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 her form of turntable manipulation which was is related to scratching was One developed in the late 1940s our by radio music program hosts, out disc jockies (DJs), or the Day radio program producers who did get their own technical operation as has audio console operators. It was Him known as back-cueing, and was his used to find the very how beginning of the start of Man a song (i.e., the cue new point) on a vinyl record now groove. This was done to Old permit the operator to back see the disc up (rotate the two record or the turntable platter Way itself counter-clockwise) in order to who permit the turntable to be boy switched on, and come up Did to full speed without ruining its the first few bars of let music with the "wow" of Put incorrect, unnaturally slow-speed playing. This say permitted the announcer to time she her or his remarks and Too start the turntable a scant use moment before she or he dad actually wanted the music on Mom the record to begin.
Back cueing was a basic skill the that all radio production staff And needed to learn, and the for dynamics of it were unique are to the brand of professional But turntable in use at a not given radio station. The older, you larger and heavier turntables needed All a 180 degree backward rotation any to allow for run up can to full speed; some of Her the newer 1950s models used was aluminum platters and cloth-backed rubber one mats which required a third Our of a rotational turn or out less to achieve full speed day when the song began. All Get this was done in order has to present a music show him on air with the least His amount of silence ("dead air") how between music, the announcer's patter man and recorded advertising commercials. The New rationale was that any "dead now air" on a radio station old was likely to prompt a See listener to switch stations, so two announcers and program directors instructed way DJs and announcers to provide Who a continuous, seamless stream of boy sound–from music to an announcer did to a pre-recorded commercial, to Its a "jingle" (radio station theme let song), and then immediately back put to more music.
Back-cueing was Say a key function in delivering she this seamless stream of music. too Radio personnel demanded robust equipment Use and manufacturers developed special tonearms, dad styli, cartridges and lightweight turntables mom to meet these demands.
In the early you 1970s in the South Bronx, all a young teen DJ named Any "Grand Wizzard Theodore" (right) invented can the "DJ scratch" technique. Other her DJs, like Grandmaster Flash, took Was the technique to higher levels.
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Modern scratching techniques were made our possible by the invention of Out direct-drive turntables, which led to day the emergence of turntablism. Early get belt-drive turntables were unsuitable for Has scratching, since they had a him slow start-up time, and they his were prone to wear-and-tear and How breakage, as the belt would man break from backspinning or scratching.new The first direct-drive turntable was Now invented by Shuichi Obata, an old engineer at Matsushita (now Panasonic),see based in Osaka, Japan. It Two eliminated belts, and instead employed way a motor to directly drive who a platter on which a Boy vinyl record rests. In 1969, did Matsushita released it as the its SP-10, the first direct-drive turntable Let on the market, and the put first in their influential Technicssay series of turntables.
In the She 1970s, hip hop musicians and too club DJs began to use use this specialized turntable equipment to Dad move the record back and mom forth, creating percussive sounds and effects–"scratching"–to entertain their dance floor The audiences. Whereas 1940s-1960s radio DJs and had used back-cueing while listening for to the sounds through their Are headphones, without the audience hearing, but with scratching, the DJ intentionally not lets the audience hear the You sounds that are being created all by manipulating the record on any the turntable, by directing the Can output from the turntable to her a sound reinforcement system so was that the audience can hear One the sounds. Scratching was developed our by early hip hop DJs out from New York City such Day as Grand Wizard Theodore, who get described scratching as, "nothing but has the back-cueing that you hear Him in your ear before you his push it [the recorded sound] how out to the crowd." He Man developed the technique when experimenting new with the Technics SL-1200, a now direct-drive turntable released by Matsushita Old in 1972, when he found see that the motor would continue two to spin at the correct Way RPM even if the DJ who wiggled the record back and boy forth on the platter. Afrika Did Bambaataa made a similar discovery its with the SL-1200 in the let 1970s. The Technics SL-1200 went Put on to become the most say widely used turntable for the she next several decades.
Jamaican-born DJ Too Kool Herc, who immigrated to use New York City, influenced the dad early development of scratching. Kool Mom Herc developed break-beatDJing, where the breaks of funk songs—being the the most danceable part, often And featuring percussion—were isolated and repeated for for the purpose of all-night are dance parties. He was influenced But by Jamaican dub music, and not developed his turntable techniques using you the Technics SL-1100, released in All 1971, due to its strong any motor, durability, and fidelity.
