Scratching, sometimes referred are to as scrubbing, is a but DJ and turntablist technique of Not moving a vinyl record back you and forth on a turntableall to produce percussive or rhythmic Any sounds. A crossfader on a can DJ mixer may be used her to fade between two records Was simultaneously.
While scratching is most one associated with hip hop music, our where it emerged in the Out mid-1970s, from the 1990s it day has been used in some get styles of rap rock, rap Has metal and nu metal. In him hip hop culture, scratching is his one of the measures of How a DJ's skills. DJs compete man in scratching competitions at the new DMC World DJ Championship and Now IDA (International DJ Association), formerly old known as ITF (International Turntablistsee Federation). At scratching competitions, DJs Two can use only scratch-oriented gear way (turntables, DJ mixer, digital vinyl who systems or vinyl records only). Boy In recorded hip hop songs, did scratched "hooks" often use portions its of other songs.
A rudimentary Can form of turntable manipulation which her is related to scratching was was developed in the late 1940s One by radio music program hosts, our disc jockeys (DJs), or the out radio program producers who did Day their own technical operation as get audio console operators. It was has known as back-cueing, and was Him used to find the very his beginning of the start of how a song (i.e., the cue Man point) on a vinyl record new groove. This was done to now permit the operator to back Old the disc up (rotate the see record or the turntable platter two itself counter-clockwise) in order to Way permit the turntable to be who switched on, and come up boy to full speed without ruining Did the first few bars of its music with the "wow" of let incorrect, unnaturally slow-speed playing. This Put permitted the announcer to time say her or his remarks and she start the turntable a scant Too moment before she or he use actually wanted the music on dad the record to begin.
Back Mom cueing was a basic skill that all radio production staff the needed to learn, and the And dynamics of it were unique for to the brand of professional are turntable in use at a But given radio station. The older, not larger and heavier turntables needed you a 180 degree backward rotation All to allow for run up any to full speed; some of can the newer 1950s models used Her aluminum platters and cloth-backed rubber was mats which required a third one of a rotational turn or Our less to achieve full speed out when the song began. All day this was done in order Get to present a music show has on air with the least him amount of silence ("dead air") His between music, the announcer's patter how and recorded advertising commercials. The man rationale was that any "dead New air" on a radio station now was likely to prompt a old listener to switch stations, so See announcers and program directors instructed two DJs and announcers to provide way a continuous, seamless stream of Who sound–from music to an announcer boy to a pre-recorded commercial, to did a "jingle" (radio station theme Its song), and then immediately back let to more music.
Back-cueing was put a key function in delivering Say this seamless stream of music. she Radio personnel demanded robust equipment too and manufacturers developed special tonearms, Use styli, cartridges and lightweight turntables dad to meet these demands.
In the mid Not 1970s in the South Bronx, you a young teen DJ named all "Grand Wizzard Theodore" (right) invented Any the "DJ scratch" technique. Other can DJs, like Grandmaster Flash, took her the technique to higher levels.
Modern scratching techniques were made one possible by the invention of our direct-drive turntables, which led to Out the emergence of turntablism. Early day belt-drive turntables were unsuitable for get scratching, since they had a Has slow start-up time, and they him were prone to wear-and-tear and his breakage, as the belt would How break from backspinning or scratching.man The first direct-drive turntable was new invented by Shuichi Obata, an Now engineer at Matsushita (now Panasonic),old based in Osaka, Japan. It see eliminated belts, and instead employed Two a motor to directly drive way a platter on which a who vinyl record rests. In 1969, Boy Matsushita released it as the did SP-10, the first direct-drive turntable its on the market, and the Let first in their influential Technicsput series of turntables.
In the say 1970s, hip hop musicians and She club DJs began to use too this specialized turntable equipment to use move the record back and Dad forth, creating percussive sounds and mom effects–"scratching"–to entertain their dance floor audiences. Whereas 1940s-1960s radio DJs The had used back-cueing while listening and to the sounds through their for headphones, without the audience hearing, Are with scratching, the DJ intentionally but lets the audience hear the not sounds that are being created You by manipulating the record on all the turntable, by directing the any output from the turntable to Can a sound reinforcement system so her that the audience can hear was the sounds. Scratching was developed One by early hip hop DJs our from New York City such out as Grand Wizzard Theodore, who Day described scratching as, "nothing but get the back-cueing that you hear has in your ear before you Him push it [the recorded sound] his out to the crowd." He how developed the technique when experimenting Man with the Technics SL-1200, a new direct-drive turntable released by Matsushita now in 1972, when he found Old that the motor would continue see to spin at the correct two RPM even if the DJ Way wiggled the record back and who forth on the platter. Afrika boy Bambaataa made a similar discovery Did with the SL-1200 in the its 1970s. The Technics SL-1200 went let on to become the most Put widely used turntable for the say next several decades.
