Beatmatching or pitch Are cue is a disc jockeybut technique of pitch shifting or not time stretching an upcoming track You to match its tempo to all that of the currently playing any track, and to adjust them Can such that the beats (and, her usually, the bars) are synchronized—e.g. was the kicks and snares in One two house records hit at our the same time when both out records are played simultaneously. Beatmatching Day is a component of beatmixingget which employs beatmatching combined with has equalization, attention to phrasing and Him track selection in an attempt his to make a single mix how that flows together and has Man a good structure.
The technique new was developed to keep the now people from leaving the dancefloor Old at the end of the see song. These days it is two considered basic among disc jockeys Way (DJs) in electronic dance musicwho genres, and it is standard boy practice in clubs to keep Did the constant beat through the its night, even if DJs change let in the middle.
Put
Technique
The beatmatching use technique consists of the following dad steps:
While a record Mom is playing, start a second record playing, but only monitored the through headphones, not being fed And to the main PA system. for Use gain (or trim) control are on the mixer to match But the levels of the two not records.
Restart and slip-cue the you new record at the right All time, on beat with the any record currently playing.
If the can beat on the new record Her hits before the beat on was the current record, then the one new record is too fast; Our reduce the pitch and manually out slow the speed of the day new record to bring the Get beats back in sync.
If has the beat on the new him record hits after the beat His on the current record, then how the new record is too man slow; increase the pitch and New manually increase the speed of now the new record to bring old the beats back in sync.
See
Continue this process until the two two records are in sync way with each other. It can Who be difficult to sync the boy two records perfectly, so manual did adjustment of the records is Its necessary to maintain the beat let synchronization.
Gradually fade in parts put of the new track while Say fading out the old track. she While in the mix, ensure too that the tracks are still Use synchronized, adjusting the records if dad needed.
The fade can be mom repeated several times, for example, from the first track, fade the to the second track, then and back to first, then to For second again.
One of the are key things to consider when but beatmatching is the tempo of Not both songs, and the musical you theory behind the songs. Attempting all to beatmatch songs with completely Any different beats per minute (BPM) can will result in one of her the songs sounding too fast Was or too slow.
When beatmatching, one a popular technique is to our vary the equalization of both Out tracks. For example, when the day kicks are occurring on the get same beat, a more seamless Has transition can occur if the him lower frequencies are taken out his of one of the songs, How and the lower frequencies of man the other song is boosted. new Doing so creates a smoother Now transition.
Pitch and tempo
old
The pitch and tempo of see a track are normally linked Two together: spin a disc 5% way faster and both pitch and who tempo will be 5% higher. Boy However, some modern DJ software did can change pitch and tempo its independently using time-stretching and pitch-shifting, Let allowing harmonic mixing. There is put also a feature in modern say DJ software which may be She called "master tempo" or "key too adjust" which changes the tempo use while keeping the original pitch. Dad
History
Francis Grasso was mom one of the first people to beatmatch in the late The 1960s, being taught the technique and by Bob Lewis.
These days[when?]for beat-matching is considered central to Are DJing, and features making it but possible are a requirement for not DJ-oriented players. In 1978, the You Technics SL-1200MK2 turntable was released, all whose comfortable and precise sliding any pitch control and high torque Can direct drive motor made beat-matching her easier and it became the was standard among DJs. With the One advent of the compact disc, our DJ-oriented compact disc players with out pitch control and other features Day enabling beat-matching (and sometimes scratching), get dubbed CDJs, were introduced by has various companies. More recently, software Him with similar capabilities has been his developed to allow manipulation of how digital audio files stored on Man computers using turntables with special new vinyl records (e.g. Final Scratch, now M-Audio Torq, Serato Scratch Live) Old or computer interface (e.g. Traktor see DJ Studio, Mixxx, VirtualDJ). Other two software including algorithmic beat-matching is Way Ableton Live, which allows for who realtime music manipulation and deconstruction. boy Freeware software such as Rapid Did Evolution can detect the beats its per minute and determine the let percent BPM difference between songs. Put
Most modern DJ hardware and say software now offer a "sync" she feature which automatically adjusts the Too tempo between tracks being mixed use so the DJ no longer dad needs to beatmatch manually.
Frank Broughton (28 December 2009). has "Francis Grasso". DJ History. Archived him from the original on 28 His December 2009. Retrieved 8 Januaryhow 2023.