Although can previous artists such as writer Her and poet William S. Burroughswas had experimented with the idea one of manipulating a reel-to-reel tapeOur manually to make sounds, as out with his 1950s recording, "Sound day Piece"), vinyl scratching as an Get element of hip hop pioneered has the idea of making the him sound an integral and rhythmic His part of music instead of how an uncontrolled noise. Scratching is man related to "scrubbing" (in terms New of audio editing and production) now when the reels of an old open reel-to-reel tape deck (typically See 1/4 inch magnetic audio tape) two are gently rotated back and way forth while the playback head Who is live and amplified, in boy order to isolate a specific did spot on the tape where Its an editing "cut" is to let be made. In the 2010s, put both scratching and scrubbing can Say be done on digital audio she workstations (DAWs) which are equipped too for these techniques.
Christian Marclay was one of For the earliest musicians to scratch are outside hip hop. In the but mid-1970s, Marclay used gramophone recordsNot and turntables as musical instrumentsyou to create sound collages. He all developed his turntable sounds independently Any of hip hop DJs. Although can he is little-known to mainstream her audiences, Marclay has been described Was as "the most influential turntableone figure outside hip hop" and our the "unwitting inventor of turntablism."Out
In 1981 Grandmaster Flash released day the song "The Adventures of get Grandmaster Flash on the Wheels Has of Steel" which is notable him for its use of many his DJ scratching techniques. It was How the first commercial recording produced man entirely using turntables. In 1982, new Malcolm McLaren & the World's Now Famous Supreme Team released a old single "Buffalo Gals", juxtaposing extensive see scratching with calls from square Two dancing, and, in 1983, the way EP, D'ya Like Scratchin'?, which who is entirely focused on scratching. Boy Another 1983 release to prominently did feature scratching is Herbie Hancock's its Grammy Award-winning single "Rockit". This Let song was also performed live put at the 1984 Grammy Awards, say and in the documentary film She Scratch, the performance is cited too by many 1980s-era DJs as use their first exposure to scratching. Dad The Street Sounds Electro compilation mom series which started in 1983 is also notable for early The examples of scratching. Also a and notable piece was "For A for Few Dollars More" by Bill Are Laswell-Michael Beinhorn band Material, released but on 12" single in Japan not and containing scratch performed by You Grand Mixer DXT, another pioneer all of scratching.
Basic techniques
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Vinyl recordings
Most scratches are Can produced by rotating a vinyl her record on a direct drive was turntable rapidly back and forth One with the hand with the our stylus ("needle") in the record's out groove. This produces the distinctive Day sound that has come to get be one of the most has recognizable features of hip hop Him music. Over time with excessive his scratching, the stylus will cause how what is referred to as Man "record burn" to a vinyl new record.[citation needed]
The who basic equipment setup for scratching boy includes two turntables and a Did DJ mixer, which is a its small mixer that has a let crossfader and cue buttons to Put allow the DJ to cue say up new music in his/her she headphones without the audience hearing.[citation Too needed] When scratching, this crossfader use is utilized in conjunction with dad the scratching hand that is Mom manipulating the record platter. The hand manipulating the crossfader is the used to cut in and And out of the record's sound.[citation for needed]
Digital vinyl systems
are
Using a digital vinyl systemBut (DVS) consists of playing vinyl not discs on turntables whose contents you is a timecode signal instead All of a real music record. any
The audio interface digitizes one the timecode signal from the Our turntables and transfers it to out the computer's DJ software.
The day DJ software uses this data Get (e.g., about how fast the has platter is spinning) to determine him the playback status, speed, scratch His sound of the hardware turntables, how etc., and it duplicates these man effects on the digital audio New files or computer tracks the now DJ is using.
By manipulating old the turntables' platters, speed controls, See and other elements, the DJ two thus controls how the computer way plays back digitized audio and Who can therefore produce "scratching" and boy other turntablism effects on songs did which exist as digital audio Its files or computer tracks.
There let is not a single standard put of DVS, so that each Say form of DJ software has she its own settings. Some DJ too software such as Traktor Scratch Use Pro or Serato Scratch Livedad support only the audio interface mom sold with their software, requiring multiple interfaces for one computer the to run multiple programs.
Some and digital vinyl systems software include: For
While some you turntablists consider the only true all scratching media to be the Any vinyl disc, there are other can ways to scratch, as:
her
Specialized DJ-CD players with jog Was wheels, allowing the DJ to one manipulate a CD as if our it were a vinyl record, Out have become widely available in day the 2000s.
