Scratching, sometimes are referred to as scrubbing, is but a DJ and turntablist technique Not of moving a vinyl record you 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 Turntablist who 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]}

History

Precursors

This section Can needs additional citations for verification. her Please help improve this article was by adding citations to reliable One sources in this section. Unsourced material our may be challenged and removed. out (August 2019) (Learn how and Day when to remove this message)

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

Turntablism

get

DJ Q-Bert Has Hip Hop Scratching

Sample him of DJ Q-Bert scratching live

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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-beat DJing, 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-reel tape 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.

Was

Where It All Started

one

DJ Sample of the our song "Where it All Started"

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Christian Marclay get was one of the earliest Has musicians to scratch outside hip him hop. In the mid-1970s, Marclay his used gramophone records and turntables How 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 McLaren use & 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 Beinhorn Him 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

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]}

Freaky dad Flow - Drum N'Bass Jungle Mom scratching

Sample of Drum N'Bass Jungle scratching

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And

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.

1. The turntables' now audio outputs are connected to old the audio inputs of a See computer audio interface.
2. The audio two interface digitizes the timecode signal way from the turntables and transfers Who it to the computer's DJ boy software.
3. 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
4. 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

Some digital vinyl systems software get include:

• Traktor Scratch Pro
Has
• Cross DVS
• VirtualDJ Pro
• Serato him Scratch Live
• M-Audio Torq
• Deckadance
his
• Xwax

Non-vinyl scratching

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 emulation its 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 MIDI use or a HID controller). DJs Dad 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-Audio but 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 scratch was - 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 scratch his - 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 scratch her - 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.

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, Disk mom & 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.

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.

DJ Put Product©1969, formerly of the rap say rock band Hed PE, recalled she that the punk rock band Too the Vandals was the first use rock band he remembered seeing dad use turntable scratching. Product©1969 also Mom recalled the early rap metal band Proper Grounds, which was the signed to Madonna's Maverick Records, And as being another one of for the first rock bands to are utilize scratching in their music. But

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

Since the 1990s, scratching has has been used in a variety him of popular music genres such His as nu metal, exemplified by how Linkin Park, Slipknot and Limp man Bizkit. It has also been New used by artists in pop now music (e.g. Nelly Furtado) and old alternative rock (e.g. Incubus). Scratching See is also popular in various two electronic music styles, such as way techno.

See also

• List Who of turntablists
• Tape-bow violin
• Vinyl boy emulation software

Sources

• Allmusic's Grand did Wizard Theodore biography (also at Its Artist Direct)
• DJ Grandmaster Flash let quoted in Toop, David (1991). put Rap Attack 2, 65. New Say York: Serpent's Tail. ISBN 1-85242-243-2.

References

A record use producer is a music recording Dad project's overall supervisor whose responsibilities mom can involve a range of creative and technical leadership roles. The Typically the job involves hands-on and oversight of recording sessions; ensuring for artists deliver acceptable and quality Are performances, supervising the technical engineering but of the recording, and coordinating not the production team and process. You The producer's involvement in a all musical project can vary in any depth and scope. Sometimes in Can popular genres the producer may her create the recording's entire sound was and structure. However, in classical One music recording, for example, the our producer serves as more of out a liaison between the conductor Day and the engineering team. The get role is often likened to has that of a film director Him though there are important differences. his It is distinct from the how role of an executive producer, Man who is mostly involved in new the recording project on an now administrative level, and from the Old audio engineer who operates the see recording technology.

Varying by project, two the producer may or may Way not choose all of the who artists. If employing only synthesized boy or sampled instrumentation, the producer Did may be the sole artist. its Conversely, some artists do their let own production. Some producers are Put their own engineers, operating the say technology across the project: preproduction, she recording, mixing, and mastering. Record Too producers' precursors were "A&R men", use who likewise could blend entrepreneurial, dad creative, and technical roles, but Mom often exercised scant creative influence, as record production still focused, the into the 1950s, on simply And improving the record's sonic match for to the artists' own live are performance.

