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 Now here. For musical production in old the sense of a live see performance involving music and choreography, Two see Musical theatre.
A record producer is a mom music recording project's overall supervisor whose responsibilities can involve a The range of creative and technical and leadership roles. Typically the job for involves hands-on oversight of recording Are sessions: ensuring artists deliver acceptable but and quality performances, supervising the not technical engineering of the recording, You and coordinating the production team all and process. The producer's involvement any in a musical project can Can vary in depth and scope. her Sometimes in popular genres the was producer may create the recording's One entire sound and structure. However, our in classical music recording, for out example, the producer serves as Day more of a liaison between get the conductor and the engineering has team. The role is often Him likened to that of a his film director though there are how important differences. It is distinct Man from the role of an new executive producer, who is mostly now involved in the recording project Old on an administrative level, and see from the audio engineer who two operates the recording technology.
Varying Way by project, the producer may who or may not choose all boy of the artists. If employing Did only synthesized or sampled instrumentation, its the producer may be the let sole artist. Conversely, some artists Put do their own production. Some say producers are their own engineers,she operating the technology across the Too project: preproduction, recording, mixing, and use mastering. Record producers' precursors were dad "A&R men", who likewise could Mom blend entrepreneurial, creative, and technical roles, but often exercised scant the creative influence, as record production And still focused, into the 1950s, for on simply improving the record's are sonic match to the artists' But own live performance.
Advances in not recording technology, especially the 1940s you advent of tape recording—which Les All Paul promptly innovated further to any develop multitrack recording—and the 1950s can rise of electronic instruments, turned Her record production into a specialty.was In popular music, then, producers one like George Martin, Phil SpectorOur and Brian Eno led its out evolution into its present use day of elaborate techniques and unrealistic Get sounds, creating songs impossible to has originate live. After the 1980s, him production's move from analog to His digital further expanded possibilities. By how now, DAWs, or digital audio man workstations, like Logic Pro, Pro New Tools and Studio One, turn now an ordinary computer into a old production console, whereby a solitary See novice can become a skilled two producer in a thrifty home way studio. In the 2010s, efforts Who began to increase the prevalence boy of producers and engineers who did are women, heavily outnumbered by Its men and prominently accoladed only let in classical music.
Production overview
As a broad project, the creation the of a music recording may and be split across three specialists: For the executive producer, who oversees are business partnerships and financing; the but vocal producer or vocal arranger, Not who aids vocal performance via you expert critique and coaching of all vocal technique, and the record Any producer or music producer, who, can often called simply the producer, her directs the overall creative process Was of recording the song in one its final mix.
The our producer's roles can include gathering Out ideas, composing music, choosing session day musicians, proposing changes to song get arrangements, coaching the performers, controlling Has sessions, supervising the audio mixing, him and, in some cases, supervising his the audio mastering. A producer How may give creative control to man the artists themselves, taking a new supervisory or advisory role instead. Now As to qualifying for a old Grammy nomination, the Recording Academysee defines a producer:
The person Two who has overall creative and way technical control of the entire who recording project, and the individual Boy recording sessions that are part did of that project. He or its she is present in the Let recording studio or at the put location recording and works directly say with the artist and engineer. She The producer makes creative and too aesthetic decisions that realize both use the artist's and label's goals Dad in the creation of musical mom content. Other duties include, but are not limited to; keeping The budgets and schedules, adhering to and deadlines, hiring musicians, singers, studios, for and engineers, overseeing other staffing Are needs and editing (Classical projects). but
The producer often selects and not collaborates with a mixing engineer, You who focuses on the especially all technological aspects of the recording any process, namely, operating the electronic Can equipment and blending the raw, her recorded tracks of the chosen was performances, whether vocal or instrumental, One into a ''mix'', either stereo our or surround sound. Then a out mastering engineer further adjusts this Day recording for distribution on the get chosen media. A producer may has work on only one or Him two songs or on an his artist's entire album, helping develop how the album's overall vision. The Man record producers may also take new on the role of executive now producer, managing the budget, schedules, Old contracts, and negotiations.