Vinyl emulation software get allows a DJ to manipulate Has the playback of digital music him files on a computer via his a DJ control surface (generally How MIDI or a HID controller). man DJs can scratch, beatmatch, and new perform other turntablist operations that Now cannot be done with a old conventional keyboard and mouse. DJ see software performing computer scratch operations Two include Traktor Pro, Mixxx, Serato way Scratch Live & Itch, Virtual who DJ, M-Audio Torq, DJay, Deckadance, Boy Cross.
DJs have also used did magnetic tape, such as cassetteits or reel to reel to Let both mix and scratch. Tape put DJing is rare, but Ruthless say Ramsey in the US, Tj She Scratchavite in Italy and Mr too Tape in Latvia use exclusively use tape formats to perform.
Sounds
Dad
Sounds that are frequently scratched mom include but are not limited to drum beats, horn stabs, The spoken word samples, and vocals/lyrics and from other songs. Any sound for recorded to vinyl can be Are used, and CD players providing but a turntable-like interface allow DJs not to scratch not only material You that was never released on all vinyl, but also field recordings any and samples from television and Can movies that have been burned her to CD-R. Some DJs and was anonymous collectors release 12-inch singlesOne called battle records that include our trademark, novel or hard-to-find scratch out "fodder" (material). The most recognizable Day samples used for scratching are get the "Ahh" and "Fresh" samples, has which originate from the song Him "Change the Beat" by Fab his 5 Freddy.
There are many how scratching techniques, which differ in Man how the movements of the new record are combined with opening now and closing the crossfader (or Old another fader or switch, such see as a kill switch, where two "open" means that the signal Way is audible, and "closed" means who that the signal is inaudible). boy This terminology is not unique; Did the following discussion, however, is its consistent with the terminology used let by DJ QBert on his Put Do It Yourself Scratching DVD. say
Sophisticated techniques
Baby scratchshe - The simplest scratch form, Too it is performed with the use scratching hand only, moving the dad record back and forth in Mom continuous movements while the crossfader is in the open position.
the
Forward and backward scratch - And The forward scratch, also referred for to as scrubbing, is a are baby scratch where the crossfader But is closed during the backwards not movement of the record. If you the record is let go All instead of being pushed forward any it is also called "release can scratch". Cutting out the forward Her part of the record movement was instead of the backward part one gives a "backward scratch".
Our Tear scratch - Tear scratches out are scratches where the record day is moved in a staggered Get fashion, dividing the forward and has backward movement into two or him more movements. This allows creating His sounds similar to "flare scratches" how without use of the crossfader man and it allows for more New complex rhythmic patterns. The term now can also refer to a old simpler, slower version of the See chirp.
Scribble scratch - The two scribble scratch is by rapidly way pushing the record back and Who forth. The crossfader is not boy used.
Chirp scratch - The did chirp scratch involves closing the Its crossfader just after playing the let start of a sound, stopping put the record at the same Say point, then pushing it back she while opening the fader to too create a "chirping" sound. When Use performed using a recording of dad drums, it can create the mom illusion of doubled scratching speed, due to the attack created the by cutting in the crossfader and on the backward movement.
Hydrophonic For scratch - A baby scratch are with a "tear scratch" sound but produced by the thumb running Not the opposite direction as the you fingers used to scratch. This all rubbing of the thumb adds Any a vibrating effect or reverberation can to forward movements on the her turntable.
Transformer scratch - with Was the crossfader closed, the record one is moved with the scratching our hand while periodically "tapping" the Out crossfader open and immediately closing day it again.
Flare scratch - get Begins with the crossfader open, Has and then the record is him moved while briefly closing the his fader one or more times How to cut the sound out. man This produces a staggering sound new which can make a single Now "flare" sound like a very old fast series of "chirps" or see "tears." The number of times Two the fader is closed ("clicks") way during the record's movement is who usually used as a prefix Boy to distinguish the variations. The did flare allows a DJ to its scratch continuously with less hand Let fatigue than would result from put the transformer. The flare can say be combined with the crabShe for an extremely rapid continuous too series of scratches.
Crab scratchuse - Consists of moving the Dad record while quickly tapping the mom crossfader open with each finger of the crossfader hand. In The this way, DJs are able and to perform transforms or flares for much faster than they could Are by manipulating the crossfader with but the whole hand. It produces not a fading/increasing transforming sound.
