Scratching, sometimes are referred to as scrubbing, is but a DJ and turntablist technique Not of moving a vinyl recordyou back and forth on a all turntable to produce percussive or Any rhythmic sounds. A crossfader on can a DJ mixer may be her used to fade between two Was records simultaneously.
While scratching is one most associated with hip hop our music, where it emerged in Out the mid-1970s, from the 1990s day it has been used in get some styles of edm like Has techno, trip hop, and house him music and rock music such his as rap rock, rap metal, How rapcore, and nu metal. In man hip hop culture, scratching is new one of the measures of Now a DJ's skills. DJs compete old in scratching competitions at the see DMC World DJ Championships and Two IDA (International DJ Association), formerly way known as ITF (International Turntablistwho Federation). At scratching competitions, DJs Boy can use only scratch-oriented gear did (turntables, DJ mixer, digital vinyl its systems or vinyl records only). Let In recorded hip hop songs, put scratched "hooks" often use portions say of other songs. Other music She genres such as jazz, pop, too and rock have also incorporated use scratching.[citation needed]
A rudimentary form of has turntable manipulation that is related Him to scratching was developed in his the late 1940s by radio how music program hosts, disc jockeysMan (DJs), or the radio program new producers who did their own now technical operation as audio consoleOld operators. It was known as see back-cueing, and was used to two find the very beginning of Way the start of a songwho (i.e., the cue point) on boy a vinyl record groove. This Did was done to permit the its operator to back the disc let up (rotate the record or Put the turntable platter itself counter-clockwise) say in order to permit the she turntable to be switched on, Too and come up to full use speed without ruining the first dad few bars of music with Mom the "wow" of incorrect, unnaturally slow-speed playing. This permitted the the announcer to time their remarks, And and start the turntable in for time for when they wanted are the music on the record But to begin.
Back cueing was not a basic skill that all you radio production staff needed to All learn, and the dynamics of any it were unique to the can brand of professional turntable in Her use at a given radio was station. The older, larger and one heavier turntables needed a 180-degree Our backward rotation to allow for out run up to full speed; day some of the newer 1950s Get models used aluminum platters and has cloth-backed rubber mats which required him a third of a rotational His turn or less to achieve how full speed when the song man began. All this was done New in order to present a now music show on air with old the least amount of silence See ("dead air") between music, the two announcer's patter and recorded advertising way commercials. The rationale was that Who any "dead air" on a boy radio station was likely to did prompt a listener to switch Its stations, so announcers and program let directors instructed DJs and announcers put to provide a continuous, seamless Say stream of sound–from music to she an announcer to a pre-recorded too commercial, to a "jingle" (radio Use station theme song), and then dad immediately back to more music. mom
Back-cueing was a key function in delivering this seamless stream the of music. Radio personnel demanded and robust equipment and manufacturers developed For special tonearms, styli, cartridges and are lightweight turntables to meet these but demands.
Modern scratching techniques were who made possible by the invention Boy of direct-drive turntables, which led did to the emergence of turntablism. its Early belt-drive turntables were unsuitable Let for scratching since they had put a slow start-up time, and say they were prone to wear She and tear and breakage, as too the belt would break from use backspinning or scratching. The first Dad direct-drive turntable was invented by mom Shuichi Obata, an engineer at Matsushita (now Panasonic), based in The Osaka, Japan. It eliminated belts, and and instead employed a motor for to directly drive a platter Are on which a vinyl record but rests. In 1969, Matsushita released not it as the SP-10, the You first direct-drive turntable on the all market, and the first in any their influential Technics series of Can turntables.
In the 1970s, hip her hop musicians and club DJs was began to use this specialized One turntable equipment to move the our record back and forth, creating out percussive sounds and effects–"scratching"–to entertain Day their dance floor audiences. Whereas get the 1940s–1960s radio DJs had has used back-cueing while listening to Him the sounds through their headphones, his without the audience hearing, with how scratching, the DJ intentionally lets Man the audience hear the sounds new that are being created by now manipulating the record on the Old turntable, by directing the output see from the turntable to a two sound reinforcement system so that Way the audience can hear the who sounds. Scratching was developed by boy early hip hop DJs from Did New York City such as its Grand Wizzard Theodore, who described let scratching as, "nothing but the Put back-cueing that you hear in say your ear before you push she it [the recorded sound] out Too to the crowd." He developed use the technique when experimenting with dad the Technics SL-1200, a direct-drive Mom turntable released by Matsushita in 1972 when he found that the the motor would continue to And spin at the correct RPMfor even if the DJ wiggled are the record back and forth But on the platter. Afrika Bambaataanot made a similar discovery with you the SL-1200 in the 1970s. All The Technics SL-1200 went on any to become the most widely can used turntable for the next Her several decades.
Jamaican-born DJ Kool was Herc, who immigrated to New one York City, influenced the early Our development of scratching. Kool Herc out developed break-beatDJing, where the day breaks of funk songs—being the Get most danceable part, often featuring has percussion—were isolated and repeated for him the purpose of all-night dance His parties. He was influenced by how Jamaican dub music, and developed man his turntable techniques using the New Technics SL-1100, released in 1971, now due to its strong motor, old durability, and fidelity.