Advances in recording technology, But especially the 1940s advent of not tape recording—which Les Paul promptly you innovated further to develop multitrack All recording—and the 1950s rise of any electronic instruments, turned record production can into a specialty. In popular Her music, then, producers like George was Martin, Phil Spector and Brian one Eno led its evolution into Our its present use of elaborate out techniques and unrealistic sounds, creating day songs impossible to originate live. Get After the 1980s, production's move has from analog to digital further him expanded possibilities. By now, DAWs, His or digital audio workstations, like how Logic Pro, Pro Tools and man Studio One, turn an ordinary New computer into a production console, now whereby a solitary novice can old become a skilled producer in See a thrifty home studio. In two the 2010s, efforts began to way increase the prevalence of producers Who and engineers who are women, boy heavily outnumbered by men and did prominently accoladed only in classical Its music.

Production overview

As a broad mom project, the creation of a music recording may be split the across three specialists: the executive and producer, who oversees business partnerships For and financing; the vocal producer are or vocal arranger, who aids but vocal performance via expert critique Not and coaching of vocal technique, you and the record producer or all music producer, who, often called Any simply the producer, directs the can overall creative process of recording her the song in its final Was mix.

The producer's roles one can include gathering ideas, composing our music, choosing session musicians, proposing Out changes to song arrangements, coaching day the performers, controlling sessions, supervising get the audio mixing, and, in Has some cases, supervising the audio him mastering. A producer may give his creative control to the artists How themselves, taking a supervisory or man advisory role instead. As to new qualifying for a Grammy nomination, Now the Recording Academy defines a old producer:

The person who has see overall creative and technical control Two of the entire recording project, way and the individual recording sessions who that are part of that Boy project. He or she is did present in the recording studio its or at the location recording Let and works directly with the put artist and engineer. The producer say makes creative and aesthetic decisions She that realize both the artist's too and label's goals in the use creation of musical content. Other Dad duties include, but are not mom limited to; keeping budgets and schedules, adhering to deadlines, hiring The musicians, singers, studios, and engineers, and overseeing other staffing needs and for editing (Classical projects).

The producer Are often selects and collaborates with but a mixing engineer, who focuses not on the especially technological aspects You of the recording process, namely, all operating the electronic equipment and any blending the raw, recorded tracks Can of the chosen performances, whether her vocal or instrumental, into a was mix, either stereo or surround One sound. Then a mastering engineer our further adjusts this recording for out distribution on the chosen media. Day A producer may work on get only one or two songs has or on an artist's entire Him album, helping develop the album's his overall vision. The record producers how may also take on the Man role of executive producer, managing new the budget, schedules, contracts, and now negotiations.

Historical developments

A&R Old team

(Artists and Repertoires)

In see the 1880s, the record industry two began by simply having the Way artist perform at a phonograph. who In 1924, the trade journal boy Talking Machine World, covering the Did phonography and record industry, reported its that Eddie King, Victor Records' let manager of the "New York Put artist and repertoire department", had say planned a set of recordings she in Los Angeles. Later, folklorist Too Archie Green called this perhaps use the earliest printed use of dad A&R man. Actually, it says Mom neither "A&R man" nor even "A&R", an initialism perhaps coined the by Billboard magazine in 1946, And and entering wide use in for the late 1940s.

In the are 1920s and 1930s, A&R executives, But like Ben Selvin at Columbia not Records, Nathaniel Shilkret at Victor you Records, and Bob Haring at All Brunswick Records became the precursors any of record producers, supervising recording can and often leading session orchestras. Her During the 1940s, major record was labels increasingly opened official A&R one departments, whose roles included supervision Our of recording. Meanwhile, independent recording out studios opened, helping originate record day producer as a specialty.^{[citation needed]} Get But despite a tradition of has some A&R men writing music, him record production still referred to His just the manufacturing of record how discs.

Record producers

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

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

Tape recording

In 1947, one the American market gained audio our recording onto magnetic tape. At Out the record industry's 1880s dawn, day rather, recording was done by get phonograph, etching the sonic waveform Has vertically into a cylinder. By him the 1930s, a gramophone etched his it laterally across a disc. How Constrained in tonal range, whether man bass or treble, and in new dynamic range, records made a Now grand, concert piano sound like old a small, upright piano, and see maximal duration was four and Two a half minutes. Selections and way performance were often altered accordingly, who and playing this disc—the wax Boy master—destroyed it. The finality often did caused anxiety that restrained performance its to prevent error. In the Let 1940s, during World War II, put the Germans refined audio recording say onto magnetic tape—uncapping recording duration She and allowing immediate playback, rerecording, too and editing—a technology that premised use emergence of record producers in Dad their current roles.