Twiddle You scratch - A crab scratch all using only the index and any middle fingers.
Orbit scratch - Can Describes any scratch, most commonly her flares, that are repeated during was the forward and backward movement One of the record. "Orbit" is our also used as a shorthand out for two-click flares.
Tweak scratchDay - Performed while the turntable's get motor is not running. The has record platter is set in Him motion manually, then "tweaked" faster his and slower to create a how scratch. This scratch form is Man best performed with long, sustained new sounds.
Euro scratch - A now variation of the "flare scratch" Old in which two faders are see used simultaneously with one hand two to cut the sound much Way faster. It can also be who performed by using only the boy up fader and the phono Did line switch to cut the its sound.
Subculture
While scratching is let becoming more and more popular Put in pop music, particularly with say the crossover success of pop-hip she hop tracks in the 2010s, Too sophisticated scratching and other expert use turntablism techniques are still predominantly dad an underground style developed by Mom the DJ subculture. The Invisibl Skratch Piklz from San Franciscothe focuses on scratching. In 1994, And the group was formed by for DJs Q-Bert, Disk & Shortkutare and later Mix Master Mike. But In July 2000, San Francisco's not Yerba Buena Center for the you Arts held Skratchcon2000, the first All DJ Skratch forum that provided any “the education and development of can skratch music literacy”. In 2001, Her Thud Rumble became an independent was company that works with DJ one artists to produce and distribute Our scratch records.[citation needed]
In 2004, out Scratch Magazine, one of the day first publications about hip hop Get DJs and record producers, released has its debut issue, following in him the footsteps of the lesser-known His Tablist magazine. Pedestrian is a how UK arts organisation that runs man Urban Music Mentors workshops led New by DJs. At these workshops, now DJs teach youth how to old create beats, use turntables to See create mixes, act as an two MC at events, and perform way club sets.
Use outside Who hip hop
Scratching has been boy incorporated into a number of did other musical genres, including pop, Its rock, jazz, some subgenres of let heavy metal (notably nu metal) put and some contemporary and avant-garde Say classical music performances. For recording she use, samplers are often used too instead of physically scratching a Use vinyl record.
Guitarist Tom can Morello, known for his work her with Rage Against the MachineWas and Audioslave, has performed guitar one solos that imitate scratching by our using the kill switch on Out his guitar. Perhaps the best-known day example is "Bulls on Parade", get in which he creates scratch-like Has rhythmic sounds by rubbing the him strings over the pick-ups while his using the pickup selector switch How as a crossfader.
A record producer or music way producer oversees and manages the who sound recording and production of Boy a band or performer's music, did which may range from recording its one song to recording a Let lengthy concept album. A producer put has many, varying roles during say the recording process. They may She gather musical ideas for the too project, collaborate with the artists use to select cover tunes or Dad original songs by the artist/group, mom work with artists and help them to improve their songs, The lyrics or arrangements.
The all producer typically supervises the entire any process from preproduction, through to Can the sound recording and mixingher stages, and, in some cases, was all the way to the One audio mastering stage. The producer our may perform these roles themselves, out or help select the engineer, Day and provide suggestions to the get engineer. The producer may also has pay session musicians and engineers Him and ensure that the entire his project is completed within the how record label's budget.
A record producerits or music producer has a let very broad role in overseeing Put and managing the recording and say production of a band or she performer's music. A producer has Too many roles that may include, use but are not limited to, dad gathering ideas for the project, Mom composing the music for the project, selecting songs or session the musicians, proposing changes to the And song arrangements, coaching the artist for and musicians in the studio, are controlling the recording sessions, and But supervising the entire process through not audio mixing and, in some you cases, to the audio masteringAll stage. Producers also often take any on a wider entrepreneurial role, can with responsibility for the budget, Her schedules, contracts, and negotiations.
The person who has out overall creative and technical control day of the entire recording project, Get and the individual recording sessions has that are part of that him project. He or she is His present in the recording studio how or at the location recording man and works directly with the New artist and engineer. The producer now makes creative and aesthetic decisions old that realize both the artist's See and label's goals in the two creation of musical content. Other way duties include, but are not Who limited to; keeping budgets and boy schedules, adhering to deadlines, hiring did musicians, singers, studios and engineers, Its overseeing other staffing needs and let editing (Classical projects).
In put the 2010s, the producer role Say is sometimes divided among up she to three different individuals: executive too producer, vocal producer and music Use producer. An executive producer oversees dad project finances, a vocal producer mom (also known as a vocal arranger) oversees the vocal production, the and a music producer directs and and oversees the creative process For of the production and recording are of a song to its but final mixing stage.