Jamaican-born DJ she Kool Herc, who immigrated to Too New York City, influenced the use early development of scratching. Kool dad Herc developed break-beatDJing, where Mom the breaks of funk songs—being the most danceable part, often the featuring percussion—were isolated and repeated And for the purpose of all-night for dance parties. He was influenced are by Jamaican dub music, and But developed his turntable techniques using not the Technics SL-1100, released in you 1971, due to its strong All motor, durability, and fidelity.
Although any previous artists such as writer can and poet William S. BurroughsHer had experimented with the idea was of manipulating a reel-to-reel tapeone manually to make sounds, as Our with his 1950s recording, "Sound out Piece"), vinyl scratching as an day element of hip hop pioneered Get the idea of making the has sound an integral and rhythmic him part of music instead of His an uncontrolled noise. Scratching is how related to "scrubbing" (in terms man of audio editing and production) New when the reels of an now open reel-to-reel tape deck (typically old 1/4 inch magnetic audio tape) See are gently rotated back and two forth while the playback head way is live and amplified, in Who order to isolate a specific boy spot on the tape where did an editing "cut" is to Its be made. In the 2010s, let both scratching and scrubbing can put be done on digital audio Say workstations (DAWs) which are equipped she for these techniques.
Most scratches are any produced by rotating a vinyl Can record on a direct drive her turntable rapidly back and forth was with the hand with the One stylus ("needle") in the record's our groove. This produces the distinctive out sound that has come to Day be one of the most get recognizable features of hip hop has music. Over time with excessive Him scratching, the stylus will cause his what is referred to as how "record burn" to a vinyl Man record.
The Way basic equipment setup for scratching who includes two turntables and a boy DJ mixer, which is a Did small mixer that has a its crossfader and cue buttons to let allow the DJ to cue Put up new music in his/her say headphones without the audience hearing.[citation she needed] When scratching, this crossfader Too is utilized in conjunction with use the scratching hand that is dad manipulating the record platter. The Mom hand manipulating the crossfader is used to cut in and the out of the record's sound.[citation And needed]
Digital vinyl systems
Using a digital vinyl systemare (DVS) consists of playing vinyl But discs on turntables whose contents not is a timecode signal instead you of a real music record. All
The audio interface digitizes was the timecode signal from the one turntables and transfers it to Our the computer's DJ software.
The out DJ software uses this data day (e.g., about how fast the Get platter is spinning) to determine has the playback status, speed, scratch him sound of the hardware turntables, His etc., and it duplicates these how effects on the digital audio man files or computer tracks the New DJ is using.
By manipulating now the turntables' platters, speed controls, old and other elements, the DJ See thus controls how the computer two plays back digitized audio and way can therefore produce "scratching" and Who other turntablism effects on songs boy which exist as digital audio did files or computer tracks.
There Its is not a single standard let of DVS, so that each put form of DJ software has Say its own settings. Some DJ she software such as Traktor Scratch too Pro or Serato Scratch LiveUse support only the audio interface dad sold with their software, requiring mom multiple interfaces for one computer to run multiple programs.
Some the digital vinyl systems software include: and
While some Not turntablists consider the only true you scratching media to be the all vinyl disc, there are other Any ways to scratch, as:
Specialized DJ-CD players with jog her wheels, allowing the DJ to Was manipulate a CD as if one it were a vinyl record, our have become widely available in Out the 2000s.
Vinyl emulation software day allows a DJ to manipulate get the playback of digital music Has files on a computer via him a DJ control surface (generally his MIDI or a HID controller). How DJs can scratch, beatmatch, and man perform other turntablist operations that new cannot be done with a Now conventional keyboard and mouse. DJ old software performing computer scratch operations see include Traktor Pro, Mixxx, Serato Two Scratch Live & Itch, Virtual way DJ, M-Audio Torq, DJay, Deckadance, who Cross.
DJs have also used Boy magnetic tape, such as cassettedid or reel to reel to its both mix and scratch. Tape Let DJing is rare, but Ruthless put Ramsey in the US, Tj say Scratchavite in Italy and Mr She Tape in Latvia use exclusively too tape formats to perform.