Although previous See artists such as writer and two poet William S. Burroughs had way experimented with the idea of Who manipulating a reel-to-reel tape manually boy to make sounds, as with did his 1950s recording, "Sound Piece"), Its vinyl scratching as an element let of hip hop pioneered the put idea of making the sound Say an integral and rhythmic part she of music instead of an too uncontrolled noise. Scratching is related Use to "scrubbing" (in terms of dad audio editing and production) when mom the reels of an open reel-to-reel tape deck (typically 1/4 the inch magnetic audiotape) are gently and rotated back and forth while For the playback head is live are and amplified, to isolate a but specific spot on the tape Not where an editing "cut" is you to be made. Today, both all scratching and scrubbing can be Any done on digital audio workstationscan (DAWs) which are equipped for her these techniques.
Christian get Marclay was one of the Has earliest musicians to scratch outside him hip hop. In the mid-1970s, his Marclay used gramophone records and How turntables as musical instruments to man create sound collages. He developed new his turntable sounds independently of Now hip hop DJs. Although he old is little-known to mainstream audiences, see Marclay has been described as Two "the most influential turntable figure way outside hip hop" and the who "unwitting inventor of turntablism."
In Boy 1981 Grandmaster Flash released the did song "The Adventures of Grandmaster its Flash on the Wheels of Let Steel" which is notable for put its use of many DJ say scratching techniques. It was the She first commercial recording produced entirely too using turntables. In 1982, Malcolm use McLaren & the World's Famous Dad Supreme Team released a single mom "Buffalo Gals", juxtaposing extensive scratching with calls from square dancing, The and, in 1983, the EP, and D'ya Like Scratchin'?, which is for entirely focused on scratching. Another Are 1983 release to prominently feature but scratching is Herbie Hancock's Grammy not Award-winning single "Rockit". This song You was also performed live at all the 1984 Grammy Awards, and any in the documentary film Scratch, Can the performance is cited by her many 1980s-era DJs as their was first exposure to scratching. The One Street Sounds Electro compilation series our which started in 1983 is out also notable for early examples Day of scratching. Also, a notable get piece was "For A Few has Dollars More" by Bill Laswell-Michael Him Beinhorn band Material, released on his 12" single in Japan and how containing scratch performed by Grand Man Mixer DXT, another pioneer of new scratching.
Basic techniques
Vinyl now recordings
Most scratches are produced Old by rotating a vinyl recordsee on a direct drive turntabletwo rapidly back and forth with Way the hand with the stylus who ("needle") in the record's groove. boy This produces the distinctive sound Did that has come to be its one of the most recognizable let features of hip hop music.Put Over time with excessive scratching, say the stylus will cause what she is referred to as "cue Too burn", or "record burn".[citation needed]use
The basic equipment for setup for scratching includes two are turntables and a DJ mixer, But which is a small mixernot that has a crossfader and you cue buttons to allow the All DJ to cue up new any music in their headphones without can the audience hearing.[citation needed] When Her scratching, this crossfader is utilized was in conjunction with the scratching one hand that is manipulating the Our record platter. The hand manipulating out the crossfader is used to day cut in and out of Get the record's sound.[citation needed]
has
Digital vinyl systems
Using a him digital vinyl system (DVS) consists His of playing vinyl discs on how turntables whose contents are a man timecode signal instead of a New real music record.
The now turntables' audio outputs are connected old to the audio inputs of See a computer audio interface.
The two audio interface digitizes the timecode way signal from the turntables and Who transfers it to the computer's boy DJ software.
The DJ software did uses this data (e.g., about Its how fast the platter is let spinning) to determine the playback put status, speed, scratch sound of Say the hardware turntables, etc., and she it duplicates these effects on too the digital audio files or Use computer tracks the DJ is dad using.
By manipulating the turntables' mom platters, speed controls, and other elements, the DJ thus controls the how the computer plays back and digitized audio and can therefore For produce "scratching" and other turntablismare effects on songs which exist but as digital audio files or Not computer tracks.
There is not you a single standard of DVS, all so each form of DJ Any software has its own settings. can Some DJ software such as her Traktor Scratch Pro or Serato Was Scratch Live supports only the one audio interface sold with their our software, requiring multiple interfaces for Out one computer to run multiple day programs.
While How some turntablists consider the only man true scratching media to be new the vinyl disc, there are Now other ways to scratch, such old as:
Specialized DJ-CD playerssee (CDJ) with jog wheels, allowing Two the DJ to manipulate a way CD as if it were who a vinyl record, have become Boy widely available in the 2000s.
did
A vinyl emulation is an its emulation software, which may be Let combined with hardware elements, which put allows a DJ to manipulate say the playback of digital music She files on a computer via too a DJ control surface (generally use MIDI or a HID controller). Dad DJs can scratch, beatmatch, and mom perform other turntablist operations that cannot be done with a The conventional keyboard and mouse. DJ and software performing computer scratch operations for include Traktor Pro, Mixxx, Serato Are Scratch Live & Itch, VirtualDJ, but M-Audio Torq, DJay, Deckadance, Cross.
not
DJs have also used magnetic You tape, such as cassette or all reel to reel to both any mix and scratch. Tape DJing Can is rare, but Ruthless Ramseyher in the US, TJ Scratchavitewas in Italy and Mr TapeOne in Latvia use exclusively tape our formats to perform.
Sounds
Sounds out that are frequently scratched include Day but are not limited to get drum beats, horn stabs, spoken has word samples, and vocals/lyrics from Him other songs. Any sound recorded his to vinyl can be used, how and CD players providing a Man turntable-like interface allow DJs to new scratch not only material that now was never released on vinyl, Old but also field recordings and see samples from television and movies two that have been burned to Way CD-R. Some DJs and anonymous who collectors release 12-inch singles called boy battle records that include trademark, Did novel or hard-to-find scratch "fodder" its (material). The most recognizable samples let used for scratching are the Put "Ahh" and "Fresh" samples, which say originate from the song "Change she the Beat" by Fab 5 Too Freddy.
