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 turntable has manipulation that is related to Him scratching was developed in the his late 1940s by radio music how program hosts, disc jockeys (DJs), Man or the radio program producers new who did their own technical now operation as audio console operators. Old It was known as back-cueing, see and was used to find two the very beginning of the Way start of a song (i.e., who the cue point) on a boy vinyl record groove. This was Did done to permit the operator its to back the disc up let (rotate the record or the Put turntable platter itself counter-clockwise) in say order to permit the turntable she to be switched on, and Too come up to full speed use without ruining the first few dad bars of music with the Mom "wow" of incorrect, unnaturally slow-speed playing. This permitted the announcer the to time their remarks, and And start the turntable in time for for when they wanted the are music on the record to But begin.
Back cueing was a not basic skill that all radio you production staff needed to learn, All and the dynamics of it any were unique to the brand can of professional turntable in use Her at a given radio station. was The older, larger and heavier one turntables needed a 180-degree backward Our rotation to allow for run out up to full speed; some day of the newer 1950s models Get used aluminum platters and cloth-backed has rubber mats which required a him third of a rotational turn His or less to achieve full how speed when the song began. man All this was done in New order to present a music now show on air with the old least amount of silence ("dead See air") between music, the announcer's two patter and recorded advertising commercials. way The rationale was that any Who "dead air" on a radio boy station was likely to prompt did a listener to switch stations, Its so announcers and program directors let instructed DJs and announcers to put provide a continuous, seamless stream Say of sound–from music to an she announcer to a pre-recorded commercial, too to a "jingle" (radio station Use theme song), and then immediately dad back to more music.
Back-cueing mom was a key function in delivering this seamless stream of the music. Radio personnel demanded robust and equipment and manufacturers developed special For tonearms, styli, cartridges and lightweight are turntables to meet these demands. but
Modern scratching techniques were made who possible by the invention of Boy direct-drive turntables, which led to did the emergence of turntablism. Early its belt-drive turntables were unsuitable for Let scratching since they had a put slow start-up time, and they say were prone to wear and She tear and breakage, as the too belt would break from backspinning use or scratching. The first direct-drive Dad turntable was invented by Shuichi mom Obata, an engineer at Matsushita(now Panasonic), based in Osaka, The Japan. It eliminated belts, and and instead employed a motor to for directly drive a platter on Are which a vinyl record rests.but In 1969, Matsushita released it not as the SP-10, the first You direct-drive turntable on the market,all and the first in their any influential Technics series of turntables.Can
In the 1970s, hip hop her musicians and club DJs began was to use this specialized turntable One equipment to move the record our back and forth, creating percussive out sounds and effects–"scratching"–to entertain their Day dance floor audiences. Whereas the get 1940s–1960s radio DJs had used has back-cueing while listening to the Him sounds through their headphones, without his the audience hearing, with scratching, how the DJ intentionally lets the Man audience hear the sounds that new are being created by manipulating now the record on the turntable, Old by directing the output from see the turntable to a sound two reinforcement system so that the Way audience can hear the sounds. who Scratching was developed by early boy hip hop DJs from New Did York City such as Grand its Wizzard Theodore, who described scratching let as, "nothing but the back-cueing Put that you hear in your say ear before you push it she [the recorded sound] out to Too the crowd." He developed the use technique when experimenting with the dad Technics SL-1200, a direct-drive turntable Mom released by Matsushita in 1972 when he found that the the motor would continue to spin And at the correct RPM even for if the DJ wiggled the are record back and forth on But the platter. Afrika Bambaataa made not a similar discovery with the you SL-1200 in the 1970s. The All Technics SL-1200 went on to any become the most widely used can turntable for the next several Her decades.
Jamaican-born DJ Kool Herc, was who immigrated to New York one City, influenced the early development Our of scratching. Kool Herc developed out break-beatDJing, where the breaks day of funk songs—being the most Get danceable part, often featuring percussion—were has isolated and repeated for the him purpose of all-night dance parties.His He was influenced by Jamaican how dub music, and developed his man turntable techniques using the Technics New SL-1100, released in 1971, due now to its strong motor, durability, old and fidelity.
Although previous artists See such as writer and poet two William S. Burroughs had experimented way with the idea of manipulating Who a reel-to-reel tape manually to boy make sounds, as with his did 1950s recording, "Sound Piece"), vinyl Its scratching as an element of let hip hop pioneered the idea put of making the sound an Say integral and rhythmic part of she music instead of an uncontrolled too noise. Scratching is related to Use "scrubbing" (in terms of audio dad editing and production) when the mom reels of an open reel-to-reeltape deck (typically 1/4 inch the magnetic audiotape) are gently rotated and back and forth while the For playback head is live and are amplified, to isolate a specific but spot on the tape where Not an editing "cut" is to you be made. Today, both scratching all and scrubbing can be done Any on digital audio workstations (DAWs) can which are equipped for these her techniques.
Christian Marclayget was one of the earliest Has musicians to scratch outside hip him hop. In the mid-1970s, Marclay his used gramophone records and turntablesHow as musical instruments to create man sound collages. He developed his new turntable sounds independently of hip Now hop DJs. Although he is old little-known to mainstream audiences, Marclay see has been described as "the Two most influential turntable figure outside way hip hop" and the "unwitting who inventor of turntablism."