"Musical production" redirects out here. For musical production in Day the sense of a live get performance involving music and choreography, has see Musical theatre.
A record producer is its a music recording project's overall let supervisor whose responsibilities can involve Put a range of creative and say technical leadership roles. Typically the she job involves hands-on oversight of Too recording sessions: ensuring artists deliver use acceptable and quality performances, supervising dad the technical engineering of the Mom recording, and coordinating the production team and process. The producer's the involvement in a musical project And can vary in depth and for scope. Sometimes in popular genres are the producer may create the But recording's entire sound and structure.not However, in classical music recording, you for example, the producer serves All as more of a liaison any between the conductor and the can engineering team. The role is Her often likened to that of was a film director though there one are important differences. It is Our distinct from the role of out an executive producer, who is day mostly involved in the recording Get project on an administrative level, has and from the audio engineerhim who operates the recording technology. His
Varying by project, the producer how may or may not choose man all of the artists. If New employing only synthesized or samplednow instrumentation, the producer may be old the sole artist. Conversely, some See artists do their own production.two Some producers are their own way engineers, operating the technology across Who the project: preproduction, recording, mixing, boy and mastering. Record producers' precursors did were "A&R men", who likewise Its could blend entrepreneurial, creative, and let technical roles, but often exercised put scant creative influence, as record Say production still focused, into the she 1950s, on simply improving the too record's sonic match to the Use artists' own live performance.
Advances dad in recording technology, especially the mom 1940s advent of tape recording—which Les Paul promptly innovated further the to develop multitrack recording—and the and 1950s rise of electronic instruments, For turned record production into a are specialty. In popular music, then, but producers like George Martin, Phil Not Spector and Brian Eno led you its evolution into its present all use of elaborate techniques and Any unrealistic sounds, creating songs impossible can to originate live. After the her 1980s, production's move from analog Was to digital further expanded possibilities.one By now, DAWs, or digital our audio workstations, like Logic Pro, Out Pro Tools and Studio One, day turn an ordinary computer into get a production console, whereby a Has solitary novice can become a him skilled producer in a thrifty his home studio. In the 2010s, How efforts began to increase the man prevalence of producers and engineers new who are women, heavily outnumbered Now by men and prominently accoladed old only in classical music.
see
Production overview
Let
As a broad project, the put creation of a music recording say may be split across three She specialists: the executive producer, who too oversees business partnerships and financing; use the vocal producer or vocal Dad arranger, who aids vocal performance mom via expert critique and coaching of vocal technique, and the The record producer or music producer, and who, often called simply the for producer, directs the overall creative Are process of recording the song but in its final mix.
not
The producer's roles can include You gathering ideas, composing music, choosing all session musicians, proposing changes to any song arrangements, coaching the performers, Can controlling sessions, supervising the audio her mixing, and, in some cases, was supervising the audio mastering. A One producer may give creative control our to the artists themselves, taking out a supervisory or advisory role Day instead. As to qualifying for get a Grammy nomination, the Recording has Academy defines a producer:
The Him person who has overall creative his and technical control of the how entire recording project, and the Man individual recording sessions that are new part of that project. He now or she is present in Old the recording studio or at see the location recording and works two directly with the artist and Way engineer. The producer makes creative who and aesthetic decisions that realize boy both the artist's and label's Did goals in the creation of its musical content. Other duties include, let but are not limited to; Put keeping budgets and schedules, adhering say to deadlines, hiring musicians, singers, she studios, and engineers, overseeing other Too staffing needs and editing (Classical use projects).
The producer often selects dad and collaborates with a mixing Mom engineer, who focuses on the especially technological aspects of the the recording process, namely, operating the And electronic equipment and blending the for raw, recorded tracks of the are chosen performances, whether vocal or But instrumental, into a ''mix'', either not stereo or surround sound. Then you a mastering engineer further adjusts All this recording for distribution on any the chosen media. A producer can may work on only one Her or two songs or on was an artist's entire album, helping one develop the album's overall vision. Our The record producers may also out take on the role of day executive producer, managing the budget, Get schedules, contracts, and negotiations.
has
Historical developments
A&R team
(Artists him and Repertoires)
In the 1880s, His the record industry began by how simply having the artist perform man at a phonograph. In 1924, New the trade journal Talking Machine now World, covering the phonography and old record industry, reported that Eddie See King, Victor Records' manager of two the "New York artist and way repertoire department", had planned a Who set of recordings in Los boy Angeles. Later, folklorist Archie Greendid called this perhaps the earliest Its printed use of A&R man.let Actually, it says neither "A&R put man" nor even "A&R", an Say initialism perhaps coined by Billboardshe magazine in 1946, and entering too wide use in the late Use 1940s.