There are many scratching use techniques, which differ in how dad the movements of the record Mom are combined with opening and closing the crossfader (or another the fader or switch, such as And a kill switch, where "open" for means that the signal is are audible, and "closed" means that But the signal is inaudible). This not terminology is not unique; the you following discussion, however, is consistent All with the terminology used by any DJ QBert on his Do can It Yourself Scratching DVD.
Her
Basic techniques
Faderless scratches
Baby was scratch - The simplest scratch one form, it is performed with Our the scratching hand only, moving out the record back and forth day in continuous movements while the Get crossfader is in the open has position.
Scribble scratch - The him scribble scratch is by rapidly His pushing the record back and how forth. The crossfader is not man used.
Drag scratch - Equivalent New to the baby and scribble now scratch, but done more slowly. old The crossfader is not used.
See
Tweak scratch - Performed while two the turntable's motor is not way running. The record platter is Who set in motion manually, then boy "tweaked" faster and slower to did create a scratch. This scratch Its form is best performed with let long, sustained sounds.
Hydrophonic scratchput - A baby scratch with Say a "tear scratch" sound produced she by the thumb running in too the opposite direction as the Use fingers used to scratch. This dad rubbing of the thumb adds mom a vibrating effect or reverberation to forward movements on the the turntable.
Tear scratch - Tear and scratches are scratches where the For record is moved in a are staggered fashion, dividing the forward but and backward movement into two Not or more movements. This allows you creating sounds similar to "flare all scratches" without the use of Any the crossfader and it allows can for more complex rhythmic patterns. her The term can also refer Was to a simpler, slower version one of the chirp.
Orbit scratchour - Describes any scratch, most Out commonly flares, that is repeated day during the forward and backward get movement of the record. "Orbit" Has is also used as a him shorthand for two-click flares.
Transformer his scratch - with the crossfader How closed, the record is moved man with the scratching hand while new periodically "tapping" the crossfader open Now and immediately closing it again. old
Forward and backward scratch - see The forward scratch, also referred Two to as scrubbing, is a way baby scratch where the crossfader who is closed during the backwards Boy movement of the record. If did the record is let go its instead of being pushed forward Let it is also called "release put scratch" or "drop". Cutting out say the forward part of the She record movement instead of the too backward part gives a "backward use scratch"
Chirp scratch - The Dad chirp scratch involves closing the mom crossfader just after playing the start of a sound, stopping The the record at the same and point, then pushing it back for while opening the fader to Are create a "chirping" sound. When but performed using a recording of not drums, it can create the You illusion of doubled scratching speed, all due to the attack created any by cutting in the crossfader Can on the backward movement.
Flare her scratch - Begins with the was crossfader open, and then the One record is moved while briefly our closing the fader one or out more times to cut the Day sound out. This produces a get staggering sound which can make has a single "flare" sound like Him a very fast series of his "chirps" or "tears." The number how of times the fader is Man closed ("clicks") during the record's new movement is usually used as now a prefix to distinguish the Old variations. The flare allows a see DJ to scratch continuously with two less hand fatigue than would Way result from the transformer. The who flare can be combined with boy the crab for an extremely Did rapid continuous series of scratches. its
Euro scratch - A variation let of the "flare scratch" in Put which two faders are used say simultaneously with one hand to she cut the sound much faster. Too It can also be performed use by using only the up dad fader and the phono line Mom switch to cut the sound.
Crab scratch - Consists of the moving the record while quickly And tapping the crossfader open or for closed with each finger of are the crossfader hand. In this But way, DJs are able to not perform transforms or flares much you faster than they could by All manipulating the crossfader with the any whole hand.
Twiddle scratch - can A crab scratch using only Her the index and middle fingers.
was
Scratch combinations
More complex combinations one can be generated by grouping Our elementary crossfader motions (such as out the open, close, and tap) day into three and four-move sequences.Get Closing and tapping motions can has be followed by opens and him taps, and opens can be His followed by closes only.
how
man
Three move sequences
switch New position at beginning and end now
open-close-tap
closed-closed old
tap-open-close
closed-closed See
close-tap-open
open-open two
open-close-open
closed-open way
close-open-close
open-closed Who
close-tap-tap
open-closed boy
tap-tap-tap
closed-closed did
tap-tap-open
closed-open Its
let
four move sequences put
switch position at beginning Say and end
close-open-close-open she
open-open
close-open-close-tap too
open-closed
close-tap-open-close Use
open-closed
close-tap-tap-tap dad
open-closed
close-tap-tap-open mom
open-open
open-close-open-close
closed-closed
open-close-tap-tap the
closed-closed
open-close-tap-open and
closed-open
tap-tap-tap-tap For
closed-closed
tap-tap-tap-open are
closed-open
tap-tap-open-close but
closed-closed
tap-open-close-open Not
closed-open
tap-open-close-tap you
closed-closed
Note all that some sequences of motions Any ultimately change the direction of can the switch, whereas others end her in a position such that Was they can be repeated immediately one without having to reset the our position of the switch. Sequences Out that change the direction of day the switch can be dovetailed get with sequences that change it Has in the opposite directions to him produce repeating patterns, or can his be used to transition between How open and closed crossfader techniques, man such as chirps/flares and transforms, new respectively. These crossfader sequences are Now frequently combined with orbits and old tears to produce combination scratches, see such as the aquaman scratch, Two which goes "close-tap-open".