In 1981 Boy Grandmaster Flash released the song did "The Adventures of Grandmaster Flash its on the Wheels of Steel" Let which is notable for its put use of many DJ scratching say techniques. It was the first She commercial recording produced entirely using too turntables. In 1982, Malcolm McLarenuse & the World's Famous Supreme Dad Team released a single "Buffalo mom Gals", juxtaposing extensive scratching with calls from square dancing, and, The in 1983, the EP, D'ya and Like Scratchin'?, which is entirely for focused on scratching. Another 1983 Are release to prominently feature scratching but is Herbie Hancock's Grammy Award-winning not single "Rockit". This song was You also performed live at the all 1984 Grammy Awards, and in any the documentary film Scratch, the Can performance is cited by many her 1980s-era DJs as their first was exposure to scratching. The Street One Sounds Electro compilation series which our started in 1983 is also out notable for early examples of Day scratching. Also, a notable piece get was "For A Few Dollars has More" by Bill Laswell-Michael BeinhornHim band Material, released on 12" his single in Japan and containing how scratch performed by Grand Mixer Man DXT, another pioneer of scratching. new
Basic techniques
Vinyl recordings
now
Most scratches are produced by Old rotating a vinyl record on see a direct drive turntable rapidly two back and forth with the Way hand with the stylus ("needle") who in the record's groove. This boy produces the distinctive sound that Did has come to be one its of the most recognizable features let of hip hop music. Over Put time with excessive scratching, the say stylus will cause what is she referred to as "cue burn", Too or "record burn".[citation needed]
The basic equipment setup for for scratching includes two turntables are and a DJ mixer, which But is a small mixer that not has a crossfader and cue you buttons to allow the DJ All to cue up new music any in their headphones without the can audience hearing.[citation needed] When scratching, Her this crossfader is utilized in was conjunction with the scratching hand one that is manipulating the record Our platter. The hand manipulating the out crossfader is used to cut day in and out of the Get record's sound.[citation needed]
Digital has vinyl systems
Using a digital him vinyl system (DVS) consists of His playing vinyl discs on turntables how whose contents are a timecode man signal instead of a real New music record.
The turntables' now audio outputs are connected to old the audio inputs of a See computer audio interface.
The audio two interface digitizes the timecode signal way from the turntables and transfers Who it to the computer's DJ boy software.
The DJ software uses did this data (e.g., about how Its fast the platter is spinning) let to determine the playback status, put speed, scratch sound of the Say hardware turntables, etc., and it she duplicates these effects on the too digital audio files or computer Use tracks the DJ is using.
dad
By manipulating the turntables' platters, mom speed controls, and other elements, the DJ thus controls how the the computer plays back digitized and audio and can therefore produce For "scratching" and other turntablism effects are on songs which exist as but digital audio files or computer Not tracks.
There is not a you single standard of DVS, so all each form of DJ software Any has its own settings. Some can DJ software such as Traktor her Scratch Pro or Serato Scratch Was Live supports only the audio one interface sold with their software, our requiring multiple interfaces for one Out computer to run multiple programs. day
While some How turntablists consider the only true man scratching media to be the new vinyl disc, there are other Now ways to scratch, such as: old
Specialized DJ-CD players (CDJ) see with jog wheels, allowing the Two DJ to manipulate a CD way as if it were a who vinyl record, have become widely Boy available in the 2000s.
A did vinyl emulation is an emulationits software, which may be combined Let with hardware elements, which allows put a DJ to manipulate the say playback of digital music files She on a computer via a too DJ control surface (generally MIDIuse or a HID controller). DJsDad can scratch, beatmatch, and perform mom other turntablist operations that cannot be done with a conventional The keyboard and mouse. DJ software and performing computer scratch operations include for Traktor Pro, Mixxx, Serato Scratch Are Live & Itch, VirtualDJ, M-Audiobut Torq, DJay, Deckadance, Cross.
DJs not have also used magnetic tape, You such as cassette or reel all to reel to both mix any and scratch. Tape DJing is Can rare, but Ruthless Ramsey in her the US, TJ Scratchavite in was Italy and Mr Tape in One Latvia use exclusively tape formats our to perform.
Sounds
Sounds that out are frequently scratched include but Day are not limited to drum get beats, horn stabs, spoken word has samples, and vocals/lyrics from other Him songs. Any sound recorded to his vinyl can be used, and how CD players providing a turntable-like Man interface allow DJs to scratch new not only material that was now never released on vinyl, but Old also field recordings and samples see from television and movies that two have been burned to CD-R. Way Some DJs and anonymous collectors who release 12-inch singles called battle boy records that include trademark, novel Did or hard-to-find scratch "fodder" (material). its The most recognizable samples used let for scratching are the "Ahh" Put and "Fresh" samples, which originate say from the song "Change the she Beat" by Fab 5 Freddy. Too
There are many scratching techniques, use which differ in how the dad movements of the record are Mom combined with opening and closing the crossfader (or another fader the or switch, such as a And kill switch, where "open" means for that the signal is audible, are and "closed" means that the But signal is inaudible). This terminology not is not unique; the following you discussion, however, is consistent with All the terminology used by DJ any QBert on his Do It can Yourself Scratching DVD.
Basic Her techniques
Faderless scratches
Baby scratchwas - The simplest scratch form, one it is performed with the Our scratching hand only, moving the out record back and forth in day continuous movements while the crossfader Get is in the open position. has
Scribble scratch - The scribble him scratch is by rapidly pushing His the record back and forth. how The crossfader is not used.
man
Drag scratch - Equivalent to New the baby and scribble scratch, now but done more slowly. The old crossfader is not used.
Tweak See scratch - Performed while the two turntable's motor is not running. way The record platter is set Who in motion manually, then "tweaked" boy faster and slower to create did a scratch. This scratch form Its is best performed with long, let sustained sounds.