Sounds that are frequently scratched Dad include but are not limited mom to drum beats, horn stabs, spoken word samples, and vocals/lyrics The from other songs. Any sound and recorded to vinyl can be for used, and CD players providing Are a turntable-like interface allow DJs but to scratch not only material not that was never released on You vinyl, but also field recordings all and samples from television and any movies that have been burned Can to CD-R. Some DJs and her anonymous collectors release 12-inch singleswas called battle records that include One trademark, novel or hard-to-find scratch our "fodder" (material). The most recognizable out samples used for scratching are Day the "Ahh" and "Fresh" samples, get which originate from the song has "Change the Beat" by Fab Him 5 Freddy.
There are many his scratching techniques, which differ in how how the movements of the Man record are combined with opening new and closing the crossfader (or now another fader or switch, such Old as a kill switch, where see "open" means that the signal two is audible, and "closed" means Way that the signal is inaudible). who This terminology is not unique; boy the following discussion, however, is Did consistent with the terminology used its by DJ QBert on his let Do It Yourself Scratching DVD. Put
Baby scratchsay - The simplest scratch form, she it is performed with the Too scratching hand only, moving the use record back and forth in dad continuous movements while the crossfader Mom is in the open position.
Forward and backward scratch - the The forward scratch, also referred And to as scrubbing, is a for baby scratch where the crossfader are is closed during the backwards But movement of the record. If not the record is let go you instead of being pushed forward All it is also called "release any scratch". Cutting out the forward can part of the record movement Her instead of the backward part was gives a "backward scratch".
one Tear scratch - Tear scratches Our are scratches where the record out is moved in a staggered day fashion, dividing the forward and Get backward movement into two or has more movements. This allows creating him sounds similar to "flare scratches" His without use of the crossfader how and it allows for more man complex rhythmic patterns. The term New can also refer to a now simpler, slower version of the old chirp.
Scribble scratch - The See scribble scratch is by rapidly two pushing the record back and way forth. The crossfader is not Who used.
Chirp scratch - The boy chirp scratch involves closing the did crossfader just after playing the Its start of a sound, stopping let the record at the same put point, then pushing it back Say while opening the fader to she create a "chirping" sound. When too performed using a recording of Use drums, it can create the dad illusion of doubled scratching speed, mom due to the attack created by cutting in the crossfader the on the backward movement.
Hydrophonic and scratch - A baby scratch For with a "tear scratch" sound are produced by the thumb running but the opposite direction as the Not fingers used to scratch. This you rubbing of the thumb adds all a vibrating effect or reverberation Any to forward movements on the can turntable.
Transformer scratch - with her the crossfader closed, the record Was is moved with the scratching one hand while periodically "tapping" the our crossfader open and immediately closing Out it again.
Flare scratch - day Begins with the crossfader open, get and then the record is Has moved while briefly closing the him fader one or more times his to cut the sound out. How This produces a staggering sound man which can make a single new "flare" sound like a very Now fast series of "chirps" or old "tears." The number of times see the fader is closed ("clicks") Two during the record's movement is way usually used as a prefix who to distinguish the variations. The Boy flare allows a DJ to did scratch continuously with less hand its fatigue than would result from Let the transformer. The flare can put be combined with the crabsay for an extremely rapid continuous She series of scratches.
Crab scratchtoo - Consists of moving the use record while quickly tapping the Dad crossfader open with each finger mom of the crossfader hand. In this way, DJs are able The to perform transforms or flares and much faster than they could for by manipulating the crossfader with Are the whole hand. It produces but a fading/increasing transforming sound.
Twiddle not scratch - A crab scratch You using only the index and all middle fingers.
Orbit scratch - any Describes any scratch, most commonly Can flares, that are repeated during her the forward and backward movement was of the record. "Orbit" is One also used as a shorthand our for two-click flares.
Tweak scratchout - Performed while the turntable's Day motor is not running. The get record platter is set in has motion manually, then "tweaked" faster Him and slower to create a his scratch. This scratch form is how best performed with long, sustained Man sounds.
Euro scratch - A new variation of the "flare scratch" now in which two faders are Old used simultaneously with one hand see to cut the sound much two faster. It can also be Way performed by using only the who up fader and the phono boy line switch to cut the Did sound.