Historical see developments
A&R team
(Artists and two Repertoires)
In the 1880s, the Way record industry began by simply who having the artist perform at boy a phonograph. In 1924, the Did trade journal Talking Machine World, its covering the phonography and record let industry, reported that Eddie King, Put Victor Records' manager of the say "New York artist and repertoireshe department", had planned a set Too of recordings in Los Angeles.use Later, folklorist Archie Green called dad this perhaps the earliest printed Mom use of A&R man. Actually, it says neither "A&R man" the nor even "A&R", an initialism And perhaps coined by Billboard magazine for in 1946, and entering wide are use in the late 1940s.But
In the 1920s and 1930s, not A&R executives, like Ben Selvinyou at Columbia Records, Nathaniel ShilkretAll at Victor Records, and Bob any Haring at Brunswick Records became can the precursors of record producers, Her supervising recording and often leading was session orchestras. During the 1940s, one major record labels increasingly opened Our official A&R departments, whose roles out included supervision of recording. Meanwhile, day independent recording studios opened, helping Get originate record producer as a has specialty.[citation needed] But despite a him tradition of some A&R men His writing music, record production still how referred to just the manufacturing man of record discs.
Record New producers
After World War II, now pioneering A&R managers who transitioned old influentially to record production as See now understood, while sometimes owning two independent labels, include J. Mayo way Williams and John Hammond. Upon Who moving from Columbia Records to boy Mercury Records, Hammond appointed Mitch did Miller to lead Mercury's popular Its recordings in New York. Miller let then produced country-pop crossover hits put by Patti Page and by Say Frankie Laine, moved from Mercury she to Columbia, and became a too leading A&R man of the Use 1950s.
During the decade, A&R dad executives increasingly directed songs' sonic mom signatures, although many still simply teamed singers with musicians, while the yet others exercised virtually no and creative influence. The term record For producer in its current meaning—the are creative director of song production—appearing but in a 1953 issue of Not Billboard magazine, became widespread in you the 1960s. Still, a formal all distinction was elusive for some Any time more. A&R managers might can still be creative directors, like her William "Mickey" Stevenson, hired by Was Berry Gordy, at the Motownone record label.
Tape recording
our
In 1947, the American market Out gained audio recording onto magnetic day tape. At the record industry's get 1880s dawn, rather, recording was Has done by phonograph, etching the him sonic waveform vertically into a his cylinder. By the 1930s, a How gramophone etched it laterally acrossman a disc. Constrained in tonal new range, whether bass or treble, Now and in dynamic range, records old made a grand, concert piano see sound like a small, upright Two piano, and maximal duration was way four and a half minutes.who Selections and performance were often Boy altered accordingly, and playing this did disc—the wax master—destroyed it. The its finality often caused anxiety that Let restrained performance to prevent error.put In the 1940s, during World say War II, the Germans refined She audio recording onto magnetic tape—uncapping too recording duration and allowing immediate use playback, rerecording, and editing—a technology Dad that premised emergence of record mom producers in their current roles.
Multitrack recording
Early in The the recording industry, a record and was attained by simply having for all of the artists perform Are together live in one take.but In 1945, by recording a not musical element while playing a You previously recorded record, Les Paulall developed a recording technique called any "sound on sound". By this, Can the final recording could be her built piece by piece and was tailored, effecting an editing process.One In one case, Paul produced our a song via 500 recorded out discs. But, besides the tedium Day of this process, it serially get degraded the sound quality of has previously recorded elements, rerecorded as Him ambient sound. Yet in 1948, his Paul adopted tape recording, enabling how truly multitrack recording by a Man new technique, "overdubbing".
To enable new overdubbing, Paul revised the tape now recorder itself by adding a Old second playback head, and terming see it the preview head. Joining two the preexisting recording head, erase Way head, and playback head, the who preview head allows the artist boy to hear the extant recording Did over headphones playing it in its synchrony, "in sync", with the let present performance being recorded alone Put on an isolated track. This say isolation of multiple tracks enables she countless mixing possibilities. Producers began Too recording initially only the "bed use tracks"—the rhythm section, including the dad bassline, drums, and rhythm guitar—whereas Mom vocals and instrument solos could be added later. A horn the section, for example, could record And a week later, and a for string section another week later. are A singer could perform her But own backup vocals, or a not guitarist could play 15 layers. you
In the 1960s, rock acts but like the Beatles, the Rolling Not Stones, and the Kinks produced you some of their own songs, all although many such songs are Any officially credited to specialist producers. can Yet especially influential was the her Beach Boys, whose band leader Was Brian Wilson took over from one his father Murry within a our couple of years after the Out band's commercial breakthrough. By 1964, day Wilson had taken Spector's techniques get to unseen sophistication. Wilson alone Has produced all Beach Boy recordings him between 1963 and 1967. Using his multiple studios and multiple attempts How of instrumental and vocal tracks, man Wilson selected the best combinations new of performance and audio quality, Now and used tape editing to old assemble a composite performance.