Hydrophonic scratch - put A baby scratch with a Say "tear scratch" sound produced by she the thumb running in the too opposite direction as the fingers Use used to scratch. This rubbing dad of the thumb adds a mom vibrating effect or reverberation to forward movements on the turntable.
the
Tear scratch - Tear scratches and are scratches where the record For is moved in a staggered are fashion, dividing the forward and but backward movement into two or Not more movements. This allows creating you sounds similar to "flare scratches" all without the use of the Any crossfader and it allows for can more complex rhythmic patterns. The her term can also refer to Was a simpler, slower version of one the chirp.
Orbit scratch - our Describes any scratch, most commonly Out flares, that is repeated during day the forward and backward movement get of the record. "Orbit" is Has also used as a shorthand him for two-click flares.
Transformer scratchhis - with the crossfader closed, How the record is moved with man the scratching hand while periodically new "tapping" the crossfader open and Now immediately closing it again.
Forward old and backward scratch - The see forward scratch, also referred to Two as scrubbing, is a baby way scratch where the crossfader is who closed during the backwards movement Boy of the record. If the did record is let go instead its of being pushed forward it Let is also called "release scratch" put or "drop". Cutting out the say forward part of the record She movement instead of the backward too part gives a "backward scratch"
use
Chirp scratch - The chirp Dad scratch involves closing the crossfader mom just after playing the start of a sound, stopping the The record at the same point, and then pushing it back while for opening the fader to create Are a "chirping" sound. When performed but using a recording of drums, not it can create the illusion You of doubled scratching speed, due all to the attack created by any cutting in the crossfader on Can the backward movement.
Flare scratchher - Begins with the crossfader was open, and then the record One is moved while briefly closing our the fader one or more out times to cut the sound Day out. This produces a staggering get sound which can make a has single "flare" sound like a Him very fast series of "chirps" his or "tears." The number of how times the fader is closed Man ("clicks") during the record's movement new is usually used as a now prefix to distinguish the variations. Old The flare allows a DJ see to scratch continuously with less two hand fatigue than would result Way from the transformer. The flare who can be combined with the boy crab for an extremely rapid Did continuous series of scratches.
Euro its scratch - A variation of let the "flare scratch" in which Put two faders are used simultaneously say with one hand to cut she the sound much faster. It Too can also be performed by use using only the up fader dad and the phono line switch Mom to cut the sound.
Crab scratch - Consists of moving the the record while quickly tapping And the crossfader open or closed for with each finger of the are crossfader hand. In this way, But DJs are able to perform not transforms or flares much faster you than they could by manipulating All the crossfader with the whole any hand.
Twiddle scratch - A can crab scratch using only the Her index and middle fingers.
Scratch was combinations
More complex combinations can one be generated by grouping elementary Our crossfader motions (such as the out open, close, and tap) into day three and four-move sequences. Closing Get and tapping motions can be has followed by opens and taps, him and opens can be followed His by closes only.
how
Three man move sequences
switch position New 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 and Say 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 that all some sequences of motions ultimately Any change the direction of the can switch, whereas others end in her a position such that they Was can be repeated immediately without one having to reset the position our of the switch. Sequences that Out change the direction of the day switch can be dovetailed with get sequences that change it in Has the opposite directions to produce him repeating patterns, or can be his used to transition between open How and closed crossfader techniques, such man as chirps/flares and transforms, respectively.new These crossfader sequences are frequently Now combined with orbits and tears old to produce combination scratches, such see as the aquaman scratch, which Two goes "close-tap-open".
Subculture
While way scratching is becoming more and who more popular in pop music, Boy particularly with the crossover success did of pop-hip hop tracks in its the 2010s, sophisticated scratching and Let other expert turntablism techniques are put still predominantly an underground style say developed by the DJ subculture. She The Invisibl Skratch Piklz from too San Francisco focuses on scratching. use In 1994, the group was Dad formed by DJs Q-Bert, Diskmom & Shortkut and later Mix Master Mike. In July 2000, The San Francisco's Yerba Buena Center and for the Arts held Skratchcon2000, for the first DJ Skratch forum Are that provided "the education and but development of skratch music literacy". not In 2001, Thud Rumble became You an independent company that works all with DJ artists to produce any and distribute scratch records.[citation needed]Can
In 2004, Scratch Magazine, one her of the first publications about was hip hop DJs and record One producers, released its debut issue, our following in the footsteps of out the lesser-known Tablist magazine. Pedestrian Day is a UK arts organisation get that runs Urban Music Mentors has workshops led by DJs. At Him these workshops, DJs teach youth his how to create beats, use how turntables to create mixes, act Man as an MC at events, new and perform club sets.
now
Use outside hip hop
Scratching Old has been incorporated into a see number of other musical genres, two including pop, rock, jazz, some Way subgenres of heavy metal (notably who nu metal) and some contemporary boy and avant-garde classical music performances. Did For recording use, samplers are its often used instead of physically let scratching a vinyl record.
Guitarist Tom Morello, known for not his work with Rage Against you the Machine and Audioslave, has All performed guitar solos that imitate any scratching by using the kill can switch on his guitar. Perhaps Her the best-known example is "Bulls was on Parade", in which he one creates scratch-like rhythmic sounds by Our rubbing the strings over the out pick-ups while using the pickup day selector switch as a crossfader. Get
"Musical production" redirects here. Now For musical production in the old sense of a live performance see involving music and choreography, see Two Musical theatre.
