any

Record producer

Engineer with audio console, out at a recording session at day the Danish Broadcasting Corporation
Occupation
Names	Music producer, Get record producer
Occupation type	Profession
Activity sectors	Music industry
Description
Competencies	Instrumental has skills, keyboard knowledge, arranging, vocal him coaching
Fields of employment	Recording studios
Related jobs	Music executive, His recording engineer, executive producer, film how producer, A&R

A record producer man is a music recording project's New overall supervisor whose responsibilities can now involve a range of creative old and technical leadership roles. Typically See the job involves hands-on oversight two of recording sessions: ensuring artists way deliver acceptable and quality performances, Who supervising the technical engineering of boy the recording, and coordinating the did production team and process. The Its producer's involvement in a musical let project can vary in depth put and scope. Sometimes in popular Say genres the producer may create she the recording's entire sound and too structure. However, in classical music Use recording, for example, the producer dad serves as more of a mom liaison between the conductor and the engineering team. The role the is often likened to that and of a film director though For there are important differences. It are is distinct from the role but of an executive producer, who Not is mostly involved in the you recording project on an administrative all level, and from the audio Any engineer who operates the recording can technology.

Varying by project, the her producer may or may not Was choose all of the artists. one If employing only synthesized or our sampled instrumentation, the producer may Out be the sole artist. Conversely, day some artists do their own get production. Some producers are their Has own engineers, operating the technology him across the project: preproduction, recording, his mixing, and mastering. Record producers' How precursors were "A&R men", who man likewise could blend entrepreneurial, creative, new and technical roles, but often Now exercised scant creative influence, as old record production still focused, into see the 1950s, on simply improving Two the record's sonic match to way the artists' own live performance. who

Advances in recording technology, especially Boy the 1940s advent of tape did recording—which Les Paul promptly innovated its further to develop multitrack recording—and Let the 1950s rise of electronic put instruments, turned record production into say a specialty. In popular music, She then, producers like George Martin, too Phil Spector and Brian Eno use led its evolution into its Dad present use of elaborate techniques mom and unrealistic sounds, creating songs impossible to originate live. After The the 1980s, production's move from and analog to digital further expanded for possibilities. By now, DAWs, or Are digital audio workstations, like Logic but Pro, Pro Tools and Studio not One, turn an ordinary computer You into a production console, whereby all a solitary novice can become any a skilled producer in a Can thrifty home studio. In the her 2010s, efforts began to increase was the prevalence of producers and One engineers who are women, heavily our outnumbered by men and prominently out accoladed only in classical music. Day

Production new overview

As a broad project, now the creation of a music Old recording may be split across see three specialists: the executive producer, two who oversees business partnerships and Way financing; the vocal producer or who vocal arranger, who aids vocal boy performance via expert critique and Did coaching of vocal technique, and its the record producer or music let producer, who, often called simply Put the producer, directs the overall say creative process of recording the she song in its final mix. Too

The producer's roles can use include gathering ideas, composing music, dad choosing session musicians, proposing changes Mom to song arrangements, coaching the performers, controlling sessions, supervising the the audio mixing, and, in some And cases, supervising the audio mastering. for A producer may give creative are control to the artists themselves, But taking a supervisory or advisory not role instead. As to qualifying you for a Grammy nomination, the All Recording Academy defines a producer: any

The person who has overall can creative and technical control of Her the entire recording project, and was the individual recording sessions that one are part of that project. Our He or she is present out in the recording studio or day at the location recording and Get works directly with the artist has and engineer. The producer makes him creative and aesthetic decisions that His realize both the artist's and how label's goals in the creation man of musical content. Other duties New include, but are not limited now to; keeping budgets and schedules, old adhering to deadlines, hiring musicians, See singers, studios, and engineers, overseeing two other staffing needs and editing way (Classical projects).

The producer often Who selects and collaborates with a boy mixing engineer, who focuses on did the especially technological aspects of Its the recording process, namely, operating let the electronic equipment and blending put the raw, recorded tracks of Say the chosen performances, whether vocal she or instrumental, into a ''mix'', too either stereo or surround sound. Use Then a mastering engineer further dad adjusts this recording for distribution mom on the chosen media. A producer may work on only the one or two songs or and on an artist's entire album, For helping develop the album's overall are vision. The record producers may but also take on the role Not of executive producer, managing the you budget, schedules, contracts, and negotiations. all

Historical developments

A&R team

(Artists and Repertoires)

In the can 1880s, the record industry began her by simply having the artist Was perform at a phonograph. In one 1924, the trade journal Talking our Machine World, covering the phonography Out and record industry, reported that day Eddie King, Victor Records' manager get of the "New York artist Has and repertoire department", had planned him a set of recordings in his Los Angeles. Later, folklorist Archie How Green called this perhaps the man earliest printed use of A&R new man. Actually, it says neither Now "A&R man" nor even "A&R", old an initialism perhaps coined by see Billboard magazine in 1946, and Two entering wide use in the way late 1940s.