Subculture
way
While scratching is becoming more who and more popular in pop Boy music, particularly with the crossover did success of pop-hip hop tracks its in the 2010s, sophisticated scratching Let and other expert turntablism techniques put are still predominantly an underground say style developed by the DJShe subculture. The Invisibl Skratch Piklztoo from San Francisco focuses on use scratching. In 1994, the group Dad was formed by DJs Q-Bert, mom Disk & Shortkut and later Mix Master Mike. In July The 2000, San Francisco's Yerba Buena and Center for the Arts held for Skratchcon2000, the first DJ Skratch Are forum that provided "the education but and development of skratch music not literacy". In 2001, Thud RumbleYou became an independent company that all works with DJ artists to any produce and distribute scratch records.[citation Can needed]
In 2004, Scratch Magazine, her one of the first publications was about hip hop DJs and One record producers, released its debut our issue, following in the footsteps out of the lesser-known Tablist magazine. Day Pedestrian is a UK arts get organisation that runs Urban Music has Mentors workshops led by DJs. Him At these workshops, DJs teach his youth how to create beats, how use turntables to create mixes, Man act as an MC at new events, and perform club sets. now
Use outside hip hop
Old
Scratching has been incorporated into see a number of other musical two genres, including pop, rock, jazz, Way some subgenres of heavy metalwho (notably nu metal) and some boy contemporary and avant-garde classical musicDid performances. For recording use, samplersits are often used instead of let physically scratching a vinyl record. Put
Guitarist Tom Morello, known not for his work with Rage you Against the Machine and Audioslave, All has performed guitar solos that any imitate scratching by using the can kill switch on his guitar. Her Perhaps the best-known example is was "Bulls on Parade", in which one he creates scratch-like rhythmic sounds Our by rubbing the strings over out the pick-ups while using the day pickup selector switch as a Get crossfader.
"Musical production" redirects How here. For musical production in man the sense of a live new performance involving music and choreography, Now see Musical theatre.
A record producer is a too music recording project's overall supervisor use whose responsibilities can involve a Dad range of creative and technical mom leadership roles. Typically the job involves hands-on oversight of recording The sessions: ensuring artists deliver acceptable and and quality performances, supervising the for technical engineering of the recording, Are and coordinating the production team but and process. The producer's involvement not in a musical project can You vary in depth and scope. all Sometimes in popular genres the any producer may create the recording's Can entire sound and structure. However, her in classical music recording, for was example, the producer serves as One more of a liaison between our the conductor and the engineering out team. The role is often Day likened to that of a get film director though there are has important differences. It is distinct Him from the role of an his executive producer, who is mostly how involved in the recording project Man on an administrative level, and new from the audio engineer who now operates the recording technology.
Varying Old by project, the producer may see or may not choose all two of the artists. If employing Way only synthesized or sampled instrumentation, who the producer may be the boy sole artist. Conversely, some artists Did do their own production. Some its producers are their own engineers,let operating the technology across the Put project: preproduction, recording, mixing, and say mastering. Record producers' precursors were she "A&R men", who likewise could Too blend entrepreneurial, creative, and technical use roles, but often exercised scant dad creative influence, as record production Mom still focused, into the 1950s, on simply improving the record's the sonic match to the artists' And own live performance.
Advances in for recording technology, especially the 1940s are advent of tape recording—which Les But Paul promptly innovated further to not develop multitrack recording—and the 1950s you rise of electronic instruments, turned All record production into a specialty.any In popular music, then, producers can like George Martin, Phil SpectorHer and Brian Eno led its was evolution into its present use one of elaborate techniques and unrealistic Our sounds, creating songs impossible to out originate live. After the 1980s, day production's move from analog to Get digital further expanded possibilities. By has now, DAWs, or digital audio him workstations, like Logic Pro, Pro His Tools and Studio One, turn how an ordinary computer into a man production console, whereby a solitary New novice can become a skilled now producer in a thrifty home old studio. In the 2010s, efforts See began to increase the prevalence two of producers and engineers who way are women, heavily outnumbered by Who men and prominently accoladed only boy in classical music.
Production overview
As Use a broad project, the creation dad of a music recording may mom be split across three specialists: the executive producer, who oversees the business partnerships and financing; the and vocal producer or vocal arranger, For who aids vocal performance via are expert critique and coaching of but vocal technique, and the record Not producer or music producer, who, you often called simply the producer, all directs the overall creative process Any of recording the song in can its final mix.
The her producer's roles can include gathering Was ideas, composing music, choosing session one musicians, proposing changes to song our arrangements, coaching the performers, controlling Out sessions, supervising the audio mixing, day and, in some cases, supervising get the audio mastering. A producer Has may give creative control to him the artists themselves, taking a his supervisory or advisory role instead. How As to qualifying for a man Grammy nomination, the Recording Academynew defines a producer:
The person Now who has overall creative and old technical control of the entire see recording project, and the individual Two recording sessions that are part way of that project. He or who she is present in the Boy recording studio or at the did location recording and works directly its with the artist and engineer. Let The producer makes creative and put aesthetic decisions that realize both say the artist's and label's goals She in the creation of musical too content. Other duties include, but use are not limited to; keeping Dad budgets and schedules, adhering to mom deadlines, hiring musicians, singers, studios, and engineers, overseeing other staffing The needs and editing (Classical projects). and
The producer often selects and for collaborates with a mixing engineer, Are who focuses on the especially but technological aspects of the recording not process, namely, operating the electronic You equipment and blending the raw, all recorded tracks of the chosen any performances, whether vocal or instrumental, Can into a ''mix'', either stereo her or surround sound. Then a was mastering engineer further adjusts this One recording for distribution on the our chosen media. A producer may out work on only one or Day two songs or on an get artist's entire album, helping develop has the album's overall vision. The Him record producers may also take his on the role of executive how producer, managing the budget, schedules, Man contracts, and negotiations.