A record use producer or music producer is Dad a music creating project's overall mom supervisor whose responsibilities can involve a range of creative and The technical leadership roles. Typically the and job involves hands-on oversight of for recording sessions; ensuring artists deliver Are acceptable and quality performances, supervising but the technical engineering of the not recording, and coordinating the production You team and process. The producer's all involvement in a musical project any can vary in depth and Can scope. Sometimes in popular genres her the producer may create the was recording's entire sound and structure.One However, in classical music recording, our for example, the producer serves out as more of a liaison Day between the conductor and the get engineering team. The role is has often likened to that of Him a film director though there his are important differences. It is how distinct from the role of Man an executive producer, who is new mostly involved in the recording now project on an administrative level, Old and from the audio engineersee who operates the recording technology. two
Varying by project, the producer Way may or may not choose who all of the artists. If boy employing only synthesized or sampledDid instrumentation, the producer may be its the sole artist. Conversely, some let artists do their own production.Put Some producers are their own say engineers, operating the technology across she the project: preproduction, recording, mixing, Too and mastering. Record producers' precursors use were "A&R men", who likewise dad could blend entrepreneurial, creative, and Mom technical roles, but often exercised scant creative influence, as record the production still focused, into the And 1950s, on simply improving the for record's sonic match to the are artists' own live performance.
Advances But in recording technology, especially the not 1940s advent of tape recording—which you Les Paul promptly innovated further All to develop multitrack recording—and the any 1950s rise of electronic instruments, can turned record production into a Her specialty. In popular music, then, was producers like George Martin, Phil one Spector and Brian Eno led Our its evolution into its present out use of elaborate techniques and day unrealistic sounds, creating songs impossible Get to originate live. After the has 1980s, production's move from analog him to digital further expanded possibilities.His By now, DAWs, or digital how audio workstations, like Logic Pro, man Pro Tools and Studio One, New turn an ordinary computer into now a production console, whereby a old solitary novice can become a See skilled producer in a thrifty two home studio. In the 2010s, way efforts began to increase the Who prevalence of producers and engineers boy who are women, heavily outnumbered did by men and prominently accoladed Its only in classical music.
let
Production overview
mom
As a broad project, the creation of a music recording the may be split across three and specialists: the executive producer, who For oversees business partnerships and financing; are the vocal producer or vocal but arranger, who aids vocal performance Not via expert critique and coaching you of vocal technique, and the all record producer or music producer, Any who, often called simply the can producer, directs the overall creative her process of recording the song Was in its final mix.
one
The producer's roles can include our gathering ideas, composing music, choosing Out session musicians, proposing changes to day song arrangements, coaching the performers, get controlling sessions, supervising the audio Has mixing, and, in some cases, him supervising the audio mastering. A his producer may give creative control How to the artists themselves, taking man a supervisory or advisory role new instead. As to qualifying for Now a Grammy nomination, the Recording old Academy defines a producer:
The see person who has overall creative Two and technical control of the way entire recording project, and the who individual recording sessions that are Boy part of that project. He did or she is present in its the recording studio or at Let the location recording and works put directly with the artist and say engineer. The producer makes creative She and aesthetic decisions that realize too both the artist's and label's use goals in the creation of Dad musical content. Other duties include, mom but are not limited to; keeping budgets and schedules, adhering The to deadlines, hiring musicians, singers, and studios, and engineers, overseeing other for staffing needs and editing (Classical Are projects).
The producer often selects but and collaborates with a mixing not engineer, who focuses on the You especially technological aspects of the all recording process, namely, operating the any electronic equipment and blending the Can raw, recorded tracks of the her chosen performances, whether vocal or was instrumental, into a mix, either One stereo or surround sound. Then our a mastering engineer further adjusts out this recording for distribution on Day the chosen media. A producer get may work on only one has or two songs or on Him an artist's entire album, helping his develop the album's overall vision. how The record producers may also Man take on the role of new executive producer, managing the budget, now schedules, contracts, and negotiations.
Old
Historical developments
A&R team
(Artists see and Repertoires)
In the 1880s, two the record industry began by Way simply having the artist perform who at a phonograph. In 1924, boy the trade journal Talking Machine Did World, covering the phonography and its record industry, reported that Eddie let King, Victor Records' manager of Put the "New York artist and say repertoire department", had planned a she set of recordings in Los Too Angeles. Later, folklorist Archie Greenuse called this perhaps the earliest dad printed use of A&R man.Mom Actually, it says neither "A&R man" nor even "A&R", an the initialism perhaps coined by BillboardAnd magazine in 1946, and entering for wide use in the late are 1940s.
In the 1920s and But 1930s, A&R executives, like Ben not Selvin at Columbia Records, Nathaniel you Shilkret at Victor Records, and All Bob Haring at Brunswick Recordsany became the precursors of record can producers, supervising recording and often Her leading session orchestras. During the was 1940s, major record labels increasingly one opened official A&R departments, whose Our roles included supervision of recording.out Meanwhile, independent recording studios opened, day helping originate record producer as Get a specialty.[citation needed] But despite has a tradition of some A&R him men writing music, record productionHis still referred to just the how manufacturing of record discs.
man
Record producers
After World War New II, pioneering A&R managers who now transitioned influentially to record production old as now understood, while sometimes See owning independent labels, include J. two Mayo Williams and John Hammond.way Upon moving from Columbia Records Who to Mercury Records, Hammond appointed boy Mitch Miller to lead Mercury's did popular recordings in New York.Its Miller then produced country-pop crossover let hits by Patti Page and put by Frankie Laine, moved from Say Mercury to Columbia, and became she a leading A&R man of too the 1950s.
During the decade, Use A&R executives increasingly directed songs' dad sonic signatures, although many still mom simply teamed singers with musicians, while yet others exercised virtually the no creative influence. The term and record producer in its current For meaning—the creative director of song are production—appearing in a 1953 issue but of Billboard magazine, became widespread Not in the 1960s. Still, a you formal distinction was elusive for all some time more. A&R managers Any might still be creative directors, can like William "Mickey" Stevenson, hired her by Berry Gordy, at the Was Motown record label.