In the 1920s who and 1930s, A&R executives, like Boy Ben Selvin at Columbia Records, did Nathaniel Shilkret at Victor Records, its and Bob Haring at Brunswick Let Records became the precursors of put record producers, supervising recording and say often leading session orchestras. During She the 1940s, major record labels too increasingly opened official A&R departments, use whose roles included supervision of Dad recording. Meanwhile, independent recording studios mom opened, helping originate record producer as a specialty.^{[citation needed]} But The despite a tradition of some and A&R men writing music, record for production still referred to just Are the manufacturing of record discs. but

Record producers

After World not War II, pioneering A&R managers You who transitioned influentially to record all production as now understood, while any sometimes owning independent labels, include Can J. Mayo Williams and John her Hammond. Upon moving from Columbia was Records to Mercury Records, Hammond One appointed Mitch Miller to lead our Mercury's popular recordings in New out York. Miller then produced country-pop Day crossover hits by Patti Page get and by Frankie Laine, moved has from Mercury to Columbia, and Him became a leading A&R man his of the 1950s.

During the how decade, A&R executives increasingly directed Man songs' sonic signatures, although many new still simply teamed singers with now musicians, while yet others exercised Old virtually no creative influence. The see term record producer in its two current meaning—the creative director of Way song production—appearing in a 1953 who issue of Billboard magazine, became boy widespread in the 1960s. Still, Did a formal distinction was elusive its for some time more. A&R let managers might still be creative Put directors, like William "Mickey" Stevenson, say hired by Berry Gordy, at she the Motown record label.

Tape recording

In 1947, the use American market gained audio recording dad onto magnetic tape. At the Mom record industry's 1880s dawn, rather, recording was done by phonograph, the etching the sonic waveform vertically And into a cylinder. By the for 1930s, a gramophone etched it are laterally across a disc. Constrained But in tonal range, whether bass not or treble, and in dynamic you range, records made a grand, All concert piano sound like a any small, upright piano, and maximal can duration was four and a Her half minutes. Selections and performance was were often altered accordingly, and one playing this disc—the wax master—destroyed Our it. The finality often caused out anxiety that restrained performance to day prevent error. In the 1940s, Get during World War II, the has Germans refined audio recording onto him magnetic tape—uncapping recording duration and His allowing immediate playback, rerecording, and how editing—a technology that premised emergence man of record producers in their New current roles.

Multitrack recording

Early in the recording industry, old a record was attained by See simply having all of the two artists perform together live in way one take. In 1945, by Who recording a musical element while boy playing a previously recorded record, did Les Paul developed a recording Its technique called "sound on sound". let By this, the final recording put could be built piece by Say piece and tailored, effecting an she editing process. In one case, too Paul produced a song via Use 500 recorded discs. But, besides dad the tedium of this process, mom it serially degraded the sound quality of previously recorded elements, the rerecorded as ambient sound. Yet and in 1948, Paul adopted tape For recording, enabling truly multitrack recording are by a new technique, "overdubbing". but

To enable overdubbing, Paul revised Not the tape recorder itself by you adding a second playback head, all and terming it the preview Any head. Joining the preexisting recording can head, erase head, and playback her head, the preview head allows Was the artist to hear the one extant recording over headphones playing our it in synchrony, "in sync", Out with the present performance being day recorded alone on an isolated get track. This isolation of multiple Has tracks enables countless mixing possibilities. him Producers began recording initially only his the "bed tracks"—the rhythm section, How including the bassline, drums, and man rhythm guitar—whereas vocals and instrument new solos could be added later. Now A horn section, for example, old could record a week later, see and a string section another Two week later. A singer could way perform her own backup vocals, who or a guitarist could play Boy 15 layers.