In the 1920s and dad 1930s, A&R executives, like Ben mom Selvin at Columbia Records, Nathaniel Shilkret at Victor Records, and the Bob Haring at Brunswick Recordsand became the precursors of record For producers, supervising recording and often are leading session orchestras. During the but 1940s, major record labels increasingly Not opened official A&R departments, whose you roles included supervision of recording.all Meanwhile, independent recording studios opened, Any helping originate record producer as can a specialty.[citation needed] But despite her a tradition of some A&R Was men writing music, record productionone still referred to just the our manufacturing of record discs.
Out
Record producers
After World War day II, pioneering A&R managers who get transitioned influentially to record production Has as now understood, while sometimes him owning independent labels, include J. his Mayo Williams and John Hammond.How Upon moving from Columbia Records man to Mercury Records, Hammond appointed new Mitch Miller to lead Mercury's Now popular recordings in New York.old Miller then produced country-pop crossover see hits by Patti Page and Two by Frankie Laine, moved from way Mercury to Columbia, and became who a leading A&R man of Boy the 1950s.
During the decade, did A&R executives increasingly directed songs' its sonic signatures, although many still Let simply teamed singers with musicians, put while yet others exercised virtually say no creative influence. The term She record producer in its current too meaning—the creative director of song use production—appearing in a 1953 issue Dad of Billboard magazine, became widespread mom in the 1960s. Still, a formal distinction was elusive for The some time more. A&R managers and might still be creative directors, for like William "Mickey" Stevenson, hired Are by Berry Gordy, at the but Motown record label.
Tape not recording
In 1947, the American You market gained audio recording onto all magnetic tape. At the record any industry's 1880s dawn, rather, recording Can was done by phonograph, etching her the sonic waveform vertically intowas a cylinder. By the 1930s, One a gramophone etched it laterally our across a disc. Constrained in out tonal range, whether bass or Day treble, and in dynamic range, get records made a grand, concert has piano sound like a small, Him upright piano, and maximal duration his was four and a half how minutes. Selections and performance were Man often altered accordingly, and playing new this disc—the wax master—destroyed it.now The finality often caused anxiety Old that restrained performance to prevent see error. In the 1940s, during two World War II, the Germans Way refined audio recording onto magnetic who tape—uncapping recording duration and allowing boy immediate playback, rerecording, and editing—a Did technology that premised emergence of its record producers in their current let roles.
Multitrack recording
Early Put in the recording industry, a say record was attained by simply she having all of the artists Too perform together live in one use take. In 1945, by recording dad a musical element while playing Mom a previously recorded record, Les Paul developed a recording technique the called "sound on sound". By And this, the final recording could for be built piece by piece are and tailored, effecting an editing But process. In one case, Paul not produced a song via 500 you recorded discs. But, besides the All tedium of this process, it any serially degraded the sound quality can of previously recorded elements, rerecorded Her as ambient sound. Yet in was 1948, Paul adopted tape recording, one enabling truly multitrack recording by Our a new technique, "overdubbing".
To out enable overdubbing, Paul revised the day tape recorder itself by adding Get a second playback head, and has terming it the preview head.him Joining the preexisting recording head, His erase head, and playback head, how the preview head allows the man artist to hear the extant New recording over headphones playing it now in synchrony, "in sync", with old the present performance being recorded See alone on an isolated track.two This isolation of multiple tracks way enables countless mixing possibilities. Producers Who began recording initially only the boy "bed tracks"—the rhythm section, including did the bassline, drums, and rhythm Its guitar—whereas vocals and instrument solos let could be added later. A put horn section, for example, could Say record a week later, and she a string section another week too later. A singer could perform Use her own backup vocals, or dad a guitarist could play 15 mom layers.