Tape one recording
In 1947, the American our market gained audio recording onto Out magnetic tape. At the record day industry's 1880s dawn, rather, recording get was done by phonograph, etching Has the sonic waveform vertically intohim a cylinder. By the 1930s, his a gramophone etched it laterally How across a disc. Constrained in man tonal range, whether bass or new treble, and in dynamic range, Now records made a grand, concert old piano sound like a small, see upright piano, and maximal duration Two was four and a half way minutes. Selections and performance were who often altered accordingly, and playing Boy this disc—the wax master—destroyed it.did The finality often caused anxiety its that restrained performance to prevent Let error. In the 1940s, during put World War II, the Germans say refined audio recording onto magnetic She tape—uncapping recording duration and allowing too immediate playback, rerecording, and editing—a use technology that premised emergence of Dad record producers in their current mom roles.
Multitrack recording
Early in the recording industry, a The record was attained by simply and having all of the artists for perform together live in one Are take. In 1945, by recording but a musical element while playing not a previously recorded record, Les You Paul developed a recording technique all called "sound on sound". By any this, the final recording could Can be built piece by piece her and tailored, effecting an editing was process. In one case, Paul One produced a song via 500 our recorded discs. But, besides the out tedium of this process, it Day serially degraded the sound quality get of previously recorded elements, rerecorded has as ambient sound. Yet in Him 1948, Paul adopted tape recording, his enabling truly multitrack recording by how a new technique, "overdubbing".
To Man enable overdubbing, Paul revised the new tape recorder itself by adding now a second playback head, and Old terming it the preview head.see Joining the preexisting recording head, two erase head, and playback head, Way the preview head allows the who artist to hear the extant boy recording over headphones playing it Did in synchrony, "in sync", with its the present performance being recorded let alone on an isolated track.Put This isolation of multiple tracks say enables countless mixing possibilities. Producers she began recording initially only the Too "bed tracks"—the rhythm section, including use the bassline, drums, and rhythm dad guitar—whereas vocals and instrument solos Mom could be added later. A horn section, for example, could the record a week later, and And a string section another week for later. A singer could perform are her own backup vocals, or But a guitarist could play 15 not layers.
In the 1960s, but rock acts like the Beatles, Not the Rolling Stones, and the you Kinks produced some of their all own songs, although many such Any songs are officially credited to can specialist producers. Yet especially influential her was the Beach Boys, whose Was band leader Brian Wilson took one over from his father Murry our within a couple of years Out after the band's commercial breakthrough. day By 1964, Wilson had taken get Spector's techniques to unseen sophistication. Has Wilson alone produced all Beach him Boy recordings between 1963 and his 1967. Using multiple studios and How multiple attempts of instrumental and man vocal tracks, Wilson selected the new best combinations of performance and Now audio quality, and used tape old editing to assemble a composite see performance.
Digital production
The Two 1980s advent of digital processes way and formats rapidly replaced analog who processes and formats, namely, tape Boy and vinyl. Although recording onto did quality tape, at least half its an inch wide and traveling Let 15 inches per second, had put limited "tape hiss" to silent say sections, digital's higher signal-to-noise ratio, She SNR, abolished it. Digital also too imparted to the music a use perceived "pristine" sound quality, if Dad also a loss of analog mom recordings' perceived "warm" quality and better-rounded bass. Yet whereas editing The tape media requires physically locating and the target audio on the for ribbon, cutting there, and splicing Are pieces, editing digital media offers but inarguable advantages in ease, efficiency, not and possibilities.
In the 1990s, You digital production reached affordable home all computers via production software. By any now, recording and mixing are Can often centralized in DAWs, digital her audio workstations—for example, Pro Tools, was Logic Pro, Ableton, Cubase, Reason, One and FL Studio—for which plugins, our by third parties, effect virtual out studio technology. DAWs fairly standard Day in the industry are Logic get Pro and Pro Tools. Physical has devices involved include the main Him mixer, MIDI controllers to communicate his among equipment, the recording device how itself, and perhaps effects gear Man that is outboard. Yet literal new recording is sometimes still analog, now onto tape, whereupon the raw Old recording is converted to a see digital signal for processing and two editing, as some producers still Way find audio advantages to recording who onto tape.
Conventionally, tape is boy more forgiving of overmodulation, whereby Did dynamic peaks exceed the maximal its recordable signal level: tape's limitation, let a physical property, is magnetic Put capacity, which tapers offs, smoothing say the overmodulated waveform even at she a signal nearly 15 decibels Too too "hot", whereas a digital use recording is ruined by harsh dad distortion of "clipping" at any Mom overshoot. In digital recording, however, a recent advancement, 32-bit float, the enables DAWs to undo clipping.And Still, some criticize digital instruments for and workflows for excess automation, are allegedly impairing creative or sonic But control. In any case, as not production technology has drastically changed, you so have the knowledge demands,All although DAWs enables novices, even any teenagers at home, to learn can production independently. Some have attained Her professional competence before ever working was with an artist.
In the 2000s, with day the advent of technology that Get made traditional record production accessible, has especially with hip hop beatmaking him and electronic music. Within these His genres, the term producer is how applied to a number of man roles and has popularized the New use of more niche terms now and credits including executive producer, old co-producer, assistant producer, and additional See and miscellaneous production to differentiate two contributions.