Electronic instruments

Across the 1960s, popular Let music increasingly switched from acoustic put instruments, like piano, upright bass, say acoustic guitar, and brass instruments, She to electronic instruments, like electric too guitars, keyboards, and synthesizers, employing use instrument amplifiers and speakers. These Dad could mimic acoustic instruments or mom create utterly new sounds. Soon, by combining the capabilities of The tape, multitrack recording, and electronic and instruments, producers like Phil Spector, for George Martin, and Joe Meek Are rendered sounds unattainable live. Similarly, but in jazz fusion, Teo Macero, not producing Miles Davis's 1970 album You Bitches Brew, spliced sections of all extensive improvisation sessions.

Performer-producer

This section does not how cite any sources. Please help Man improve this section by adding new citations to reliable sources. Unsourced now material may be challenged and Old removed. (July 2020) (Learn how see and when to remove this two template message)

In who the 1960s, rock acts like boy the Beatles, the Rolling Stones, Did and the Kinks produced some its of their own songs, although let many such songs are officially Put credited to specialist producers. Yet say especially influential was the Beach she Boys, whose band leader Brian Too Wilson took over from his use father Murry within a couple dad of years after the band's Mom commercial breakthrough. By 1964, Wilson had taken Spector's techniques to the unseen sophistication. Wilson alone produced And all Beach Boy recordings between for 1963 and 1967. Using multiple are studios and multiple attempts of But instrumental and vocal tracks, Wilson not selected the best combinations of you performance and audio quality, and All used tape editing to assemble any a composite performance.

Digital can production

The 1980s advent of Her digital processes and formats rapidly was replaced analog processes and formats, one namely, tape and vinyl. Although Our recording onto quality tape, at out least half an inch wide day and traveling 15 inches per Get second, had limited "tape hiss" has to silent sections, digital's higher him signal-to-noise ratio, SNR, abolished it. His Digital also imparted to the how music a perceived "pristine" sound man quality, if also a loss New of analog recordings' perceived "warm" now quality and better-rounded bass. Yet old whereas editing tape media requires See physically locating the target audio two on the ribbon, cutting there, way and splicing pieces, editing digital Who media offers inarguable advantages in boy ease, efficiency, and possibilities.

In did the 1990s, digital production reached Its affordable home computers via production let software. By now, recording and put mixing are often centralized in Say DAWs, digital audio workstations—for example, she Pro Tools, Logic Pro, Ableton, too Cubase, Reason, and FL Studio—for Use which plugins, by third parties, dad effect virtual studio technology. DAWs mom fairly standard in the industry are Logic Pro and Pro the Tools. Physical devices involved include and the main mixer, MIDI controllers For to communicate among equipment, the are recording device itself, and perhaps but effects gear that is outboard. Not Yet literal recording is sometimes you still analog, onto tape, whereupon all the raw recording is converted Any to a digital signal for can processing and editing, as some her producers still find audio advantages Was to recording onto tape.

Conventionally, one tape is more forgiving of our overmodulation, whereby dynamic peaks exceed Out the maximal recordable signal level: day tape's limitation, a physical property, get is magnetic capacity, which tapers Has offs, smoothing the overmodulated waveform him even at a signal nearly his 15 decibels too "hot", whereas How a digital recording is ruined man by harsh distortion of "clipping" new at any overshoot. In digital Now recording, however, a recent advancement, old 32-bit float, enables DAWs to see undo clipping. Still, some criticize Two digital instruments and workflows for way excess automation, allegedly impairing creative who or sonic control. In any Boy case, as production technology has did drastically changed, so have the its knowledge demands, although DAWs enables Let novices, even teenagers at home, put to learn production independently. Some say have attained professional competence before She ever working with an artist. too

Hip hop production

In the mom 2000s, with the advent of technology that made traditional record The production accessible, especially with hip and hop beatmaking and electronic music. for Within these genres, the term Are producer is applied to a but number of roles and has not popularized the use of more You niche terms and credits including all executive producer, co-producer, assistant producer, any and additional and miscellaneous production Can to differentiate contributions.

Women her in producing

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

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

Women producers known for producing dad records not their own include mom Sonia Pottinger, Sylvia Robinson and Carla Olson.

