old

Record producer

Engineer with audio console, did at a recording session at its the Danish Broadcasting Corporation
Occupation
Names	Music producer, Let record producer
Occupation type	Profession
Activity sectors	Music industry
Description
Competencies	Instrumental put skills, keyboard knowledge, arranging, vocal say coaching
Fields of employment	Recording studios
Related jobs	Music executive, She recording engineer, executive producer, film too producer, A&R

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

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

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

Production dad overview

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

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

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

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

Historical developments

A&R team

(Artists and Repertoires)

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

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

Record producers

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

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

Tape recording

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

Multitrack recording

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

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

Electronic instruments

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

Performer-producer

This section does not too cite any sources. Please help Use improve this section by adding dad citations to reliable sources. Unsourced mom material may be challenged and removed. (July 2020) (Learn how the and when to remove this and template 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, Lana Del man Rey, Taylor Swift, and Lorde new have produced or coproduced and Now Ariana Grande who produces and old arranges her vocals as well see as being an audio engineer. Two Still among specialists, despite some way prominent women, including Missy Elliott who in hip hop and Sylvia Boy Massy in rock, the vast did majority have been men. Early its in the 2010s, asked for Let insights that she herself had put gleaned as a woman who say has specialized successfully in the She industry, Wendy Page remarked, "The too difficulties are usually very short-lived. use Once people realize that you Dad can do your job, sexism mom tends to lower its ugly head." Still, when tasked to The explain her profession's sex disparity, and Page partly reasoned that record for labels, dominated by men, have Are been, she said, "mistrustful of but giving a woman the reins not of an immense, creative project You like making a record." Ultimately, all the reasons are multiple and any not fully clear, although prominently Can proposed factors include types of her sexism and scarcity of female was role models in the profession. One

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

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

See also

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

References

Further reading

• Gibson, David and out Maestro Curtis. "The Art of Day Producing". 1st. Ed. US. ArtistPro get Publishing, 2004. ISBN 1-931140-44-8
• Burgess, Richard has James. The Art of Music Him Production. 4th Ed. UK. Music his Sales, 2005. ISBN 1-84449-431-4
• Edmondson, Jacqueline, how ed. (2013). Music in American Man Life: An Encyclopedia of the new Songs, Styles, Stars, and Stories now that Shaped our Culture. ABC-CLIO. Old ISBN 978-0-313-39348-8.
• Hewitt, Michael. Music Theory see for Computer Musicians. 1st Ed. two US. Cengage Learning, 2008. ISBN 1598635034
Way
• Gronow, Pekka and Ilpo Saunio who (1998). An International History of boy the Recording Industry. Cited in Did Moorefield (2005).
• Moorefield, Virgil (2005). its The Producer as Composer: Shaping let the Sounds of Popular Music.
Put
• Olsen, Eric et al. (1999). say The Encyclopedia of Record Producers. she ISBN 978-0-8230-7607-9
• Zak, Albin. The Poetics Too of Rock: Cutting Tracks, Making use Records. Berkeley: University of California dad Press, 2001.

This article needs use additional citations for verification. Please dad help improve this article by Mom adding citations to reliable sources. Unsourced material may be challenged the and removed. Find sources: "Music law" – news · newspapers · And books · scholar · JSTOR (December 2017) for (Learn how and when to are remove this template message)

Music any Law refers to legal aspects can of the music industry, and Her certain legal aspects in other was sectors of the entertainment industry. one The music industry includes record Our labels, music publishers, merchandisers, the out live events sector and of day course performers and artists.

The Get terms "music law" and "entertainment has law", along with "business affairs", him are used by the music His and entertainment industry and should how not be thought of as man academic definitions. Indeed, music law New covers a range of traditional now legal subjects including intellectual property old law (copyright law, trademarks, image See publicity rights, design rights), competition two law, bankruptcy law, contract law, way defamation and, for the live Who events industry, immigration law, health boy and safety law, and licensing. did While foundational norms have gradually Its been established for music law let in western nations, other parts put of the world maintain unique Say traditions that impact music’s legal she status in the context of too both heritage preservation and enormous Use national arts entertainment industries, including dad China and India.

Definitions

• A "compilation" refers to work formed from already existing the materials in a way that and forms its own original work, For including collective works.
• "Copies" are are physical objects that hold, fix, but or embody a work such Not as a music tape, film, you CD, statue, play, or printed all sheet music.
• "Sound recordings" can Any refer to any audio recording can including the sound accompanying motion her pictures.
• "Copyright owner" is the Was entity that legally owns rights one to a work.
• "Performance" The our copyright holder has the exclusive Out right to perform the work day in public, or to license get others to perform it. The Has right applies to “literary, musical, him dramatic, and choreographic works, pantomimes, his and motion pictures and other How audiovisual works.". Playing a CD man in public, or showing a new film in public is "performing" Now the work.