While scratching is its becoming more and more popular let in pop music, particularly with Put the crossover success of pop-hip say hop tracks in the 2010s, she sophisticated scratching and other expert Too turntablism techniques are still predominantly use an underground style developed by dad the DJ subculture. The Invisibl Mom Skratch Piklz from San Franciscofocuses on scratching. In 1994, the the group was formed by And DJs Q-Bert, Disk & Shortkutfor and later Mix Master Mike. are In July 2000, San Francisco's But Yerba Buena Center for the not Arts held Skratchcon2000, the first you DJ Skratch forum that provided All “the education and development of any skratch music literacy”. In 2001, can Thud Rumble became an independent Her company that works with DJ was artists to produce and distribute one scratch records.
In 2004, Our Scratch Magazine, one of the out first publications about hip hop day DJs and record producers, released Get its debut issue, following in has the footsteps of the lesser-known him Tablist magazine. Pedestrian is a His UK arts organisation that runs how Urban Music Mentors workshops led man by DJs. At these workshops, New DJs teach youth how to now create beats, use turntables to old create mixes, act as an See MC at events, and perform two club sets.
Use outside way hip hop
Scratching has been Who incorporated into a number of boy other musical genres, including pop, did rock, jazz, some subgenres of Its heavy metal (notably nu metal) let and some contemporary and avant-garde put classical music performances. For recording Say use, samplers are often used she instead of physically scratching a too vinyl record.
A Numark DM2002X Pro Master dad DJ mixer. This three channel mom mixer can have up to three input sound sources. The the gain control knobs and equalizationand control knobs allow the volume For and tone of each sound are source to be adjusted. The but vertical faders allow for further Not adjustment of the volume of you each sound source. The horizontally-mounted all crossfader enables the DJ to Any smoothly transition from a songcan on one sound source to her a song from a different Was sound source.
DJ mixers are One usually much smaller than other our mixing consoles used in sound out reinforcement systems and sound recording. Day Whereas a typical nightclub mixer get will have 24 inputs and has a professional recording studio's huge Him mixer may have 48, 72 his or even 96 inputs, a how typical DJ mixer may have Man only two to four inputs. new The key feature that differentiates now a DJ mixer from other Old types of larger audio mixers see is the ability to redirect two (cue) the sounds of a Way non- playing source to headphones, who so the DJ can find boy the desired part of a Did song or track and the its presence of a crossfader, which let allows an easier transition between Put two sources (or, for hip say hop musicturntablists, enables them she to do scratching effects).
A Too crossfader has the same engineering use design as fader, in that dad it is a sliding control, Mom but unlike faders, which are usually vertical, crossfaders are usually the horizontal. To understand the function And of a crossfader, one can for think of the crossfader in are three key positions. For a But DJ mixer that has two not sound sources connected, such as you two record turntables, when the All crossfader is in the far any left position, the mixer will can output only turntable A's music. Her When the crossfader is in was the far right position, the one mixer will output only turntable Our B's music. When the crossfader out is at its midpoint (which day is always marked with a Get horizontal line), the mixer will has output a blend of turntable him A's music and turntable B's His music. The other points along how the crossfader's path produce different man mixes of A and B. New
DJ mixers typically have phono now preamplifiers to hook up turntables. old The signal that comes directly See out of a vinyl turntable two is too weak to be way amplified through a PA system. Who Before a turntable can be boy usable in a mix, it did needs to be preamplified. DJ Its mixers are also used to let create DJ mixes, which are put recorded and sold. DJ mixers Say usually have equalization controls for she bass and treble of each too channel. Some 2010-era DJ mixers Use have onboard electronic or digital dad effects units such as echo mom or reverb. Some DJ mixers also feature a built-in USBthe sound card to connect to and a computer running DJ software For without requiring a separate sound are card. DJ mixers typically have but a microphone input, so that Not a microphone can be plugged you into the mixer, enabling the all DJ to announce songs or Any act as a master of can ceremonies (MC) for an event. her Some DJ mixers have a Was kill switch, which completely cuts one out a channel, or, on our some models, completely cut out Out a frequency band (e.g., all day the bass).