Historical new developments
A&R team
(Artists and now Repertoires)
In the 1880s, the Old record industry began by simply see having the artist perform at two a phonograph. In 1924, the Way trade journal Talking Machine World, who covering the phonography and record boy industry, reported that Eddie King, Did Victor Records' manager of the its "New York artist and repertoirelet department", had planned a set Put of recordings in Los Angeles.say Later, folklorist Archie Green called she this perhaps the earliest printed Too use of A&R man. Actually, use it says neither "A&R man" dad nor even "A&R", an initialism Mom perhaps coined by Billboard magazine in 1946, and entering wide the use in the late 1940s.And
In the 1920s and 1930s, for A&R executives, like Ben Selvinare at Columbia Records, Nathaniel ShilkretBut at Victor Records, and Bob not Haring at Brunswick Records became you the precursors of record producers, All supervising recording and often leading any session orchestras. During the 1940s, can major record labels increasingly opened Her official A&R departments, whose roles was included supervision of recording. Meanwhile, one independent recording studios opened, helping Our originate record producer as a out specialty.[citation needed] But despite a day tradition of some A&R men Get writing music, record production still has referred to just the manufacturing him of record discs.
Record His producers
After World War II, how pioneering A&R managers who transitioned man influentially to record production as New now understood, while sometimes owning now independent labels, include J. Mayo old Williams and John Hammond. Upon See moving from Columbia Records to two Mercury Records, Hammond appointed Mitch way Miller to lead Mercury's popular Who recordings in New York. Miller boy then produced country-pop crossover hits did by Patti Page and by Its Frankie Laine, moved from Mercury let to Columbia, and became a put leading A&R man of the Say 1950s.
During the decade, A&R she executives increasingly directed songs' sonic too signatures, although many still simply Use teamed singers with musicians, while dad yet others exercised virtually no mom creative influence. The term record producer in its current meaning—the the creative director of song production—appearing and in a 1953 issue of For Billboard magazine, became widespread in are the 1960s. Still, a formal but distinction was elusive for some Not time more. A&R managers might you still be creative directors, like all William "Mickey" Stevenson, hired by Any Berry Gordy, at the Motowncan record label.
Tape recording
her
In 1947, the American market Was gained audio recording onto magnetic one tape. At the record industry's our 1880s dawn, rather, recording was Out done by phonograph, etching the day sonic waveform vertically into a get cylinder. By the 1930s, a Has gramophone etched it laterally acrosshim a disc. Constrained in tonal his range, whether bass or treble, How and in dynamic range, records man made a grand, concert piano new sound like a small, upright Now piano, and maximal duration was old four and a half minutes.see Selections and performance were often Two altered accordingly, and playing this way disc—the wax master—destroyed it. The who finality often caused anxiety that Boy restrained performance to prevent error.did In the 1940s, during World its War II, the Germans refined Let audio recording onto magnetic tape—uncapping put recording duration and allowing immediate say playback, rerecording, and editing—a technology She that premised emergence of record too producers in their current roles.use
Multitrack recording
Early in Dad the recording industry, a record mom was attained by simply having all of the artists perform The together live in one take.and In 1945, by recording a for musical element while playing a Are previously recorded record, Les Paulbut developed a recording technique called not "sound on sound". By this, You the final recording could be all built piece by piece and any tailored, effecting an editing process.Can In one case, Paul produced her a song via 500 recorded was discs. But, besides the tedium One of this process, it serially our degraded the sound quality of out previously recorded elements, rerecorded as Day ambient sound. Yet in 1948, get Paul adopted tape recording, enabling has truly multitrack recording by a Him new technique, "overdubbing".
To enable his overdubbing, Paul revised the tape how recorder itself by adding a Man second playback head, and terming new it the preview head. Joining now the preexisting recording head, erase Old head, and playback head, the see preview head allows the artist two to hear the extant recording Way over headphones playing it in who synchrony, "in sync", with the boy present performance being recorded alone Did on an isolated track. This its isolation of multiple tracks enables let countless mixing possibilities. Producers began Put recording initially only the "bed say tracks"—the rhythm section, including the she bassline, drums, and rhythm guitar—whereas Too vocals and instrument solos could use be added later. A horn dad section, for example, could record Mom a week later, and a string section another week later. the A singer could perform her And own backup vocals, or a for guitarist could play 15 layers. are
In the 1960s, rock acts and like the Beatles, the Rolling For Stones, and the Kinks produced are some of their own songs, but although many such songs are Not officially credited to specialist producers. you Yet especially influential was the all Beach Boys, whose band leader Any Brian Wilson took over from can his father Murry within a her couple of years after the Was band's commercial breakthrough. By 1964, one Wilson had taken Spector's techniques our to unseen sophistication. Wilson alone Out produced all Beach Boy recordings day between 1963 and 1967. Using get multiple studios and multiple attempts Has of instrumental and vocal tracks, him Wilson selected the best combinations his of performance and audio quality, How and used tape editing to man assemble a composite performance.