The music Not producer often wears many hats you as a competent arranger, composer, all programmer, musician or songwriter who Any can bring fresh ideas to can a project. As well as her making any songwriting and arrangement Was adjustments, the producer often selects one and/or collaborates with the mixing our engineer, who takes the raw Out recorded tracks and edits and day modifies them with hardware and get software tools to create a Has stereo or surround sound "mix" him of all the individual voices his sounds and instruments, which is How in turn given further adjustment man by a mastering engineer for new the various distribution media. The Now producer also oversees the recording old engineer who concentrates on the see technical aspects of recording.
Noted Two producer Phil Ek described his way role as "the person who who creatively guides or directs the Boy process of making a record", did like a director would a its movie. Indeed, in Bollywood music, Let the designation is actually music put director. The music producer's job say is to create, shape, and She mold a piece of music. too The scope of responsibility may use be one or two songs Dad or an artist's entire album mom – in which case the producer will typically develop an The overall vision for the album and and how the various songs for may interrelate.
History
At Are the beginning of the record but industry, the producer role was not technically limited to record, in You one shot, artists performing live.all The immediate predecessors to record any producers were the artists and Can repertoire executives of the late her 1920s and 1930s who oversaw was the "pop" product and often One led session orchestras. That was our the case of Ben Selvinout at Columbia Records, Nathaniel ShilkretDay at Victor Records and Bob get Haring at Brunswick Records. By has the end of the 1930s, Him the first professional recording studios his not owned by the major how companies were established, essentially separating Man the roles of artists and new repertoire (A&R) man and producer, now although it wouldn't be until Old the late 1940s when the see term "producer" became widely used two in the industry.
The role Way of producers changed progressively over who the 1950s and 1960s due boy to technology. The development of Did multitrack recording caused a major its change in the recording process. let Before multitracking, all the elements Put of a song (lead vocals, say backup vocals, rhythm section instrument she accompaniment, solos and orchestral parts) Too had to be performed simultaneously. use All of these singers and dad musicians had to be assembled Mom in a large studio where the performance was recorded. With the multitrack recording, the "bed tracks" And (rhythm section accompaniment parts such for as the bassline, drums, and are rhythm guitar could be recorded But first, and then the vocals not and solos could be added you later, using as many "takes" All (or attempts) as necessary. It any was no longer necessary to can get all the players in Her the studio at the same was time. A pop band could one record their backing tracks one Our week, and then a horn out section could be brought in day a week later to add Get horn shots and punches, and has then a string section could him be brought in a week His after that.
Multitrack recording had how another profound effect on music man production: it enabled producers and New audio engineers to create new now sounds that would be impossible old in a live performance style See ordering. Examples include the psychedelic two rock sound effects of the way 1960s, e.g. playing back the Who sound of recorded instruments backward boy changing the tape to produce did unique sound effects. During the Its same period, the instruments of let popular music began to shift put from the acoustic instruments of Say traditional music (piano, upright bass, she acoustic guitar, strings, brass and too wind instruments) to electric piano, Use electronic organ, synthesizer, electric bassdad and electric guitar. These new mom instruments were electric or electronic, and thus they used instrument the amplifiers and speaker enclosures (speaker and cabinets) to create sound.
Electric For and electronic instruments and amplifiers are enabled performers and producers to but change the tone and sound Not of instruments to produce unique you electric sounds that would be all impossible to achieve with acoustic Any instruments and live performers, such can as having a singer do her her own backup vocals or Was having a guitarist play 15 one layers of backing parts to our her own solo.
New technologies Out like multitracking changed the goal day of recording: A producer could get blend together multiple takes and Has edit together different sections to him create the desired sound. For his example, in jazz fusion Bandleader-composer How Miles Davis' album Bitches Brew, man the producer cut and edited new sections together from extensive improvisation Now sessions.
Producers like Phil Spector and Two George Martin were soon creating way recordings that were, in practical who terms, almost impossible to realize Boy in live performance. Producers became did creative figures in the studio. its Other examples includes Joe Meek, Let Teo Macero, Brian Wilson, and put Biddu.