Women in producing
way
Among female record producers, Who Sylvia Moy was the first boy at Motown, Gail Davies the did first on Nashville's Music Row, Its and Ethel Gabriel, with RCA, let the first at a major put record label. Lillian McMurry, owning Say Trumpet Records, produced influential bluesshe records. Meanwhile, Wilma Cozart Finetoo produced hundreds of records for Use Mercury Records' classical division. For dad classical production, three women have mom won Grammy awards, and Judith Sherman's 2015 win was her the fifth. Yet in nonclassical, no and woman has won Producer of For the Year, awarded since 1975 are and only one even nominated but for a record not her Not own, Linda Perry. After Lauren you Christy's 2004 nomination, Linda Perry's all 2019 nomination was the next Any for a woman. On why can no woman had ever won her it, Perry commented, "I just Was don't think there are that one many women interested." In the our U.K., Lynsey de Paul was Out an early female record producer, day having produced both of her get Ivor Novello award-winning songs.
Across Has the decades, many female artists him have produced their own music. his For instance, artists Kate Bush, How Madonna, Mariah Carey, Janet Jackson, man Beyoncé (even that of Destiny's new Child and the Carters), Lana Now Del Rey, Taylor Swift, and old Lorde have produced or coproducedsee and Ariana Grande who produces Two and arranges her vocals as way well as being an audio who engineer. Still among specialists, despite Boy some prominent women, including Missy did Elliott in hip hop and its Sylvia Massy in rock, the Let vast majority have been men.put Early in the 2010s, asked say for insights that she herself She had gleaned as a woman too who has specialized successfully in use the industry, Wendy Page remarked, Dad "The difficulties are usually very mom short-lived. Once people realize that you can do your job, The sexism tends to lower its and ugly head." Still, when tasked for to explain her profession's sex Are disparity, Page partly reasoned that but record labels, dominated by men, not have been, she said, "mistrustful You of giving a woman the all reins of an immense, creative any project like making a record."Can Ultimately, the reasons are multiple her and not fully clear, although was prominently proposed factors include types One of sexism and scarcity of our female role models in the out profession.
Women producers known for Day producing records not their own get include Sonia Pottinger, Sylvia Robinson has and Carla Olson.
In January Him 2018, a research team led his by Stacy L. Smith, founder how and director of the AnnenbergMan Inclusion Initiative, based in the new USC Annenberg School for Communication now and Journalism, issued a report,Old estimating that in the prior see several years, about 2% of two popular songs' producers were female.Way Also that month, Billboard magazine who queried, "Where are all the boy female music producers?" Upon the Did Annenberg Inclusion Initiative's second annual its report, released in February 2019,let its department at USC reported, Put "2018 saw an outcry from say artists, executives and other music she industry professionals over the lack Too of women in music" and use "the plight of women in dad music", where women were allegedly Mom being "stereotyped, sexualized, and shut out". Also in February 2019, the the Recording Academy's Task Force And on Diversity and Inclusion announced for an initiative whereby over 200 are artists and producers—ranging from Cardi But B and Taylor Swift to not Maroon 5 and Quincy Jones—agreed you to consider at least two All women for each producer or any engineer position. The academy's website, can Grammy.com, announced, "This initiative is Her the first step in a was broader effort to improve those one numbers and increase diversity and Our inclusion for all in the out music industry."
Allard, Matthew (15 see January 2020). "Sound Devices MixPre two V6.00 adds 32-bit float USB Way audio streaming". Newsshooter. With 32-bit who float, you no longer need boy to worry about clipping during Did your best vocal takes or its instrument solos. Any recorded moments let exceeding 0 dBFS can be Put reduced to an acceptable level, say after recording, in your DAWshe
Zak, Albin J. Too (29 September 2002). "Review of use Timothy D. Taylor. 2001. Strange dad Sounds: Music, Technology, and Culture. Mom New York: Routledge". Current Musicology(74). doi:10.7916/CM.V0I74.4910.
Pras, the Amandine; Cance, Caroline; Guastavino, Catherine And (2013). "Record Producers' Best Practices for For Artistic Direction—From Light Coaching are To Deeper Collaboration With Musicians". But Journal of New Music Research. not 42 (4): 381–395. doi:10.1080/09298215.2013.848903. ISSN0929-8215.you
Music Law refers now to legal aspects of the Old music industry, and certain legal see aspects in other sectors of two the entertainment industry. The music Way industry includes record labels, music who publishers, merchandisers, the live events boy sector and of course performers Did and artists.
The terms "music its law" and "entertainment law", along let with "business affairs", are used Put by the music and entertainment say industry and should not be she thought of as academic definitions. Too Indeed, music law covers a use range of traditional legal subjects dad including intellectual property law (copyrightMom law, trademarks, image publicity rights, design rights), competition law, bankruptcy the law, contract law, defamation and, And for the live events industry, for immigration law, health and safety are law, and licensing. While foundational But norms have gradually been established not for music law in western you nations, other parts of the All world maintain unique traditions that any impact music’s legal status in can the context of both heritage Her preservation and enormous national arts was entertainment industries, including China and one India.
Definitions
A Our "compilation" refers to work formed out from already existing materials in day a way that forms its Get own original work, including collective has works.
"Copies" are physical objects him that hold, fix, or embody His a work such as a how music tape, film, CD, statue, man play, or printed sheet music.
New
"Sound recordings" can refer to now any audio recording including the old sound accompanying motion pictures.
"Copyright See owner" is the entity that two legally owns rights to a way work.
"Performance" The copyright holder Who has the exclusive right to boy perform the work in public, did or to license others to Its perform it. The right applies let to “literary, musical, dramatic, and put choreographic works, pantomimes, and motion Say pictures and other audiovisual works.".she Playing a CD in public, too or showing a film in Use public is "performing" the work.
