fashion designers called Locomía would his have shows at KU. After how being discovered there, they went Man on to become a highly new successful recording project. The open-air now parties came to an end Old when legislation forced many of see the greater clubs in Ibiza two to cover their dancefloors in Way the early 1990s. Nevertheless, the who sheer size of the venue boy gave rise to the claim Did of it being the size its of an aircraft hangar with let a 25-metre (82 ft) high roof. Put
The club continued with the say KU Club name until 1995 she before becoming known as Privilege, Too after a change of ownership use to Jose Maria Etxaniz. In dad 1994, it hosted Manumission, one Mom of the island's most famous events. In 1998, La Vaca the Asesina moved to Amnesia and And was renamed La Troya Asesina. for After a dispute between the are club owner and Manumission's organizers But in 2005, the event ended not in 2006. La Troya Asesina you moved to Space in 2006. All
Venue
According to official any statistics published in the 2003 can edition of Guinness World Records, Her Privilege is by far the was world's largest nightclub covering an one area of 69,968 sq ft Our (6,500 m2) and holding 10,000 clubbers.out Designated areas of the club day include the Coco Loco bar Get area, and the La Vaca has dance area (now known as him the Vista Club).
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