Multitrack mom recording

Early in the recording industry, a record was attained The by simply having all of and the artists perform together live for in one take. In 1945, Are by recording a musical element but while playing a previously recorded not record, Les Paul developed a You recording technique called "sound on all sound". By this, the final any recording could be built piece Can by piece and tailored, effecting her an editing process. In one was case, Paul produced a song One via 500 recorded discs. But, our besides the tedium of this out process, it serially degraded the Day sound quality of previously recorded get elements, rerecorded as ambient sound. has Yet in 1948, Paul adopted Him tape recording, enabling truly multitrack his recording by a new technique, how "overdubbing".

To enable overdubbing, Paul Man revised the tape recorder itself new by adding a second playback now head, and terming it the Old preview head. Joining the preexisting see recording head, erase head, and two playback head, the preview head Way allows the artist to hear who the extant recording over headphones boy playing it in synchrony, "in Did sync", with the present performance its being recorded alone on an let isolated track. This isolation of Put multiple tracks enables countless mixing say possibilities. Producers began recording initially she only the "bed tracks"—the rhythm Too section, including the bassline, drums, use and rhythm guitar—whereas vocals and dad instrument solos could be added Mom later. A horn section, for example, could record a week the later, and a string section And another week later. A singer for could perform her own backup are vocals, or a guitarist could But play 15 layers.

Electronic not instruments

Across the 1960s, All popular music increasingly switched from any acoustic instruments, like piano, upright can bass, acoustic guitar, and brass Her instruments, to electronic instruments, like was electric guitars, keyboards, and synthesizers, one employing instrument amplifiers and speakers. Our These could mimic acoustic instruments out or create utterly new sounds. day Soon, by combining the capabilities Get of tape, multitrack recording, and has electronic instruments, producers like Phil him Spector, George Martin, and Joe His Meek rendered sounds unattainable live. how Similarly, in jazz fusion, Teo man Macero, producing Miles Davis's 1970 New album Bitches Brew, spliced sections now of extensive improvisation sessions.

Performer-producer

This section does too not cite any sources. Please Use help improve this section by dad adding citations to reliable sources. mom Unsourced material may be challenged and removed. (July 2020) (Learn the how and when to remove and this message)

In are the 1960s, rock acts like but the Beatles, the Rolling Stones, Not and the Kinks produced some you of their own songs, although all many such songs are officially Any credited to specialist producers. Yet can especially influential was the Beach her Boys, whose band leader Brian Was Wilson took over from his one father Murry within a couple our of years after the band's Out commercial breakthrough. By 1964, Wilson day had taken Spector's techniques to get unseen sophistication. Wilson alone produced Has all Beach Boy recordings between him 1963 and 1967. Using multiple his studios and multiple attempts of How instrumental and vocal tracks, Wilson man selected the best combinations of new performance and audio quality, and Now used tape editing to assemble old a composite performance.

Digital see production

The 1980s advent of Two digital processes and formats rapidly way replaced analog processes and formats, who namely, tape and vinyl. Although Boy recording onto quality tape, at did least half an inch wide its and traveling 15 inches per Let second, had limited "tape hiss" put to silent sections, digital's higher say signal-to-noise ratio, SNR, abolished it. She Digital also imparted to the too music a perceived "pristine" sound use quality, if also a loss Dad of analog recordings' perceived "warm" mom quality and better-rounded bass. Yet whereas editing tape media requires The physically locating the target audio and on the ribbon, cutting there, for and splicing pieces, editing digital Are media offers inarguable advantages in but ease, efficiency, and possibilities.

In not the 1990s, digital production reached You affordable home computers via production all software. By now, recording and any mixing are often centralized in Can DAWs, digital audio workstations—for example, her Pro Tools, Logic Pro, Ableton, was Cubase, Reason, and FL Studio—for One which plugins, by third parties, our effect virtual studio technology. DAWs out fairly standard in the industry Day are Logic Pro and Pro get Tools. Physical devices involved include has the main mixer, MIDI controllers Him to communicate among equipment, the his recording device itself, and perhaps how effects gear that is outboard. Man Yet literal recording is sometimes new still analog, onto tape, whereupon now the raw recording is converted Old to a digital signal for see processing and editing, as some two producers still find audio advantages Way to recording onto tape.