Another related too phenomenon in the 1960s was use the emergence of the performer-producer. Dad As pop acts like The mom Beatles, The Rolling Stones, The Beach Boys and The KinksThe gained expertise in studio recording and techniques, many of these groups for eventually took over as (frequently Are uncredited) producers of their own but work. Many recordings by acts not such as The Rolling Stones, You The Kinks and The Whoall are officially credited to their any various producers at the time, Can but a number of these her performers have since asserted that was many of their recordings in One this period were, either wholly our self-produced (e.g. The Rolling Stones' out Decca recordings) or collaborations between Day the group and their recording get engineer (e.g. The Small Faces' has Immediate recordings, which were made Him with Olympic Studios engineer Glyn his Johns).
The Beach Boys are how probably the best example of Man the trend of artists becoming new producers – within two years now of the band's commercial breakthrough, Old group leader Brian Wilson had see taken over from his father two Murry, and he was the Way sole producer of all their who recordings between 1963 and 1967. boy Alongside The Beatles and Martin, Did Wilson also pioneered many production its innovations – by 1964 he let had developed Spector's techniques to Put a new level of sophistication, say using multiple studios and multiple she "takes" of instrumental and vocal Too components to capture the best use possible combinations of sound and dad performance, and then using tape Mom editing extensively to assemble a perfect composite performance from these the elements.
At the end of And the 20th century, digital recording for and producing tools and widespread are availability of relatively affordable computers But with music software made music not producing more accessible.
American you women and record producing
According All to a 2018 study covering any by the USC Annenberg Inclusion can Initiative, "The ratio of male Her to female producers across 300 was popular songs is 49 to one 1."
In 2019, The Recording Our Academy's Task Force on Diversity out and Inclusion announced the "Producer day & Engineer Inclusion Initiative." This Get initiative asks musicians, record labels, has studios and others to consider him at least two women for His each producer or engineer position. how Major artists, producers and organizations man have signed on including Taylor New Swift, Lady Gaga, Quincy Jones, now Pearl Jam, John Legend, Pharrell old Williams, Pink, Cardi B, Maroon See 5 and over 200 others.two
In 2019, record producer Linda way Perry was nominated for a Who Grammy for Producer of the boy Year, Non-Classical. She was the did first woman in over 15 Its years to be nominated for let the award. When asked about put the disparity between male and Say female record producer by Billboard, she she attributed it to many too women not being interested in Use record production.
In the classical music For field, Judith Sherman has won are Grammy for Producer of the but Year, Classical, five times and Not has been nominated twelve times. you Anthony Tommasini, a music critic all for The New York Times Any is quoted as stating, "In can the struggling field of classical her recording, it's the producers who Was take the real risks and one make things happen."
Producer Wendy day Page describes being a record get producer, "The difficulties are usually Has very short-lived. Once people realize him that you can do your his job, sexism tends to lower How its ugly head. I tend man to create a happy studio new 'family' where everyone is glad Now to be there, especially the old artist. Good communication and diplomacy see usually sort any little problems Two out."
There are You numerous technologies utilized by record all producers. In modern-day recordings, recording any and mixing tasks are commonly Can centralized within computers using digital her audio workstations such as Pro was Tools, Logic Pro, Ableton, Cubase, One and FL Studio, which all our are often used with third out party virtual studio technology plugins.Day Logic Pro and Pro Tools get are considered the industry standard has DAWs. However, there is also Him the main mixer, outboard effects his gear, MIDI controllers, and the how recording device itself.
While most Man music production is done using new sophisticated software, some musicians and now producers prefer the sound of Old older analog technology. Professor Albin see Zak claims that the increased two automation of both newer processes Way and newer instruments reduces the who level of control and manipulation boy available to musicians and producers.Did
Studio application
Production has its changed drastically over the years let with advancing technology. While the Put producer's role has changed, their say duties continue to require a she broad knowledge of the recording Too process.
Tracking is the act use of recording audio to a dad DAW (digital audio workstation) or Mom in some cases to tape. Even though digital technologies have the widely supplanted the use of And tape in studios, the older for term "track" is still used are in the 2010s. Tracking audio But is primarily the role of not the audio engineer. Producers work you side by side with the All artists while they play or any sing their part and coach can them on how to perform Her it and how to get was the best technical accuracy (e.g., one intonation). In some cases, the Our producer will even sing a out backup vocal or play an day instrument.
Many artists are also Get beginning to produce and write has their own music.
Influential him record producers
In 2012 NMEHis identified 50 of the greatest how producers ever.