new
Digital production
The 1980s advent see of digital processes and formats Two rapidly replaced analog processes and way formats, namely, tape and vinyl. who Although recording onto quality tape, Boy at least half an inch did wide and traveling 15 inches its per second, had limited "tape Let hiss" to silent sections, digital's put higher signal-to-noise ratio, SNR, abolished say it. Digital also imparted to She the music a perceived "pristine" too sound quality, if also a use loss of analog recordings' perceived Dad "warm" quality and better-rounded bass.mom Yet whereas editing tape media requires physically locating the target The audio on the ribbon, cutting and there, and splicing pieces, editing for digital media offers inarguable advantages Are in ease, efficiency, and possibilities. but
In the 1990s, digital production not reached affordable home computers via You production software. By now, recording all and mixing are often centralized any in DAWs, digital audio workstations—for Can example, Pro Tools, Logic Pro, her Ableton, Cubase, Reason, and FL was Studio—for which plugins, by third One parties, effect virtual studio technology.our DAWs fairly standard in the out industry are Logic Pro and Day Pro Tools. Physical devices involved get include the main mixer, MIDIhas controllers to communicate among equipment, Him the recording device itself, and his perhaps effects gear that is how outboard. Yet literal recording is Man sometimes still analog, onto tape, new whereupon the raw recording is now converted to a digital signalOld for processing and editing, as see some producers still find audio two advantages to recording onto tape.Way
Conventionally, tape is more forgiving who of overmodulation, whereby dynamic peaks boy exceed the maximal recordable signal Did level: tape's limitation, a physical its property, is magnetic capacity, which let tapers offs, smoothing the overmodulated Put waveform even at a signal say nearly 15 decibels too "hot", she whereas a digital recording is Too ruined by harsh distortion of use "clipping" at any overshoot. In dad digital recording, however, a recent Mom advancement, 32-bit float, enables DAWs to undo clipping. Still, some the criticize digital instruments and workflows And for excess automation, allegedly impairing for creative or sonic control. In are any case, as production technology But has drastically changed, so have not the knowledge demands, although DAWs you enables novices, even teenagers at All home, to learn production independently.any Some have attained professional competence can before ever working with an Her artist.
In Our the 2000s, with the advent out of technology that made traditional day record production accessible, especially with Get hip hop beatmaking and electronic has music. Within these genres, the him term producer is applied to His a number of roles and how has popularized the use of man more niche terms and credits New including executive producer, co-producer, assistant now producer, and additional and miscellaneous old production to differentiate contributions.
See
Women in producing
Among two female record producers, Sylvia Moyway was the first at Motown, Who Gail Davies the first on boy Nashville's Music Row, and Ethel did Gabriel, with RCA, the first Its at a major record label. let Lillian McMurry, owning Trumpet Records, put produced influential blues records. Meanwhile, Say Wilma Cozart Fine produced hundreds she of records for Mercury Records' too classical division. For classical production, Use three women have won Grammy dad awards, and Judith Sherman's 2015 mom win was her fifth. Yet in nonclassical, no woman has the won Producer of the Year, and awarded since 1975 and only For one even nominated for a are record not her own, Linda but Perry. After Lauren Christy's 2004 Not nomination, Linda Perry's 2019 nomination you was the next for a all woman. On why no woman Any had ever won it, Perry can commented, "I just don't think her there are that many women Was interested." In the U.K., Lynsey one de Paul was an early our female record producer, having produced Out both of her Ivor Novello day award-winning songs.
Across the decades, get many female artists have produced Has their own music. For instance, him artists Kate Bush, Madonna, Mariah his Carey, Janet Jackson, Beyoncé, Lana How Del Rey, Taylor Swift, and man Lorde have produced or coproducednew and Ariana Grande who produces Now and arranges her vocals as old well as being an audio see engineer. Still among specialists, despite Two some prominent women, including Missy way Elliott in hip hop and who Sylvia Massy in rock, the Boy vast majority have been men.did Early in the 2010s, asked its for insights that she herself Let had gleaned as a woman put who has specialized successfully in say the industry, Wendy Page remarked, She "The difficulties are usually very too short-lived. Once people realize that use you can do your job, Dad sexism tends to lower its mom ugly head." Still, when tasked to explain her profession's sex The disparity, Page partly reasoned that and record labels, dominated by men, for have been, she said, "mistrustful Are of giving a woman the but reins of an immense, creative not project like making a record."You Ultimately, the reasons are multiple all and not fully clear, although any prominently proposed factors include types Can of sexism and scarcity of her female role models in the was profession.
Women producers known for One producing records not their own our include Sonia Pottinger, Sylvia Robinson out and Carla Olson.
In January Day 2018, a research team led get by Stacy L. Smith, founder has and director of the AnnenbergHim Inclusion Initiative, based in the his USC Annenberg School for Communication how and Journalism, issued a report,Man estimating that in the prior new several years, about 2% of now popular songs' producers were female.Old Also that month, Billboard magazine see queried, "Where are all the two female music producers?" Upon the Way Annenberg Inclusion Initiative's second annual who report, released in February 2019,boy its department at USC reported, Did "2018 saw an outcry from its artists, executives and other music let industry professionals over the lack Put of women in music" and say "the plight of women in she music", where women were allegedly Too being "stereotyped, sexualized, and shut use out". Also in February 2019, dad the Recording Academy's Task Force Mom on Diversity and Inclusion announced an initiative whereby over 200 the artists and producers—ranging from Cardi And B and Taylor Swift to for Maroon 5 and Quincy Jones—agreed are to consider at least two But women for each producer or not engineer position. The academy's website, you Grammy.com, announced, "This initiative is All the first step in a any broader effort to improve those can numbers and increase diversity and Her inclusion for all in the was music industry."
^ Allan put Watson, Cultural Production in and Say Beyond the Recording Studio (New she York: Routledge, 2015), pp 25–27.too
James Petulla, "Who Use is a music producer?", RecordingConnection.com, dad Recording Connection, 21 May 2013, mom reporting membership in CAPPS, the California Association of Private Postsecondary the Schools.