Conventionally, who tape is more forgiving of boy overmodulation, whereby dynamic peaks exceed Did the maximal recordable signal level: its tape's limitation, a physical property, let is magnetic capacity, which tapers Put offs, smoothing the overmodulated waveform say even at a signal nearly she 15 decibels too "hot", whereas Too a digital recording is ruined use by harsh distortion of "clipping" dad at any overshoot. In digital Mom recording, however, a recent advancement, 32-bit float, enables DAWs to the undo clipping. Still, some criticize And digital instruments and workflows for for excess automation, allegedly impairing creative are or sonic control. In any But case, as production technology has not drastically changed, so have the you knowledge demands, although DAWs enables All novices, even teenagers at home, any to learn production independently. Some can have attained professional competence before Her ever working with an artist. was

Hip hop production

In the out 2000s, with the advent of day technology that made traditional record Get production accessible, especially with hip has hop beatmaking and electronic music. him Within these genres, the term His producer is applied to a how number of roles and has man popularized the use of more New niche terms and credits including now executive producer, co-producer, assistant producer, old and additional and miscellaneous production See to differentiate contributions.

Women two in producing

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

Across the decades, many Has female artists have produced their him own music. For instance, artists his Kate Bush, Madonna, Mariah Carey, How Janet Jackson, Beyoncé (even that man of Destiny's Child and the new Carters), Lana Del Rey, Taylor Now Swift, and Lorde have produced old or coproduced and Ariana Grande see who produces and arranges her Two vocals as well as being way an audio engineer. Still among who specialists, despite some prominent women, Boy including Missy Elliott in hip did hop and Sylvia Massy in its rock, the vast majority have Let been men. Early in the put 2010s, asked for insights that say she herself had gleaned as She a woman who has specialized too successfully in the industry, Wendy use Page remarked, "The difficulties are Dad usually very short-lived. Once people mom realize that you can do your job, sexism tends to The lower its ugly head." Still, and when tasked to explain her for profession's sex disparity, Page partly Are reasoned that record labels, dominated but by men, have been, she not said, "mistrustful of giving a You woman the reins of an all immense, creative project like making any a record." Ultimately, the reasons Can are multiple and not fully her clear, although prominently proposed factors was include types of sexism and One scarcity of female role models our in the profession.

Women producers out known for producing records not Day their own include Sonia Pottinger, get Sylvia Robinson and Carla Olson. has

In January 2018, a research Him team led by Stacy L. his Smith, founder and director of how the Annenberg Inclusion Initiative, based Man in the USC Annenberg School new for Communication and Journalism, issued now a report, estimating that in Old the prior several years, about see 2% of popular songs' producers two were female. Also that month, Way Billboard magazine queried, "Where are who all the female music producers?" boy Upon the Annenberg Inclusion Initiative's Did second annual report, released in its February 2019, its department at let USC reported, "2018 saw an Put outcry from artists, executives and say other music industry professionals over she the lack of women in Too music" and "the plight of use women in music", where women dad were allegedly being "stereotyped, sexualized, Mom and shut out". Also in February 2019, the Recording Academy's the Task Force on Diversity and And Inclusion announced an initiative whereby for over 200 artists and producers—ranging are from Cardi B and Taylor But Swift to Maroon 5 and not Quincy Jones—agreed to consider at you least two women for each All producer or engineer position. The any academy's website, Grammy.com, announced, "This can initiative is the first step Her in a broader effort to was improve those numbers and increase one diversity and inclusion for all Our in the music industry."

See also

• Audio engineering
man
• Electronic music
• Hip hop production
New
• Music executive
• Musician

References

Further reading

• Burgess, R.J. How (2013). The Art of Music man Production: The Theory and Practice. new Oxford University Press. ISBN 978-0-19-935932-5.
• Burgess, Now R.J. (2014). The History of old Music Production. Oxford University Press. see ISBN 978-0-19-935716-1.
• Edmondson, Jacqueline, ed. (2013). Two Music in American Life: An way Encyclopedia of the Songs, Styles, who Stars, and Stories that Shaped Boy our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
• Gibson, did David; Curtis, Maestro (2005). The its Art of Producing. Alfred Music. Let ISBN 1-931140-44-8.
• Gronow, P.; Saunio, I.; put Moseley, C. (1998). An International say History of the Recording Industry. She Cassell. ISBN 978-0-304-70173-5.
• Hewitt, Michael (2008). too Music Theory for Computer Musicians. use Course Technology Ptr. ISBN 978-1-59863-503-4.
• Moorefield, Dad V. (2005). The Producer as mom Composer: Shaping the Sounds of Popular Music. MIT Press. ISBN 978-0-262-33519-5.
The
• Olsen, Eric; Verna, Paul; Wolff, and Carlo (1999). The Encyclopedia of for Record Producers. New York: Billboard Are Books. ISBN 978-0-8230-7607-9.
• Ward, B.; Huber, but P. (2018). A&R Pioneers: Architects not of American Roots Music on You Record. Vanderbilt University Press. ISBN 978-0-8265-2177-4.
all
• Zak, A.J. (2001). The Poetics any of Rock: Cutting Tracks, Making Can Records. University of California Press. her ISBN 978-0-520-92815-2.