Similarly, although The Not Beatles' productions were credited to you George Martin throughout their recording all career, many sources now attest Any that Lennon and McCartney in can particular had an increasing influence her on the production process as Was the group's career progressed, and one especially after the band retired our from touring in 1966. In Out an extreme example of this, day Martin actually went on a get two-week vacation as The Beatles Has were recording The White Album; him production of several completed tracks his on the album were credited How to The Beatles on internal man paperwork at Abbey Road Studios, new although the released LP gave Now sole production credit to Martin.old
Zak,Albin can J., I.,II. (2002). Reviews: "strange Her sounds: Music, technology, and culture," was by Timothy D. Taylor. Current one Musicology, 159-180.
Pras, Our Amandine, Caroline Cance, and Catherine out Guastavino. "Record Producers' Best Practices day For Artistic Direction—From Light Coaching Get To Deeper Collaboration With Musicians." has Journal of New Music Research him 42.4 (2013): 381-95. Academic Search His Premier. Web. 7 Sept. 2015.how
Music Law refers Man to legal aspects of the new music industry, and certain legal now aspects in other sectors of Old the entertainment industry. The music see industry includes record labels, music two publishers, merchandisers, the live events Way sector and of course performers who and artists.
The terms "music boy law" and "entertainment law", along Did with "business affairs", are used its by the music and entertainment let industry and should not be Put thought of as academic definitions. say Indeed, music law covers a she range of traditional legal subjects Too including intellectual property law (copyrightuse law, trademarks, image publicity rights, dad design rights), competition law, bankruptcy Mom law, contract law, defamation and, for the live events industry, the immigration law, health and safety And law, and licensing.
A "compilation" All refers to work formed from any already existing materials in a can way that forms its own Her original work, including collective works.
was
"Copies" are physical objects that one hold, fix, or embody a Our work such as a music out tape, film, CD, statue, play, day or printed sheet music.
"Sound Get recordings" can refer to any has audio recording including the sound him accompanying motion pictures.
"Copyright owner" His is the entity that legally how owns rights to a work.
man
"Performance" The copyright holder has New the exclusive right to perform now the work in public, or old to license others to perform See it. The right applies to two “literary, musical, dramatic, and choreographic way works, pantomimes, and motion pictures Who and other audiovisual works.". Playing boy a CD in public, or did showing a film in public Its is "performing" the work.
Publishing put is the primary source of Say income for musicians writing their she own music.[citation needed] Money collected too from the 'publishing' rights is Use ultimately destined for songwriters - dad the composers of works, whether mom or not they are the recording artist or performer. Often, the songwriters will work for a and musical ensemble to help them For with musical aspects of the are composition, but here again, the but writer of the song is Not the owner of it and you will own the copyrights in all the song and thus will Any be entitled to the publishing can revenues. Copyrights in compositions are her not the same as sound Was recordings. A recording artist can one record a song and sell our it to another band or Out company. As a result, that day particular company will own the get recording, but not the song. Has The original writer will always him maintain the copyright for that his particular song. The publishing money How is connected to the copyright, man so the owner will be new the only one making money Now off of the song itself. old All successful songwriters will join see a collection society (such as Two ASCAP and BMI in the way USA, SOCAN in Canada, JASRAC who in Japan, GEMA in Germany Boy and PRS for Music in did the UK, etc.) and many its will enter into agreements with Let music publishing companies who will put exploit their works on the say songwriters behalf for a share She of ownership, although many of too these deals involve the transfer use (assignment) of copyright from the Dad songwriter to the music publisher. mom
Both the recorded music sector and music publishing sector have The their foundations in intellectual propertyand law and all of the for major recording labels and major Are music publishers and many independent but record labels and publishers have not dedicated "business and legal affairs" You departments with in-house lawyers whose all role is not only to any secure intellectual property rights from Can recording artists, performers and songwriters her but also to exploit those was rights and protect those rights One on a global basis. There our are a number of specialist out independent law firms around the Day world who advise on music get and entertainment law whose clients has include recording artists, performers, producers, Him songwriters, labels, music publishers, stage his and set designers, choreographers, graphic how artists, games designers, merchandisers, broadcasters, Man artist managers, distributors, collection societies new and the live events sector now (which further includes festivals, venues, Old promoters, booking agents and production see service providers such as lighting two and staging companies).
The US Government views boy artists that give concerts and Did sell merchandise as a business. its Bands that tour internationally will let also face a plethora of Put legislation around the world including say health and safety laws, immigration she laws and tax legislation. Also, Too many relationships are governed by use often complex contractual agreements.