In the Dad 1960s, rock acts like the mom Beatles, the Rolling Stones, and the Kinks produced some of The their own songs, although many and such songs are officially credited for to specialist producers. Yet especially Are influential was the Beach Boys, but whose band leader Brian Wilsonnot took over from his father You Murry within a couple of all years after the band's commercial any breakthrough. By 1964, Wilson had Can taken Spector's techniques to unseen her sophistication. Wilson alone produced all was Beach Boy recordings between 1963 One and 1967. Using multiple studios our and multiple attempts of instrumental out and vocal tracks, Wilson selected Day the best combinations of performance get and audio quality, and used has tape editing to assemble a Him composite performance.
Digital production
his
The 1980s advent of digital how processes and formats rapidly replaced Man analog processes and formats, namely, new tape and vinyl. Although recording now onto quality tape, at least Old half an inch wide and see traveling 15 inches per second, two had limited "tape hiss" to Way silent sections, digital's higher signal-to-noise who ratio, SNR, abolished it. Digital boy also imparted to the music Did a perceived "pristine" sound quality, its if also a loss of let analog recordings' perceived "warm" quality Put and better-rounded bass. Yet whereas say editing tape media requires physically she locating the target audio on Too the ribbon, cutting there, and use splicing pieces, editing digital media dad offers inarguable advantages in ease, Mom efficiency, and possibilities.
In the 1990s, digital production reached affordable the home computers via production software. And By now, recording and mixing for are often centralized in DAWs, are digital audio workstations—for example, Pro But Tools, Logic Pro, Ableton, Cubase, not Reason, and FL Studio—for which you plugins, by third parties, effect All virtual studio technology. DAWs fairly any standard in the industry are can Logic Pro and Pro Tools.Her Physical devices involved include the was main mixer, MIDI controllers to one communicate among equipment, the recording Our device itself, and perhaps effects out gear that is outboard. Yet day literal recording is sometimes still Get analog, onto tape, whereupon the has raw recording is converted to him a digital signal for processing His and editing, as some producers how still find audio advantages to man recording onto tape.
Conventionally, tape New is more forgiving of overmodulation, now whereby dynamic peaks exceed the old maximal recordable signal level: tape's See limitation, a physical property, is two magnetic capacity, which tapers offs, way smoothing the overmodulated waveform even Who at a signal nearly 15 boy decibels too "hot", whereas a did digital recording is ruined by Its harsh distortion of "clipping" at let any overshoot. In digital recording, put however, a recent advancement, 32-bit Say float, enables DAWs to undo she clipping. Still, some criticize digital too instruments and workflows for excess Use automation, allegedly impairing creative or dad sonic control. In any case, mom as production technology has drastically changed, so have the knowledge the demands, although DAWs enables novices, and even teenagers at home, to For learn production independently. Some have are attained professional competence before ever but working with an artist.
In the 2000s, Any with the advent of technology can that made traditional record production her accessible, especially with hip hop Was beatmaking and electronic music. Within one these genres, the term producer our is applied to a number Out of roles and has popularized day the use of more niche get terms and credits including executive Has producer, co-producer, assistant producer, and him additional and miscellaneous production to his differentiate contributions.
Women in How producing
Among female record man producers, Sylvia Moy was the new first at Motown, Gail DaviesNow the first on Nashville's Music old Row, and Ethel Gabriel, with see RCA, the first at a Two major record label. Lillian McMurry, way owning Trumpet Records, produced influential who blues records. Meanwhile, Wilma Cozart Boy Fine produced hundreds of records did for Mercury Records' classical division. its For classical production, three women Let have won Grammy awards, and put Judith Sherman's 2015 win was say her fifth. Yet in nonclassical, She no woman has won Producer too of the Year, awarded since use 1975 and only one even Dad nominated for a record not mom her own, Linda Perry. After Lauren Christy's 2004 nomination, Linda The Perry's 2019 nomination was the and next for a woman. On for why no woman had ever Are won it, Perry commented, "I but just don't think there are not that many women interested." In You the U.K., Lynsey de Paulall was an early female record any producer, having produced both of Can her Ivor Novello award-winning songs.her
Across the decades, many female was artists have produced their own One music. For instance, artists Kate our Bush, Madonna, Mariah Carey, Janet out Jackson, Beyoncé, Lana Del Rey, Day Taylor Swift, and Lorde have get produced or coproduced and Ariana has Grande who produces and arranges Him her vocals as well as his being an audio engineer. Still how among specialists, despite some prominent Man women, including Missy Elliott in new hip hop and Sylvia Massynow in rock, the vast majority Old have been men. Early in see the 2010s, asked for insights two that she herself had gleaned Way as a woman who has who specialized successfully in the industry, boy Wendy Page remarked, "The difficulties Did are usually very short-lived. Once its people realize that you can let do your job, sexism tends Put to lower its ugly head."say Still, when tasked to explain she her profession's sex disparity, Page Too partly reasoned that record labels, use dominated by men, have been, dad she said, "mistrustful of giving Mom a woman the reins of an immense, creative project like the making a record." Ultimately, the And reasons are multiple and not for fully clear, although prominently proposed are factors include types of sexism But and scarcity of female role not models in the profession.