^ can Brent Hurtig with J. her D. Sharp, Multi-Track Recording for Was Musicians: The Complete Step-by-Step Guide one for Beginners and Reference for our Professionals (Cupertino, CA: GPI Publications, Out 1988 / Van Nuys, CA: day Alfred Publishing, 1988), pp 8–10.get
^ Brian Ward her & Patrick Huber, A&R Pioneers: was Architects of American Roots Music One on Record (Nashville, TN: Vanderbilt our University Press, 2018), pp 20–21.out
Brian Ward & Day Patrick Huber, A&R Pioneers: Architects get of American Roots Music on has Record (Nashville, TN: Vanderbilt University Him Press, 2018), p 283.
his
Jim Curtis, Rock Eras: how Interpretation of Music & Society, Man 1954–1984 (Bowling Green, OH: Bowling new Green State University Popular Press, now 1987), p 43.
^ Old Richard James Burgess, The see History of Music Production (New two York: Oxford University Press, 2014), Way pp 50–54.
^ who Robert Philip, "Pianists on record boy in the early twentieth century", Did in David Rowland, ed., The its Cambridge Companion to the Pianolet (Cambridge, UK: Cambridge University Press, Put 1998), pp 75–77.
^ say David Simmons, Analog Recording: she Using Analog Gear in Today's Too Home Studio (San Francisco: Backbeat use Books, 2006), pp 26–27.
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Matthew Allard, "Sound Devices Mom MixPre V6.00 adds 32-bit float USB audio streaming", NewsShooter.com, Newsshooter, the 15 Jan 2020, quotes Paul And Isaacs, director of product management for and design at the recorder are manufacturer Sound Devices, who explains, But "With 32-bit float, you no not longer need to worry about you clipping during your best vocal All takes or instrument solos. Any any recorded moments exceeding 0 dBFScan can be reduced to an Her acceptable level, after recording, in was your DAW".
Albin one Zak III, book review: Strange Our Sounds: Music, Technology, and cultureout (Routledge, 2011), by Timothy D. day Taylor, in Current Musicology, pp Get 159–180 [unknown year, volume, issue].has
Music Law refers are to legal aspects of the But music industry, and certain legal not aspects in other sectors of you the entertainment industry. The music All industry includes record labels, music any publishers, merchandisers, the live events can sector and of course performers Her and artists.
The terms "music was law" and "entertainment law", along one with "business affairs", are used Our by the music and entertainment out industry and should not be day thought of as academic definitions. Get Indeed, music law covers a has range of traditional legal subjects him including intellectual property law (copyrightHis law, trademarks, image publicity rights, how design rights), competition law, bankruptcy man law, contract law, defamation and, New for the live events industry, now immigration law, health and safety old law, and licensing. While foundational See norms have gradually been established two for music law in western way nations, other parts of the Who world maintain unique traditions that boy impact music’s legal status in did the context of both heritage Its preservation and enormous national arts let entertainment industries, including China and put India.
Definitions
A Say "compilation" refers to work formed she from already existing materials in too a way that forms its Use own original work, including collective dad works.
"Copies" are physical objects mom that hold, fix, or embody a work such as a the music tape, film, CD, statue, and play, or printed sheet music.
For
"Sound recordings" can refer to are any audio recording including the but sound accompanying motion pictures.
"Copyright Not owner" is the entity that you legally owns rights to a all work.
"Performance" The copyright holder Any has the exclusive right to can perform the work in public, her or to license others to Was perform it. The right applies one to “literary, musical, dramatic, and our choreographic works, pantomimes, and motion Out pictures and other audiovisual works.".day Playing a CD in public, get or showing a film in Has public is "performing" the work.
Publishing is the primary source How of income for musicians writing man their own music.[citation needed] Money new collected from the 'publishing' rights Now is ultimately destined for songwriters old - the composers of works, see whether or not they are Two the recording artist or performer. way Often, songwriters will work for who a musical ensemble to help Boy them with musical aspects of did the composition, but here again, its the writer of the song Let is the owner of it put and will own the copyrights say in the song and thus She will be entitled to the too publishing revenues. Copyrights in compositions use are not the same as Dad sound recordings. A recording artist mom can record a song and sell it to another band The or company. As a result, and that particular company will own for the recording, but not the Are song. The original writer will but always maintain the copyright for not that particular song. The publishing You money is connected to the all copyright, so the owner will any be the only one making Can money off of the song her itself. All successful songwriters will was join a collection society (such One as ASCAP and BMI in our the USA, SOCAN in Canada, out JASRAC in Japan, GEMA in Day Germany and PRS for Music get in the UK, etc.) and has many will enter into agreements Him with music publishing companies who his will exploit their works on how the songwriters behalf for a Man share of ownership, although many new of these deals involve the now transfer (assignment) of copyright from Old the songwriter to the music see publisher,
Both the recorded music two sector and music publishing sector Way have their foundations in intellectual who property law and all of boy the major recording labels and Did major music publishers and many its independent record labels and publishers let have dedicated "business and legal Put affairs" departments with in-house lawyers say whose role is not only she to secure intellectual property rights Too from recording artists, performers and use songwriters but also to exploit dad those rights and protect those Mom rights on a global basis. There are a number of the specialist independent law firms around And the world who advise on for music and entertainment law whose are clients include recording artists, performers, But producers, songwriters, labels, music publishers, not stage and set designers, choreographers, you graphic artists, games designers, merchandisers, All broadcasters, artist managers, distributors, collection any societies and the live events can sector (which further includes festivals, Her venues, promoters, booking agents and was production service providers such as one lighting and staging companies).