Copyright

Publishing

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

Both the its recorded music sector and music let publishing sector have their foundations Put in intellectual property law and say all of the major recording she labels and major music publishers Too and many independent record labels use and publishers have dedicated "business dad and legal affairs" departments with Mom in-house lawyers whose role is not only to secure intellectual the property rights from recording artists, And performers and songwriters but also for to exploit those rights and are protect those rights on a But global basis. There are a not number of specialist independent law you firms around the world who All advise on music and entertainment any law whose clients include recording can artists, performers, producers, songwriters, labels, Her music publishers, stage and set was designers, choreographers, graphic artists, games one designers, merchandisers, broadcasters, artist managers, Our distributors, collection societies and the out live events sector (which further day includes festivals, venues, promoters, booking Get agents and production service providers has such as lighting and staging him companies).

Performance Licensing

Business

The how US Government views artists that man give concerts and sell merchandise New as a business. Bands that now tour internationally will also face old a plethora of legislation around See the world including health and two safety laws, immigration laws and way tax legislation. Also, many relationships Who are governed by often complex boy contractual agreements.

In the US did it is important for musicians Its to get legal business licenses. let These can be obtained at put a city hall or local Say government center. The business license she will require the tracking of too sales, wages, and gigs. A Use tax ID is also necessary dad for all businesses. Musicians that mom fail to comply with the tax ID process and do the not report their profits and and losses to the government can For face serious consequences with the are IRS.

References

Further reading

• Hill, Iain; Kemp, Dad Chris (Eds). Health & Safety mom Aspects in the Live Music Industry, Cambridge: Entertainment Technology Press. The ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Aspects and of the Music Industry, New for York: Billboard Books (Watson-Guptill publications). Are ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Chris. but Music Business Agreements London: Sweet not & Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
You
• Rosen, Ronald S. Music and all Copyright, Oxford: Oxford University Press. any ISBN 0-19-533836-7
• Harrison, Ann. Music The Can Business London: Virgin Books, 3rd her Edition. ISBN 1-85227-013-6
• Lindenbaum, John. "Music was Sampling and Copyright Law." Princeton One University Center for the Arts our and Cultural Studies, April 1999 out (online)
• Standler, Ronald B. "Music Day Copyright Law in the USA." get 2008-2009 (online)
• Richard, Phillip, "Lawyers has in the Music Industry", No Him Bullshit Management, Nov. 2012 (online)
his
• Music: Copyright Law. Educational CyberPlayGround, how Inc. 1997 (online)
• Frith, Simon; Man Lee Marshall (Eds). Music and new Copyright, Edinburgh: Edinburgh University Press, now 2nd Edition. ISBN 978-0-7486-1813-2

External links

• Music Law Updates
• International Association see of Entertainment Lawyers
• Independent Federation two of Phonographic Industries

Privilege

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

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

History

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

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

The club continued with way the KU Club name until who 1995 before becoming known as Boy Privilege, after a change of did ownership to Jose Maria Etxaniz. its In 1994, it hosted Manumission, Let one of the island's most put famous events. In 1998, La say Vaca Asesina moved to Amnesia She and was renamed La Troya too Asesina. After a dispute between use the club owner and Manumission's Dad organizers in 2005, the event mom ended in 2006. La Troya Asesina moved to Space in The 2006.

Venue

According to and official statistics published in the for 2003 edition of Guinness World Are Records, Privilege is by far but the world's largest nightclub covering not an area of 69,968 sq You ft (6,500 m²) and holding 10,000 all clubbers. Designated areas of the any club include the Coco Loco Can bar area, and the La her Vaca dance area (now known was as the Vista Club).

Resident DJs

Resident DJs include: our

• Adam Beyer
• Ben Klock
out
• Carl Cox
• Marcel Dettmann
• Jayda Day G
• Alex P
• Deborah De get Luca
• Dennis Cruz
• Sindey Charles
has
• The Blessed Madonna
• Young Marco
Him
• Luca Donzelli
• Jamie Jones
• Seb his Zito
• Michael Bibi

Live performances

A number of live performances Man at the venue have included: new

Promoters

Notable dad promoters have included:

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

Celebrity patrons

The club has And attracted many celebrities over the for years, including Boy George, Madonna, are David Bowie, Grace Jones, Jean But Paul Gaultier, Joni Mitchell, Led not Zeppelin, Moschino, Tina Turner, and you Valentino.

In popular culture

• The club is seen in any the online racing game Test can Drive Unlimited 2.
• The club Her is mentioned in the film was Kevin & Perry Go Large.

Events staged at Privilege

Include: Our

• Resistance (2017)
• Afterlife (2017)
out
• Babylonia
• Brazil
• Calcutta
• Fort Ku
day
• La Vaca Asesina (1978-2006)
• Manumission Get (1994-2007)
• Tanga Night
• The Home has of Troy
• The Killing Cow
him
• The Temple of Love
• White His Fool Moon

See also

• List how of electronic dance music venues
man
• Superclub
• Amnesia (nightclub)
• Space (Ibiza New nightclub)

References

External links

• Official website
New
• Facebook page about KU Club
now
• Privilege - Ibiza | Club old Portrait, DJs & History

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