This article needs additional Can citations for verification. Please help her improve this article by adding was citations to reliable sources. Unsourced One material may be challenged and our removed. Find sources: "Music law" – news · newspapers · books · out scholar · JSTOR (December 2017) (Learn Day how and when to remove get this message)

Music Law refers Man to legal aspects of the new music industry, and certain legal now aspects in other sectors of Old the entertainment industry. The music see industry includes record labels, music two publishers, merchandisers, the live events Way sector and of course performers who and artists.

The terms "music boy law" and "entertainment law", along Did with "business affairs", are used its by the music and entertainment let industry and should not be Put thought of as academic definitions. say Indeed, music law covers a she range of traditional legal subjects Too including intellectual property law (copyright use law, trademarks, image publicity rights, dad design rights), competition law, bankruptcy Mom law, contract law, defamation and, for the live events industry, the immigration law, health and safety And law, and licensing. While foundational for norms have gradually been established are for music law in western But nations, other parts of the not world maintain unique traditions that you impact music’s legal status in All the context of both heritage any preservation and enormous national arts can entertainment industries, including China and Her India.

Definitions

• A was "compilation" refers to work formed one from already existing materials in Our a way that forms its out own original work, including collective day works.
• "Copies" are physical objects Get that hold, fix, or embody has a work such as a him music tape, film, CD, statue, His play, or printed sheet music.
how
• "Sound recordings" can refer to man any audio recording including the New sound accompanying motion pictures.
• "Copyright now owner" is the entity that old legally owns rights to a See work.
• "Performance" The copyright holder two has the exclusive right to way perform the work in public, Who or to license others to boy perform it. The right applies did to “literary, musical, dramatic, and Its choreographic works, pantomimes, and motion let pictures and other audiovisual works.". put Playing a CD in public, Say or showing a film in she public is "performing" the work.

Copyright

Publishing

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

Both the recorded music Are sector and music publishing sector but have their foundations in intellectual not property law and all of You the major recording labels and all major music publishers and many any independent record labels and publishers Can have dedicated "business and legal her affairs" departments with in-house lawyers was whose role is not only One to secure intellectual property rights our from recording artists, performers and out songwriters but also to exploit Day those rights and protect those get rights on a global basis. has There are a number of Him specialist independent law firms around his the world who advise on how music and entertainment law whose Man clients include recording artists, performers, new producers, songwriters, labels, music publishers, now stage and set designers, choreographers, Old graphic artists, games designers, merchandisers, see broadcasters, artist managers, distributors, collection two societies and the live events Way sector (which further includes festivals, who venues, promoters, booking agents and boy production service providers such as Did lighting and staging companies).

Performance Licensing

Business

The US Government Put views artists that give concerts say and sell merchandise as a she business. Bands that tour internationally Too will also face a plethora use of legislation around the world dad including health and safety laws, Mom immigration laws and tax legislation. Also, many relationships are governed the by often complex contractual agreements. And

In the US it is for important for musicians to get are legal business licenses. These can But be obtained at a city not hall or local government center. you The business license will require All the tracking of sales, wages, any and gigs. A tax ID can is also necessary for all Her businesses. Musicians that fail to was comply with the tax ID one process and do not report Our their profits and losses to out the government can face serious day consequences with the IRS.