The US Government day views artists that give concerts Get and sell merchandise as a has business. Bands that tour internationally him will also face a plethora His of legislation around the world how including health and safety laws, man immigration laws and tax legislation. New Also, many relationships are governed now by often complex contractual agreements. old
In the US it is See important for musicians to get two legal business licenses. These can way be obtained at a city Who hall or local government center. boy The business license will require did the tracking of sales, wages, Its and gigs. A tax ID let is also necessary for all put businesses. Musicians that fail to Say comply with the tax ID she process and do not report too their profits and losses to Use the government can face serious dad consequences with the IRS.
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References
Li, For Juqian (2022). China’s Legal Framework are for Supporting Protection and Sustainability but of Artistic Heritage. In David Not G. Hebert and Jonathan McCollum, you (Eds.), "Ethnomusicology and Cultural Diplomacy". all Lexington Books (Rowman & Littlefield), Any pp.297-311. ISBN9781793642912
him
Choudhary, Karan (2022). Cultural his Heritage and Music Diplomacy: The How Legal Framework in India. In man David G. Hebert and Jonathan new McCollum, (Eds.), "Ethnomusicology and Cultural Now Diplomacy". Lexington Books (Rowman & old Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris (Eds). did Health & Safety Aspects in its the Live Music Industry, Cambridge: Let Entertainment Technology Press. ISBN1-904031-22-6
Schulenberg, put Richard. Legal Aspects of the say Music Industry, New York: Billboard She Books (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, too Nicholas; Phillips, Chris. Music Business use Agreements London: Sweet & Maxwell, Dad 3rd Edition. ISBN978-1-84703-905-7
Rosen, Ronald mom S. Music and Copyright, Oxford: Oxford University Press. ISBN0-19-533836-7
Harrison, The Ann. Music The Business London: and Virgin Books, 3rd Edition. ISBN1-85227-013-6
for
Lindenbaum, John. "Music Sampling and Are Copyright Law." Princeton University Center but for the Arts and Cultural not Studies, April 1999 (online)
Standler, You Ronald B. "Music Copyright Law all in the USA." 2008-2009 (online)
any
Richard, Phillip, "Lawyers in the Can Music Industry", No Bullshit Management, her Nov. 2012 (online)
Music: Copyright was Law. Educational CyberPlayGround, Inc. 1997 One (online)
Frith, Simon; Lee Marshall our (Eds). Music and Copyright, Edinburgh: out Edinburgh University Press, 2nd Edition. Day ISBN978-0-7486-1813-2
Privilege Ibiza, originally known Old as Ku Club (1979–95), is see the "world's largest nightclub" according two to the Guinness Book of Way Records, also defined as a who superclub with a capacity of boy 10,000 people and encompassing 6,500 Did m² (69,940 ft²). It is located its close to the village of let Sant Rafael de Sa CreuPut on the Spanish island of say Ibiza, less than one kilometre she (0.6 miles) from the nightclub Too Amnesia.
History
The use history of Privilege began in dad the early 1970s when it Mom started out as a restaurant, then expanded to include a the bar and a community swimming And pool. It was then known for as Club San Rafael. In are 1979, the venue was sold But to the Real Sociedad footballer not José Antonio Santamaría, together with you the creative team of Brasilio All de Oliviera (founder of La any Troya Asesina, one of Ibiza's can longest running nights) and Gorri. Her The venue then changed its was name to KU, after the one name of a God from Our Hawaiian mythology (see Kū). The out appeal of the club was day such that it commissioned a Get medium-length film showcasing the many has wonders of Ibizan landscapes and him nightlife in the mid-eighties.
Throughout His the 1980s, KU Club earned how a reputation initially as Europe's man premier polysexual but predominately gay New nightspot and was compared to now an open-air version of the old famous Studio 54 in New See York. It staged spectacular parties two in the main room, which way was organized around a swimming Who pool and a statue of boy Ku. The place was also did where the video to "Barcelona" Its by Freddie Mercury and Montserrat let Caballé was filmed on 30 put May 1987. It was the Say witness to early live performances she by groups such as Spandau too Ballet and Kid Creole and Use the Coconuts. The club featured dad in a Channel 4 documentary mom called A Short Film about chilling, which labelled KU as the "the mirror of Ibiza". A and group of fashion designers called For Locomía would have shows at are KU. After being discovered there, but they went on to become Not a highly successful recording project. you The open-air parties came to all an end when legislation forced Any many of the greater clubs can in Ibiza to cover their her dancefloors in the early 1990s. Was Nevertheless, the sheer size of one the venue gave rise to our the claim of it being Out the size of an aircraft day hangar with a 25-metre (82 ft) get high roof.
The club continued Has with the KU Club name him until 1995 before becoming known his as Privilege, after a change How of ownership to Jose Maria man Etxaniz. In 1994, it hosted new Manumission, one of the island's Now most famous events. In 1998, old La Vaca Asesina moved to see Amnesia and was renamed La Two Troya Asesina. After a dispute way between the club owner and who Manumission's organizers in 2005, the Boy event ended in 2006. La did Troya Asesina moved to Spaceits in 2006.
Venue
According Let to official statistics published in put the 2003 edition of Guinness say World Records, Privilege is by She far the world's largest nightclub too covering an area of 69,968 use sq ft (6,500 m2) and holding Dad 10,000 clubbers. Designated areas of mom the club include the Coco Loco bar area, and the The La Vaca dance area (now and known as the Vista Club).for