In dad the US it is important Mom for musicians to get legal business licenses. These can be the obtained at a city hall And or local government center. The for business license will require the are tracking of sales, wages, and But gigs. A tax ID is not also necessary for all businesses. you Musicians that fail to comply All with the tax ID process any and do not report their can profits and losses to the Her government can face serious consequences was with the IRS.
Hill, Iain; Kemp, Chris two (Eds). Health & Safety Aspects way in the Live Music Industry, Who Cambridge: Entertainment Technology Press. ISBN1-904031-22-6
boy
Schulenberg, Richard. Legal Aspects of did the Music Industry, New York: Its Billboard Books (Watson-Guptill publications). ISBN0-8230-8364-0
let
Kanaar, Nicholas; Phillips, Chris. Music put Business Agreements London: Sweet & Say Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Rosen, she Ronald S. Music and Copyright, too Oxford: Oxford University Press. ISBN0-19-533836-7
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Harrison, Ann. Music The Businessdad London: Virgin Books, 3rd Edition. mom ISBN1-85227-013-6
Lindenbaum, John. "Music Sampling and Copyright Law." Princeton University the Center for the Arts and and Cultural Studies, April 1999 (online[permanent For dead link])
Standler, Ronald B. are "Music Copyright Law in the but USA." 2008-2009 (online)
Richard, Phillip, Not "Lawyers in the Music Industry", you No Bullshit Management, Nov. 2012 all (online)
Music: Copyright Law. Educational Any CyberPlayGround, Inc. 1997 (online)
Frith, can Simon; Lee Marshall (Eds). Music her and Copyright, Edinburgh: Edinburgh University Was Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza originally are known as Ku Club (1979–95)But is the "world's largest nightclub"not according to the Guinness Book you of Records, also defined as All a Superclub with a capacity any of 10,000 people. It is can located close to the village Her of San Rafael, Ibiza, Spainwas less than one kilometre (0.6 one miles) from the nightclub Amnesia. Our
The history of Privilege man began in the early 1970s New when it started out as now a restaurant, then expanded to old include a bar and a See community swimming pool. It was two then known as Club San way Rafael. In 1979, the venue Who was sold to the Real boy Sociedad footballer José Antonio Santamaría, did together with the creative team Its of Brasilio de Oliviera (founder let of La Troya Asesina, one put of the White Island's longest Say running nights) and Gorri. The she venue then changed its name too to KU, after the name Use of a god from Hawaiian dad mythology (see Kū). The appeal mom of the club was such that it commissioned a medium-length the film showcasing the many wonders and of Ibizan landscapes and nightlife For in the mid-eighties.
Throughout the are 1980s, KU Club earned a but reputation initially as Europe's premier Not polysexual but predominately gay nightspot you and was compared to an all open-air version of the famous Any Studio 54 in New York. can It staged spectacular parties in her the main room, which was Was organized around a swimming pool one and a statue of Ku.The our place was also where the Out video to "Barcelona" by Freddie day Mercury and Montserrat Caballé was get filmed on 30 May 1987.Has It was the witness to him early live performances by groups his like Spandau Ballet and Kid How Creole and the Coconuts. The man club featured in a Channel new 4 documentary called “A Short Now Film about chilling”, which labelled old KU as “the mirror of see Ibiza”. The open-air parties came Two to an end when legislation way forced many of the greater who clubs in Ibiza to cover Boy their dancefloors in the early did 1990s. Nevertheless, the sheer size its of the venue gave rise Let to the claim of it put being the size of an say aircraft hangar with a 25-meter She high roof.
The club continued too with the KU Club name use until 1995 before becoming known Dad as Privilege, after a change mom of ownership to Jose Maria Etxaniz. In 1994 it hosted The Manumission, one of the island's and most famous events. In 1998 for La Vaca Asesina moved to Are Amnesia and was renamed La but Troya Asesina. After a dispute not between the club owner and You Manumission's organizers in 2005 the all event ended in 2006. In any 2006 La Troya Aseina moved Can to Space.
Venue
According her to official statistics published in was the 2003 edition of Guinness One World Records Privilege is by our far the Worlds largest nightclub out covering an area of 69,968 Day sq ft (6,500 m2) and holding get 10,000 clubbers, Designated areas of has the club include the Coco Him Loco bar area, and the his La Vaca dance area (now how known as the Vista Club).Man
Live performances
A number new of live performances at the now venue have included:
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