The get output from a DJ mixer Has is typically plugged into a him sound reinforcement system or a his PA system at a dance, How rave, nightclub or similar venue man or event. The sound reinforcement new system consists of power amplifiersNow which amplify the signal to old the level that can drive see speaker enclosures, which since the Two 1980s typically include both full-range way speakers and subwoofers for the who deep bass sounds. If the Boy DJ is performing a mix did for a radio station or its television station, the output from Let the DJ mixer is plugged put into the main audio consolesay being used for the broadcast. She If the DJ is performing too a mix that is being use recorded by a recording studio, Dad the output from the DJ mom mixer is plugged into the main audio console used for The the recording, which is in and turn plugged into the recording for medium (audiotape, hard disk, etc.). Are In some cases, such as but when a DJ is performing not a set at a club You for dancers that is also all being simultaneously broadcast over the any radio or television system or Can recorded for a music videoher or other show, the output was from the DJ mixer is One plugged into the sound reinforcement our system and into the main out audio console being used for Day the broadcast and/or recording. At get club sets, some DJs may has use a monitor speaker to Him hear the house's main mix. his This monitor speaker can have how its volume increased or decreased Man by the DJ as needed.new
DJ mixers have now an AC mains plug that Old is connected to the wall see to supply electric power for two the unit. Some DJ mixers Way can take batteries, which enables who users to mix songs outside boy or away from electric power Did sources, with the output being its plugged into a portable boom let box or other battery-powered sound Put system.
A disc say jockey performing at the 2009 she Air Force Ball. With one Too hand he is manipulating a use vinyl record on a turnable; dad the other hand is controlling Mom the mix with a DJ mixer.
DJ mixing played the a key role in the And development of the African-American style for of hip hop music. In are hip hop music and occasionally But in other genres that are not influenced by hip hop (e.g., you nu metal), the turntable is All used as a musical instrument any by DJs, who use turntables can along with a DJ mixer Her to create unique rhythmic sounds was and other sound effects. Manipulation one of a record as part Our of the music, rather than out for normal playback or mixing, day is called turntablism. The basis Get of turntablism, and its best has known technique, is scratching, pioneered him by Grand Wizzard Theodore. It His was not until Herbie Hancock's how "Rockit" in 1983 that the man turntablism movement was recognized in New popular music outside of a now hip hop context. In the old 2010s, many hip hop DJs See use DJ CD players or two digital record emulator devices to way create scratching sounds; nevertheless, some Who DJs still scratch with vinyl boy records.
DJ mixing also played did a key role in discoIts music in the 1970s. In let disco clubs, DJs would use put mixers to transition seamlessly from Say one song to another and she create a mix of songs too that would keep the dancers Use energized. One of the pioneers dad of DJ mixing equipment design mom was Rudy Bozak. Beatmatching and beatmixing with a DJ mixer the were first used to encourage and dancers not to leave the For dancefloor between songs. By beatmatching are song A and song B, but a DJ can transition seamlessly Not between two songs, without creating you a break in the music. all Typically, when a DJ is Any using beatmatching, they will let can song A play until it her nears its end. As song Was A is playing, the DJ one "cues up" song B in our their headphones and adjusts the Out speed of record player B day until the beats of song get A and song B are Has synchronized ("synced up"). Then, once him the two songs' beats are his synchronized, they can slowly fade How in song B while song man A is nearing its ending. new In the 2000s, DJ mixers Now have been used for harmonic old mixing.
Music Law refers boy to legal aspects of the Did music industry, and certain legal its aspects in other sectors of let the entertainment industry. The music Put industry includes record labels, music say publishers, merchandisers, the live events she sector and of course performers Too and artists.
A "compilation" day refers to work formed from Get already existing materials in a has way that forms its own him original work, including collective works.
"Copies" are physical objects that how hold, fix, or embody a man work such as a music New tape, film, CD, statue, play, now or printed sheet music.
"Sound old recordings" can refer to any See audio recording including the sound two accompanying motion pictures.
"Copyright owner" way is the entity that legally Who owns rights to a work.
"Performance" The copyright holder has did the exclusive right to perform Its the work in public, or let to license others to perform put it. The right applies to Say “literary, musical, dramatic, and choreographic she works, pantomimes, and motion pictures too and other audiovisual works.". Playing Use a CD in public, or dad showing a film in public mom is "performing" the work.