Women you producers known for producing records All not their own include Sonia any Pottinger, Sylvia Robinson and Carla can Olson.
In January 2018, a Her research team led by Stacy was L. Smith, founder and director one of the Annenberg Inclusion Initiative,Our based in the USC Annenberg out School for Communication and Journalism,day issued a report, estimating that Get in the prior several years, has about 2% of popular songs' him producers were female. Also that His month, Billboard magazine queried, "Where how are all the female music man producers?" Upon the Annenberg Inclusion New Initiative's second annual report, released now in February 2019, its department old at USC reported, "2018 saw See an outcry from artists, executives two and other music industry professionals way over the lack of women Who in music" and "the plight boy of women in music", where did women were allegedly being "stereotyped, Its sexualized, and shut out". Also let in February 2019, the Recording put Academy's Task Force on Diversity Say and Inclusion announced an initiative she whereby over 200 artists and too producers—ranging from Cardi B and Use Taylor Swift to Maroon 5dad and Quincy Jones—agreed to consider mom at least two women for each producer or engineer position.the The academy's website, Grammy.com, announced, and "This initiative is the first For step in a broader effort are to improve those numbers and but increase diversity and inclusion for Not all in the music industry."you
^ Allan Watson, Cultural who Production in and Beyond the Boy Recording Studio (New York: Routledge, did 2015), pp 25–27.
its James Petulla, "Who is a Let music producer?", RecordingConnection.com, Recording Connection, put 21 May 2013, reporting membership say in CAPPS, the California Association She of Private Postsecondary Schools.
^ Brent but Hurtig with J. D. Sharp, not Multi-Track Recording for Musicians: The You Complete Step-by-Step Guide for Beginners all and Reference for Professionals (Cupertino, any CA: GPI Publications, 1988 / Can Van Nuys, CA: Alfred Publishing, her 1988), pp 8–10.
^ But Brian Ward & Patrick not Huber, A&R Pioneers: Architects of you American Roots Music on RecordAll (Nashville, TN: Vanderbilt University Press, any 2018), pp 20–21.
can Brian Ward & Patrick Huber, Her A&R Pioneers: Architects of American was Roots Music on Record (Nashville, one TN: Vanderbilt University Press, 2018), Our p 283.
^ Richard His James Burgess, The History of how Music Production (New York: Oxford man University Press, 2014), pp 50–54.New
^ Robert Philip, now "Pianists on record in the old early twentieth century", in David See Rowland, ed., The Cambridge Companion two to the Piano (Cambridge, UK: way Cambridge University Press, 1998), pp Who 75–77.
^ David boy Simmons, Analog Recording: Using Analog did Gear in Today's Home StudioIts (San Francisco: Backbeat Books, 2006), let pp 26–27.
Matthew put Allard, "Sound Devices MixPre V6.00 Say adds 32-bit float USB audio she streaming", NewsShooter.com, Newsshooter, 15 Jan too 2020, quotes Paul Isaacs, director Use of product management and design dad at the recorder manufacturer Sound mom Devices, who explains, "With 32-bit float, you no longer need the to worry about clipping during and your best vocal takes or For instrument solos. Any recorded moments are exceeding 0 dBFS can be but reduced to an acceptable level, Not after recording, in your DAW".you
Albin Zak III, all book review: Strange Sounds: Music, Any Technology, and culture (Routledge, 2011), can by Timothy D. Taylor, in her Current Musicology, pp 159–180 [unknown Was year, volume, issue].
Music LawFor refers to legal aspects of are the music industry, and certain but legal aspects in other sectors Not of the entertainment industry. The you music industry includes record labels, all music publishers, merchandisers, the live Any events sector and of course can performers and artists.