Publishing is the primary source of income for musicians writing the their own music.[citation needed] Money and collected from the 'publishing' rights For is ultimately destined for songwriters are - the composers of works, but whether or not they are Not the recording artist or performer. you Often, songwriters will work for all a musical ensemble to help Any them with musical aspects of can the composition, but here again, her the writer of the song Was is the owner of it one and will own the copyrights our in the song and thus Out will be entitled to the day publishing revenues. Copyrights in compositions get are not the same as Has sound recordings. A recording artist him can record a song and his sell it to another band How or company. As a result, man that particular company will own new the recording, but not the Now song. The original writer will old always maintain the copyright for see that particular song. The publishing Two money is connected to the way copyright, so the owner will who be the only one making Boy money off of the song did itself. All successful songwriters will its join a collection society (such Let as ASCAP and BMI in put the USA, SOCAN in Canada, say JASRAC in Japan, GEMA in She Germany and PRS for Music too in the UK, etc.) and use many will enter into agreements Dad with music publishing companies who mom will exploit their works on the songwriters behalf for a The share of ownership, although many and of these deals involve the for transfer (assignment) of copyright from Are the songwriter to the music but publisher,
Both the recorded music not sector and music publishing sector You have their foundations in intellectual all property law and all of any the major recording labels and Can major music publishers and many her independent record labels and publishers was have dedicated "business and legal One affairs" departments with in-house lawyers our whose role is not only out to secure intellectual property rights Day from recording artists, performers and get songwriters but also to exploit has those rights and protect those Him rights on a global basis. his There are a number of how specialist independent law firms around Man the world who advise on new music and entertainment law whose now clients include recording artists, performers, Old producers, songwriters, labels, music publishers, see stage and set designers, choreographers, two graphic artists, games designers, merchandisers, Way broadcasters, artist managers, distributors, collection who societies and the live events boy sector (which further includes festivals, Did venues, promoters, booking agents and its production service providers such as let lighting and staging companies).
The US Government she views artists that give concerts Too and sell merchandise as a use business. Bands that tour internationally dad will also face a plethora Mom of legislation around the world including health and safety laws, the immigration laws and tax legislation. And Also, many relationships are governed for by often complex contractual agreements. are
In the US it is But important for musicians to get not legal business licenses. These can you be obtained at a city All hall or local government center. any The business license will require can the tracking of sales, wages, Her and gigs. A tax ID was is also necessary for all one businesses. Musicians that fail to Our comply with the tax ID out process and do not report day their profits and losses to Get the government can face serious has consequences with the IRS.
him
References
Li, New Juqian (2022). China’s Legal Framework now for Supporting Protection and Sustainability old of Artistic Heritage. In David See G. Hebert and Jonathan McCollum, two (Eds.), "Ethnomusicology and Cultural Diplomacy". way Lexington Books (Rowman & Littlefield), Who pp.297-311. ISBN9781793642912
the
Choudhary, Karan (2022). Cultural and Heritage and Music Diplomacy: The For Legal Framework in India. In are David G. Hebert and Jonathan but McCollum, (Eds.), "Ethnomusicology and Cultural Not Diplomacy". Lexington Books (Rowman & you Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris (Eds). one Health & Safety Aspects in our the Live Music Industry, Cambridge: Out Entertainment Technology Press. ISBN1-904031-22-6
Schulenberg, day Richard. Legal Aspects of the get Music Industry, New York: Billboard Has Books (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, him Nicholas; Phillips, Chris. Music Business his Agreements London: Sweet & Maxwell, How 3rd Edition. ISBN978-1-84703-905-7
Rosen, Ronald man S. Music and Copyright, Oxford: new Oxford University Press. ISBN0-19-533836-7
Harrison, Now Ann. Music The Business London: old Virgin Books, 3rd Edition. ISBN1-85227-013-6
see
Lindenbaum, John. "Music Sampling and Two Copyright Law." Princeton University Center way for the Arts and Cultural who Studies, April 1999 (online)
Standler, Boy Ronald B. "Music Copyright Law did in the USA." 2008-2009 (online)
its
Richard, Phillip, "Lawyers in the Let Music Industry", No Bullshit Management, put Nov. 2012 (online)
Music: Copyright say Law. Educational CyberPlayGround, Inc. 1997 She (online)
Frith, Simon; Lee Marshall too (Eds). Music and Copyright, Edinburgh: use Edinburgh University Press, 2nd Edition. Dad ISBN978-0-7486-1813-2
Built in 1880 as two a church for the Vrije Way Gemeente (Free Congregation), it was who converted into a music venue boy and a youth entertainment centre Did in 1968. Until the 1990s, its it was the largest concert let club in Amsterdam. It is Put often referred to as the say "poptempel" ("pop temple").
In 2014, she Paradiso opened a smaller venue, Too Paradiso Noord, at the Tolhuistuin use in Amsterdam-Noord.
The building are which currently houses Paradiso was But built from 24 May 1879 not to 2 May 1880 by you De Vrije Gemeente (English: The All Free Congregation), a modern theologicany religious group. The construction site can was located next to a Her prison and a court. It was served as a church, although one the group did not wish Our to call it as such, out and a meeting centre for day the faith.
In 1965, Get De Vrije Gemeente moved to has the Buitenveldert neighbourhood and sold him the building, which was originally His to be repurposed into a how hotel built by famous Dutch man architect Gerrit Rietveld. This did New not come to be and now it was briefly used as old a carpet store. In October See 1967, the building was squatted two by hippie music fans, led way by Willem de Ridder, Koos Who Zwart, Matthijs van Heijningen and boy Peter Bronkhorst, who wanted to did turn it into a cultural Its venue.