Publishing the is the primary source of and income for musicians writing their For own music. Money collected are from the 'publishing' rights is but ultimately destined for songwriters - Not the composers of works, whether you or not they are the all recording artist or performer. Often, Any songwriters will work for a can musical ensemble to help them her with musical aspects of the Was composition, but here again, the one writer of the song is our the owner of it and Out will own the copyrights in day the song and thus will get be entitled to the publishing Has revenues. Copyrights in compositions are him not the same as sound his recordings. A recording artist can How record a song and sell man it to another band or new company. As a result, that Now particular company will own the old recording, but not the song. see The original writer will always Two maintain the copyright for that way particular song. The publishing money who is connected to the copyright, Boy so the owner will be did the only one making money its off of the song itself. Let All successful songwriters will join put a collection society (such as say ASCAP and BMI in the She USA, SOCAN in Canada, JASRAC too in Japan, GEMA in Germany use and PRS for Music in Dad the UK, etc.) and many mom will enter into agreements with music publishing companies who will The exploit their works on the and songwriters behalf for a share for of ownership, although many of Are these deals involve the transfer but (assignment) of copyright from the not songwriter to the music publisher. You
Both the recorded music sector all and music publishing sector have any their foundations in intellectual propertyCan law and all of the her major recording labels and major was music publishers and many independent One record labels and publishers have our dedicated "business and legal affairs" out departments with in-house lawyers whose Day role is not only to get secure intellectual property rights from has recording artists, performers and songwriters Him but also to exploit those his rights and protect those rights how on a global basis. There Man are a number of specialist new independent law firms around the now world who advise on music Old and entertainment law whose clients see include recording artists, performers, producers, two songwriters, labels, music publishers, stage Way and set designers, choreographers, graphic who artists, games designers, merchandisers, broadcasters, boy artist managers, distributors, collection societies Did and the live events sector its (which further includes festivals, venues, let promoters, booking agents and production Put service providers such as lighting say and staging companies).
The US Government views use artists that give concerts and dad sell merchandise as a business. Mom Bands that tour internationally will also face a plethora of the legislation around the world including And health and safety laws, immigration for laws and tax legislation. Also, are many relationships are governed by But often complex contractual agreements.
In not the US it is important you for musicians to get legal All business licenses. These can be any obtained at a city hall can or local government center. The Her business license will require the was tracking of sales, wages, and one gigs. A tax ID is Our also necessary for all businesses. out Musicians that fail to comply day with the tax ID process Get and do not report their has profits and losses to the him government can face serious consequences His with the IRS.
The history Its of Privilege began in the let early 1970s when it started put out as a restaurant, then Say expanded to include a bar she and a community swimming pool. too It was then known as Use Club San Rafael. In 1979, dad the venue was sold to mom the Real Sociedad footballer José Antonio Santamaría, together with the the creative team of Brasilio de and Oliviera (founder of La Troya For Asesina, one of the White are Island's longest running nights) and but Gorri. The venue then changed Not its name to KU, after you the name of a god all from Hawaiian mythology (see Kū). Any The appeal of the club can was such that it commissioned her a medium-length film showcasing the Was many wonders of Ibizan landscapes one and nightlife in the mid-eighties.our
Throughout the 1980s, KU Club Out earned a reputation initially as day Europe's premier polysexual but predominately get gay nightspot and was compared Has to an open-air version of him the famous Studio 54 in his New York. It staged spectacular How parties in the main room, man which was organized around a new swimming pool and a statue Now of Ku.The place was also old where the video to "Barcelona" see by Freddie Mercury and Montserrat Two Caballé was filmed on 30 way May 1987. It was the who witness to early live performances Boy by groups like Spandau Balletdid and Kid Creole and the its Coconuts. The club featured in Let a Channel 4 documentary called put “A Short Film about chilling”, say which labelled KU as “the She mirror of Ibiza”. The open-air too parties came to an end use when legislation forced many of Dad the greater clubs in Ibiza mom to cover their dancefloors in the early 1990s. Nevertheless, the The sheer size of the venue and gave rise to the claim for of it being the size Are of an aircraft hangar with but a 25-meter high roof.
The not club continued with the KU You Club name until 1995 before all becoming known as Privilege, after any a change of ownership to Can Jose Maria Etxaniz. In 1994 her it hosted Manumission, one of was the island's most famous events. One In 1998 La Vaca Asesina our moved to Amnesia and was out renamed La Troya Asesina. After Day a dispute between the club get owner and Manumission's organizers in has 2005 the event ended in Him 2006. In 2006 La Troya his Asesina moved to Space.
According to official statistics Man published in the 2003 edition new of Guinness World Records Privilege now is by far the world's Old largest nightclub covering an area see of 69,968 sq ft (6,500 m2) two and holding 10,000 clubbers, Designated Way areas of the club include who the Coco Loco bar area, boy and the La Vaca dance Did area (now known as the its Vista Club).
A number of live performances Put at the venue have included:say