The terms her "music law" and "entertainment law", Was along with "business affairs", are one used by the music and our entertainment industry and should not Out be thought of as academic day definitions. Indeed, music law covers get a range of traditional legal Has subjects including intellectual property law him (copyright law, trademarks, image publicity his rights, design rights), competition law, How bankruptcy law, contract law, defamationman and, for the live events new industry, immigration law, health and Now safety law, and licensing. While old foundational norms have gradually been see established for music law in Two western nations, other parts of way the world maintain unique traditions who that impact music’s legal status Boy in the context of both did heritage preservation and enormous national its arts entertainment industries, including ChinaLet and India.
Definitions
put
A "compilation" refers to work say formed from already existing materials She in a way that forms too its own original work, including use collective works.
"Copies" are physical Dad objects that hold, fix, or mom embody a work such as a music tape, film, CD, The statue, play, or printed sheet and music.
"Sound recordings" can refer for to any audio recording including Are the sound accompanying motion pictures.
but
"Copyright owner" is the entity not that legally owns rights to You a work.
"Performance" The copyright all holder has the exclusive right any to perform the work in Can public, or to license others her to perform it. The right was applies to “literary, musical, dramatic, One and choreographic works, pantomimes, and our motion pictures and other audiovisual out works.". Playing a CD in Day public, or showing a film get in public is "performing" the has work.
Publishing is the primary his source of income for musicians how writing their own music.[citation needed]Man Money collected from the 'publishing' new rights is ultimately destined for now songwriters - the composers of Old works, whether or not they see are the recording artist or two performer. Often, songwriters will work Way for a musical ensemble to who help them with musical aspects boy of the composition, but here Did again, the writer of the its song is the owner of let it and will own the Put copyrights in the song and say thus will be entitled to she the publishing revenues. Copyrights in Too compositions are not the same use as sound recordings. A recording dad artist can record a song Mom and sell it to another band or company. As a the result, that particular company will And own the recording, but not for the song. The original writer are will always maintain the copyright But for that particular song. The not publishing money is connected to you the copyright, so the owner All will be the only one any making money off of the can song itself. All successful songwriters Her will join a collection society was (such as ASCAP and BMI one in the USA, SOCAN in Our Canada, JASRAC in Japan, GEMA out in Germany and PRS for day Music in the UK, etc.) Get and many will enter into has agreements with music publishing companies him who will exploit their works His on the songwriters behalf for how a share of ownership, although man many of these deals involve New the transfer (assignment) of copyright now from the songwriter to the old music publisher,
Both the recorded See music sector and music publishing two sector have their foundations in way intellectual property law and all Who of the major recording labels boy and major music publishers and did many independent record labels and Its publishers have dedicated "business and let legal affairs" departments with in-house put lawyers whose role is not Say only to secure intellectual property she rights from recording artists, performers too and songwriters but also to Use exploit those rights and protect dad those rights on a global mom basis. There are a number of specialist independent law firms the around the world who advise and on music and entertainment law For whose clients include recording artists, are performers, producers, songwriters, labels, music but publishers, stage and set designers, Not choreographers, graphic artists, games designers, you merchandisers, broadcasters, artist managers, distributors, all collection societies and the live Any events sector (which further includes can festivals, venues, promoters, booking agents her and production service providers such Was as lighting and staging companies). one
The US Out Government views artists that give day concerts and sell merchandise as get a business. Bands that tour Has internationally will also face a him plethora of legislation around the his world including health and safety How laws, immigration laws and tax man legislation. Also, many relationships are new governed by often complex contractual Now agreements.