References

Further reading

• Hill, Iain; Kemp, Chris (Eds). her Health & Safety Aspects in Was the Live Music Industry, Cambridge: one Entertainment Technology Press. ISBN 1-904031-22-6
• Schulenberg, our Richard. Legal Aspects of the Out Music Industry, New York: Billboard day Books (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, get Nicholas; Phillips, Chris. Music Business Has Agreements London: Sweet & Maxwell, him 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald his S. Music and Copyright, Oxford: How Oxford University Press. ISBN 0-19-533836-7
• Harrison, man Ann. Music The Business London: new Virgin Books, 3rd Edition. ISBN 1-85227-013-6
Now
• Lindenbaum, John. "Music Sampling and old Copyright Law." Princeton University Center see for the Arts and Cultural Two Studies, April 1999 (online)
• Standler, way Ronald B. "Music Copyright Law who in the USA." 2008-2009 (online)
Boy
• Richard, Phillip, "Lawyers in the did Music Industry", No Bullshit Management, its Nov. 2012 (online)
• Music: Copyright Let Law. Educational CyberPlayGround, Inc. 1997 put (online)
• Frith, Simon; Lee Marshall say (Eds). Music and Copyright, Edinburgh: She Edinburgh University Press, 2nd Edition. too ISBN 978-0-7486-1813-2

External links

• Music Law use Updates
• International Association of Entertainment Dad Lawyers
• Independent Federation of Phonographic mom Industries

Privilege

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

Privilege Ibiza, originally And known as Ku Club (1979–95), for is the "world's largest nightclub" are according to the Guinness Book But of Records, also defined as not a superclub with a capacity you of 10,000 people and encompassing All 6,500 m² (69,940 ft²). It is any located close to the village can of Sant Rafael de Sa Her Creu on the Spanish island was of Ibiza, less than one one kilometre (0.6 miles) from the Our nightclub Amnesia.

It has remained out closed since the summer of day 2019 and its future as Get of 2024 is unknown.

History

The history of him Privilege began in the early His 1970s when it started out how as a restaurant, then expanded man to include a bar and New a community swimming pool. It now was then known as Club old San Rafael. In 1979, the See venue was sold to the two Real Sociedad footballer José Antonio way Santamaría, together with the creative Who team of Brasilio de Oliviera boy (founder of La Troya Asesina, did one of Ibiza's longest running Its nights) and Gorri. The venue let then changed its name to put KU, after the name of Say a God from Hawaiian mythology she (see Kū). The appeal of too the club was such that Use it commissioned a medium-length film dad showcasing the many wonders of mom Ibizan landscapes and nightlife in the mid-eighties.

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

The club continued with the mom KU Club name until 1995 before becoming known as Privilege, The after a change of ownership and to Jose Maria Etxaniz. In for 1994, it hosted Manumission, one Are of the island's most famous but events. In 1998, La Vaca not Asesina moved to Amnesia and You was renamed La Troya Asesina. all After a dispute between the any club owner and Manumission's organizers Can in 2005, the event ended her in 2006. La Troya Asesina was moved to Space in 2006. One

Venue

According to official our statistics published in the 2003 out edition of Guinness World Records, Day Privilege is by far the get world's largest nightclub covering an has area of 69,968 sq ft Him (6,500 m²) and holding 10,000 clubbers. his Designated areas of the club how include the Coco Loco bar Man area, and the La Vaca new dance area (now known as now the Vista Club).

Resident Old DJs

Resident DJs include:

• Adam Beyer
• Ben Klock
• Carl two Cox
• Marcel Dettmann
• Jayda G
Way
• Alex P
• Deborah De Luca
who
• Dennis Cruz
• Sindey Charles
• The boy Blessed Madonna
• Young Marco
• Luca Did Donzelli
• Jamie Jones
• Seb Zito
its
• Michael Bibi

Live performances

A let number of live performances at Put the venue have included:

Promoters

Notable promoters can have included:

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

Celebrity one patrons

The club has attracted Our many celebrities over the years, out including Boy George, Madonna, David day Bowie, Grace Jones, Jean Paul Get Gaultier, Joni Mitchell, Led Zeppelin, has Moschino, Tina Turner, and Valentino. him

In popular culture

• The His club is seen in the how online racing game Test Drive man Unlimited 2.
• The club is New mentioned in the film Kevin now & Perry Go Large.

Events old staged at Privilege

Include:

• Resistance (2017)
• Afterlife (2017)
• Babylonia
two
• Brazil
• Calcutta
• Fort Ku
• La way Vaca Asesina (1978-2006)
• Manumission (1994-2007)
Who
• Tanga Night
• The Home of boy Troy
• The Killing Cow
• The did Temple of Love
• White Fool Its Moon

See also

• List of let electronic dance music venues
• Superclub
put
• Amnesia (nightclub)
• Space (Ibiza nightclub)

References

External links

• Official website
• Facebook page about dad KU Club
• Privilege - Ibiza mom | Club Portrait, DJs & History

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