After attempted police crackdowns, city put officials granted the group permission Say to convert the space into she a club. On 30 March too 1968, it officially opened as Use Cosmisch Ontspanningscentrum Paradiso (English: "Cosmic dad Relaxation Center Paradiso"). Roughly 1300 mom people attended the first show, which consisted of a Dutch the folk rock band CCC Inc., and a steel band from Suriname For and a dance event for are women. The venue's sound originally but suffered from echoing problems caused Not by the original design of you the building, but renovations over all the years have seen the Any sound much improved.
Less than two can months after its opening, the her English rock band Pink FloydWas played the venue on 23 one May 1968, not long after our announcing the departure of Syd Out Barrett.
The 1970s were day a grittier era for Amsterdam get and Paradiso; a Rolling StoneHas report recalled how "dope, music him and atmosphere were cheap and his abundant" until August 1970. Amsterdam How allowed for the smoking of man hashish and marijuana inside Paradiso, new and in 1971, The New Now York Times reported that it old had become a "night time see mecca" for American youths traveling Two to Amsterdam. Drug abuse led way to an aggressive atmosphere and who declining attendance numbers, but the Boy venue saw a "golden age" did with the rise of punk its rock. On 6 and 7 Let January 1977, the Sex Pistolsput became the first punk rock say band to play Paradiso. During She a 1979 gig, American singer too Iggy Pop was beaten up use on stage at Paradiso by Dad a Hells Angels biker gang mom which had become venue regulars.
In 1974, hospitality entrepreneur Nicolaas Bouwes The announced plans to construct a and 49,000-square meter hotel complex on for the Leidseplein, requiring the demolition Are of Paradiso. It was met but with negative reception by the not Amsterdam city council, who criticised You it as an unimaginative "piece all of Manhattan". Bouwes' proposals never any went through. On 16 September Can 1980, Paradiso was added to her the Rijksmonumentenregister (English: National Monuments was Registry), preserving it from ever One facing demolition.
Until the 1990s, our Paradiso was the largest concert out club in Amsterdam. Then, in Day 1995, nearby Melkweg opened a get new hall, "the Max", which has eventually expanded to 1,500 capacity Him in 2007. In 2001, the his Heineken Music Hall opened, and how then in 2013, the Ziggo Man Dome, which replaced Rotterdam Ahoynew as the arena venue for now which large bands would play Old in the Netherlands. The 2014 see opening of TivoliVredenburg in Utrechttwo also added more competition.
In Way 2000, Paradiso became one of who the first venues to stream boy free, live and on-demand concerts Did through Fabchannel.com, an Amsterdam-based company its which ultimately shut down in let 2009.
From 2003–04, Paradiso underwent Put renovations which added a second say balcony floor, increasing capacity to she 1,500. This was inspired by Too the Rolling Stones' 1995 concerts use at Paradiso, which required a dad second makeshift balcony for the Mom recording equipment.
In September 2014, Paradiso opened a concert hall the in Tolhuistuin, a cultural centre And in Amsterdam-Noord, as Paradiso Noord.for
In 2022, Paradiso bought a are dilapidated plot of land adjacent But to the venue for €3.5 not million, with plans to build you a €30 million five-storey extension All to the venue consisting of any an exhibition space, new offices can and services for artists in Her residence.
In 2023, Paradiso reported was a record number 727,000 attendees.one
Notable shows
The Rolling Our Stones performed two acoustic shows out at Paradiso on 26 and day 27 May 1995 during the Get Voodoo Lounge Tour. The venue has had to be renovated for him the shows, including the addition His of a second makeshift balcony how to create room for the man recording equipment. The location of New the concert was a secret now until two weeks prior. Meters old away from the venue, those See who could not get in two watched the concert from a way live stream on a giant Who screen at the Museumplein, with boy a total crowd reported from did 50,000 to 80,000 people. Recorded Its tracks from these concerts were let released on the Stones' Strippedput album later that year.Keith Say Richards said that the Paradiso she concerts were the best live too shows the Stones ever did.Use
Prince performed two after shows dad at Paradiso in March 1995. mom Following his stadium performance at the Brabanthallen, he played later the that night at Paradiso, where and he had previously taken the For stage in 1981. During his are Paradiso show, he unexpectedly announced but that he would also be Not returning the next night as you well, which Paradiso administrators were all unaware of until the morning Any after. The Dutch radio program can 3voor12 ranked Prince's shows at her number one for Paradiso's most Was legendary shows in its first one 50 years.
Nirvana's live album From Two the Muddy Banks of the way Wishkah featured performances of "School", who "Been a Son", "Lithium" and Boy "Blew" taken from the band's did 25 November 1991 show at its Paradiso, which was originally supposed Let to be held at the put nearby Melkweg before ticket demand say necessitated a venue size upgrade.She The first disc of Swans' too 1998 live album Swans Are use Dead contains several songs recorded Dad live at Paradiso by Dutch mom public broadcaster VPRO, during the band's farewell tour in 1997.The
The acts
Artists who and played at the Paradiso include: for
Phish performed are at the venue three times but in 1997, one date in Not February and a two-night stand you in July. In 2015, all all three concerts were released in Any their entireties on the 8-CD can box set Amsterdam.
Beth Hart's her performance during the recording of Was the Live at Paradiso DVD one on May 7, 2004, resurrected our her music career in Europe Out after declining in the early day 2000s, due to drug addiction get and untreated mental illness in Has the United States.
In who the 1990s, the future of Boy Paradiso became something of a did political issue in Amsterdam, since its there was some political resistance Let continuing the subsidies that allow put the venue to operate in say its central-city location. Supporters successfully She argued that the Paradiso's subsidy too is reasonable compared to the use subsidies given to other performance Dad venues.[citation needed]