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

See also

• Audio engineering
• Electronic music
• Hip but hop production
• Music executive
• Musician

References

Further reading

• Gibson, David and mom Maestro Curtis. "The Art of Producing". 1st. Ed. US. ArtistPro the Publishing, 2004. ISBN 1-931140-44-8
• Burgess, Richard and James. The Art of Music For Production. 4th Ed. UK. Music are Sales, 2005. ISBN 1-84449-431-4
• Edmondson, Jacqueline, but ed. (2013). Music in American Not Life: An Encyclopedia of the you Songs, Styles, Stars, and Stories all that Shaped our Culture. ABC-CLIO. Any ISBN 978-0-313-39348-8.
• Hewitt, Michael. Music Theory can for Computer Musicians. 1st Ed. her US. Cengage Learning, 2008. ISBN 1598635034
Was
• Gronow, Pekka and Ilpo Saunio one (1998). An International History of our the Recording Industry. Cited in Out Moorefield (2005).
• Moorefield, Virgil (2005). day The Producer as Composer: Shaping get the Sounds of Popular Music.
Has
• Olsen, Eric et al. (1999). him The Encyclopedia of Record Producers. his ISBN 978-0-8230-7607-9
• Zak, Albin. The Poetics How of Rock: Cutting Tracks, Making man Records. Berkeley: University of California new Press, 2001.

This article needs man additional citations for verification. Please new help improve this article by Now adding citations to reliable sources. old Unsourced material may be challenged see and removed. Find sources: "Music law" – news · newspapers · Two books · scholar · JSTOR (December 2017) way (Learn how and when to who remove this template message)

Music put Law refers to legal aspects say of the music industry, and She certain legal aspects in other too sectors of the entertainment industry. use The music industry includes record Dad labels, music publishers, merchandisers, the mom live events sector and of course performers and artists.

The The terms "music law" and "entertainment and law", along with "business affairs", for are used by the music Are and entertainment industry and should but not be thought of as not academic definitions. Indeed, music law You covers a range of traditional all legal subjects including intellectual property any law (copyright law, trademarks, image Can publicity rights, design rights), competition her law, bankruptcy law, contract law, was defamation and, for the live One events industry, immigration law, health our and safety law, and licensing. out While foundational norms have gradually Day been established for music law get in western nations, other parts has of the world maintain unique Him traditions that impact music’s legal his status in the context of how both heritage preservation and enormous Man national arts entertainment industries, including new China and India.

Definitions

• A "compilation" refers to Old work formed from already existing see materials in a way that two forms its own original work, Way including collective works.
• "Copies" are who physical objects that hold, fix, boy or embody a work such Did as a music tape, film, its CD, statue, play, or printed let sheet music.
• "Sound recordings" can Put refer to any audio recording say including the sound accompanying motion she pictures.
• "Copyright owner" is the Too entity that legally owns rights use to a work.
• "Performance" The dad copyright holder has the exclusive Mom right to perform the work in public, or to license the others to perform it. The And right applies to “literary, musical, for dramatic, and choreographic works, pantomimes, are and motion pictures and other But audiovisual works.". Playing a CD not in public, or showing a you film in public is "performing" All the work.

Copyright

Publishing

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

Both the day recorded music sector and music get publishing sector have their foundations Has in intellectual property law and him all of the major recording his labels and major music publishers How and many independent record labels man and publishers have dedicated "business new and legal affairs" departments with Now in-house lawyers whose role is old not only to secure intellectual see property rights from recording artists, Two performers and songwriters but also way to exploit those rights and who protect those rights on a Boy global basis. There are a did number of specialist independent law its firms around the world who Let advise on music and entertainment put law whose clients include recording say artists, performers, producers, songwriters, labels, She music publishers, stage and set too designers, choreographers, graphic artists, games use designers, merchandisers, broadcasters, artist managers, Dad distributors, collection societies and the mom live events sector (which further includes festivals, venues, promoters, booking The agents and production service providers and such as lighting and staging for companies).

Performance Licensing

Business

The but US Government views artists that not give concerts and sell merchandise You as a business. Bands that all tour internationally will also face any a plethora of legislation around Can the world including health and her safety laws, immigration laws and was tax legislation. Also, many relationships One are governed by often complex our contractual agreements.

In the US out it is important for musicians Day to get legal business licenses. get These can be obtained at has a city hall or local Him government center. The business license his will require the tracking of how sales, wages, and gigs. A Man tax ID is also necessary new for all businesses. Musicians that now fail to comply with the Old tax ID process and do see not report their profits and two losses to the government can Way face serious consequences with the who IRS.