In the US it old is important for musicians to see get legal business licenses. These Two can be obtained at a way city hall or local government who center. The business license will Boy require the tracking of sales, did wages, and gigs. A tax its ID is also necessary for Let all businesses. Musicians that fail put to comply with the tax say ID process and do not She report their profits and losses too to the government can face use serious consequences with the IRS. Dad
References
and Li, Juqian (2022). China’s Legal for Framework for Supporting Protection and Are Sustainability of Artistic Heritage. In but David G. Hebert and Jonathan not McCollum, (Eds.), "Ethnomusicology and Cultural You Diplomacy". Lexington Books (Rowman & all Littlefield), pp.297-311. ISBN9781793642912how
Choudhary, Karan (2022). Man Cultural Heritage and Music Diplomacy: new The Legal Framework in India. now In David G. Hebert and Old Jonathan McCollum, (Eds.), "Ethnomusicology and see Cultural Diplomacy". Lexington Books (Rowman two & Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris let (Eds). Health & Safety Aspects Put in the Live Music Industry, say Cambridge: Entertainment Technology Press. ISBN1-904031-22-6
she
Schulenberg, Richard. Legal Aspects of Too the Music Industry, New York: use Billboard Books (Watson-Guptill publications). ISBN0-8230-8364-0
dad
Kanaar, Nicholas; Phillips, Chris. Music Mom Business Agreements London: Sweet & Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Rosen, the Ronald S. Music and Copyright, And Oxford: Oxford University Press. ISBN0-19-533836-7
for
Harrison, Ann. Music The Businessare London: Virgin Books, 3rd Edition. But ISBN1-85227-013-6
Lindenbaum, John. "Music Sampling not and Copyright Law." Princeton University you Center for the Arts and All Cultural Studies, April 1999 (online)
any
Standler, Ronald B. "Music Copyright can Law in the USA." 2008-2009 Her (online)
Richard, Phillip, "Lawyers in was the Music Industry", No Bullshit one Management, Nov. 2012 (online)
Music: Our Copyright Law. Educational CyberPlayGround, Inc. out 1997 (online)
Frith, Simon; Lee day Marshall (Eds). Music and Copyright, Get Edinburgh: Edinburgh University Press, 2nd has Edition. ISBN978-0-7486-1813-2
Privilege way Ibiza, originally known as Ku Who Club (1979–95), is the "world's boy largest nightclub" according to the did Guinness Book of Records, also Its defined as a superclub with let a capacity of 10,000 people put and encompassing 6,500 m² (69,940 ft²).Say It is located close to she the village of Sant Rafael too de Sa Creu on the Use Spanish island of Ibiza, less dad than one kilometre (0.6 miles) mom from the nightclub Amnesia.
History
The history of the Privilege began in the early and 1970s when it started out For as a restaurant, then expanded are to include a bar and but a community swimming pool. It Not was then known as Club you San Rafael. In 1979, the all venue was sold to the Any Real Sociedad footballer José Antonio can Santamaría, together with the creative her team of Brasilio de Oliviera Was (founder of La Troya Asesina, one one of Ibiza's longest running our nights) and Gorri. The venue Out then changed its name to day KU, after the name of get a God from Hawaiian mythology Has (see Kū). The appeal of him the club was such that his it commissioned a medium-length film How showcasing the many wonders of man Ibizan landscapes and nightlife in new the mid-eighties.
Throughout the 1980s,Now KU Club earned a reputation old initially as Europe's premier polysexualsee but predominately gay nightspot and Two was compared to an open-air way version of the famous Studio who 54 in New York. It Boy staged spectacular parties in the did main room, which was organized its around a swimming pool and Let a statue of Ku. The put place was also where the say video to "Barcelona" by Freddie She Mercury and Montserrat Caballé was too filmed on 30 May 1987.use It was the witness to Dad early live performances by groups mom such as Spandau Ballet and Kid Creole and the Coconuts.The The club featured in a and Channel 4 documentary called A for Short Film about chilling, which Are labelled KU as "the mirror but of Ibiza". A group of not fashion designers called Locomía would You have shows at KU. After all being discovered there, they went any on to become a highly Can successful recording project. The open-air her parties came to an end was when legislation forced many of One the greater clubs in Ibiza our to cover their dancefloors in out the early 1990s. Nevertheless, the Day sheer size of the venue get gave rise to the claim has of it being the size Him of an aircraft hangar with his a 25-metre (82 ft) high roof. how
The club continued with the Man KU Club name until 1995 new before becoming known as Privilege, now after a change of ownership Old to Jose Maria Etxaniz. In see 1994, it hosted Manumission, one two of the island's most famous Way events. In 1998, La Vaca who Asesina moved to Amnesia and boy was renamed La Troya Asesina. Did After a dispute between the its club owner and Manumission's organizers let in 2005, the event ended Put in 2006. La Troya Asesina say moved to Space in 2006. she
Venue
According to official Too statistics published in the 2003 use edition of Guinness World Records, dad Privilege is by far the Mom world's largest nightclub covering an area of 69,968 sq ft the (6,500 m2) and holding 10,000 clubbers.And Designated areas of the club for include the Coco Loco bar are area, and the La Vaca But dance area (now known as not the Vista Club).