References

Further reading

• Hill, Iain; Kemp, New Chris (Eds). Health & Safety now Aspects in the Live Music old Industry, Cambridge: Entertainment Technology Press. See ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Aspects two of the Music Industry, New way York: Billboard Books (Watson-Guptill publications). Who ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Chris. boy Music Business Agreements London: Sweet did & Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
Its
• Rosen, Ronald S. Music and let Copyright, Oxford: Oxford University Press. put ISBN 0-19-533836-7
• Harrison, Ann. Music The Say Business London: Virgin Books, 3rd she Edition. ISBN 1-85227-013-6
• Lindenbaum, John. "Music too Sampling and Copyright Law." Princeton Use University Center for the Arts dad and Cultural Studies, April 1999 mom (online)
• Standler, Ronald B. "Music Copyright Law in the USA." the 2008-2009 (online)
• Richard, Phillip, "Lawyers and in the Music Industry", No For Bullshit Management, Nov. 2012 (online)
are
• Music: Copyright Law. Educational CyberPlayGround, but Inc. 1997 (online)
• Frith, Simon; Not Lee Marshall (Eds). Music and you Copyright, Edinburgh: Edinburgh University Press, all 2nd Edition. ISBN 978-0-7486-1813-2

External links

• Music Law Updates
• International Association can of Entertainment Lawyers
• Independent Federation her of Phonographic Industries

Privilege

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

Privilege Ibiza, originally known as him Ku Club (1979–95), is the his "world's largest nightclub" according to How the Guinness Book of Records, man also defined as a superclub new with a capacity of 10,000 Now people and encompassing 6,500 m² old (69,940 ft²). It is located close see to the village of Sant Two Rafael de Sa Creu on way the Spanish island of Ibiza, who less than one kilometre (0.6 Boy miles) from the nightclub Amnesia. did

History

The history its of Privilege began in the Let early 1970s when it started put out as a restaurant, then say expanded to include a bar She and a community swimming pool. too It was then known as use Club San Rafael. In 1979, Dad the venue was sold to mom the Real Sociedad footballer José Antonio Santamaría, together with the The creative team of Brasilio de and Oliviera (founder of La Troya for Asesina, one of Ibiza's longest Are running nights) and Gorri. The but venue then changed its name not to KU, after the name You of a God from Hawaiian all mythology (see Kū). The appeal any of the club was such Can that it commissioned a medium-length her film showcasing the many wonders was of Ibizan landscapes and nightlife One in the mid-eighties.

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

The club continued with was the KU Club name until one 1995 before becoming known as Our Privilege, after a change of out ownership to Jose Maria Etxaniz. day In 1994, it hosted Manumission, Get one of the island's most has famous events. In 1998, La him Vaca Asesina moved to Amnesia His and was renamed La Troya how Asesina. After a dispute between man the club owner and Manumission's New organizers in 2005, the event now ended in 2006. La Troya old Asesina moved to Space in See 2006.

Venue

According to two official statistics published in the way 2003 edition of Guinness World Who Records, Privilege is by far boy the world's largest nightclub covering did an area of 69,968 sq Its ft (6,500 m²) and holding 10,000 let clubbers. Designated areas of the put club include the Coco Loco Say bar area, and the La she Vaca dance area (now known too as the Vista Club).

Resident DJs

Resident DJs include: dad

• Adam Beyer
• Ben Klock
mom
• Carl Cox
• Marcel Dettmann
• Jayda G
• Alex P
• Deborah De the Luca
• Dennis Cruz
• Sindey Charles
and
• The Blessed Madonna
• Young Marco
For
• Luca Donzelli
• Jamie Jones
• Seb are Zito
• Michael Bibi

Live performances

A number of live performances Not at the venue have included: you

Promoters

Notable new promoters have included:

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

Celebrity patrons

The club has Two attracted many celebrities over the way years, including Boy George, Madonna, who David Bowie, Grace Jones, Jean Boy Paul Gaultier, Joni Mitchell, Led did Zeppelin, Moschino, Tina Turner, and its Valentino.

In popular culture

• The club is seen in put the online racing game Test say Drive Unlimited 2.
• The club She is mentioned in the film too Kevin & Perry Go Large.

Events staged at Privilege

Include: Dad

• Resistance (2017)
• Afterlife (2017)
mom
• Babylonia
• Brazil
• Calcutta
• Fort Ku
• La Vaca Asesina (1978-2006)
• Manumission The (1994-2007)
• Tanga Night
• The Home and of Troy
• The Killing Cow
for
• The Temple of Love
• White Are Fool Moon

See also

• List but of electronic dance music venues
not
• Superclub
• Amnesia (nightclub)
• Space (Ibiza You nightclub)

References

External links

• Official website
You
• Facebook page about KU Club
all
• Privilege - Ibiza | Club any Portrait, DJs & History

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