see
Digital production
The 1980s advent who of digital processes and formats Boy rapidly replaced analog processes and did formats, namely, tape and vinyl. its Although recording onto quality tape, Let at least half an inch put wide and traveling 15 inches say per second, had limited "tape She hiss" to silent sections, digital's too higher signal-to-noise ratio, SNR, abolished use it. Digital also imparted to Dad the music a perceived "pristine" mom sound quality, if also a loss of analog recordings' perceived The "warm" quality and better-rounded bass.and Yet whereas editing tape media for requires physically locating the target Are audio on the ribbon, cutting but there, and splicing pieces, editing not digital media offers inarguable advantages You in ease, efficiency, and possibilities. all
In the 1990s, digital production any reached affordable home computers via Can production software. By now, recording her and mixing are often centralized was in DAWs, digital audio workstations—for One example, Pro Tools, Logic Pro, our Ableton, Cubase, Reason, and FL out Studio—for which plugins, by third Day parties, effect virtual studio technology.get DAWs fairly standard in the has industry are Logic Pro and Him Pro Tools. Physical devices involved his include the main mixer, MIDIhow controllers to communicate among equipment, Man the recording device itself, and new perhaps effects gear that is now outboard. Yet literal recording is Old sometimes still analog, onto tape, see whereupon the raw recording is two converted to a digital signalWay for processing and editing, as who some producers still find audio boy advantages to recording onto tape.Did
Conventionally, tape is more forgiving its of overmodulation, whereby dynamic peaks let exceed the maximal recordable signal Put level: tape's limitation, a physical say property, is magnetic capacity, which she tapers offs, smoothing the overmodulated Too waveform even at a signal use nearly 15 decibels too "hot", dad whereas a digital recording is Mom ruined by harsh distortion of "clipping" at any overshoot. In the digital recording, however, a recent And advancement, 32-bit float, enables DAWs for to undo clipping. Still, some are criticize digital instruments and workflows But for excess automation, allegedly impairing not creative or sonic control. In you any case, as production technology All has drastically changed, so have any the knowledge demands, although DAWs can enables novices, even teenagers at Her home, to learn production independently.was Some have attained professional competence one before ever working with an Our artist.
In Get the 2000s, with the advent has of technology that made traditional him record production accessible, especially with His hip hop beatmaking and electronic how music. Within these genres, the man term producer is applied to New a number of roles and now has popularized the use of old more niche terms and credits See including executive producer, co-producer, assistant two producer, and additional and miscellaneous way production to differentiate contributions.
Who
Women in producing
Among boy female record producers, Sylvia Moydid was the first at Motown, Its Gail Davies the first on let Nashville's Music Row, and Ethel put Gabriel, with RCA, the first Say at a major record label. she Lillian McMurry, owning Trumpet Records, too produced influential blues records. Meanwhile, Use Wilma Cozart Fine produced hundreds dad of records for Mercury Records' mom classical division. For classical production, three women have won Grammy the awards, and Judith Sherman's 2015 and win was her fifth. Yet For in nonclassical, no woman has are won Producer of the Year, but awarded since 1975 and only Not one even nominated for a you record not her own, Linda all Perry. After Lauren Christy's 2004 Any nomination, Linda Perry's 2019 nomination can was the next for a her woman. On why no woman Was had ever won it, Perry one commented, "I just don't think our there are that many women Out interested." In the U.K., Lynsey day de Paul was an early get female record producer, having produced Has both of her Ivor Novello him award-winning songs.
Across the decades, his many female artists have produced How their own music. For instance, man artists Kate Bush, Madonna, Mariah new Carey, Janet Jackson, Beyoncé, Lana Now Del Rey, Taylor Swift, and old Lorde have produced or coproducedsee and Ariana Grande who produces Two and arranges her vocals as way well as being an audio who engineer. Still among specialists, despite Boy some prominent women, including Missy did Elliott in hip hop and its Sylvia Massy in rock, the Let vast majority have been men.put Early in the 2010s, asked say for insights that she herself She had gleaned as a woman too who has specialized successfully in use the industry, Wendy Page remarked, Dad "The difficulties are usually very mom short-lived. Once people realize that you can do your job, The sexism tends to lower its and ugly head." Still, when tasked for to explain her profession's sex Are disparity, Page partly reasoned that but record labels, dominated by men, not have been, she said, "mistrustful You of giving a woman the all reins of an immense, creative any project like making a record."Can Ultimately, the reasons are multiple her and not fully clear, although was prominently proposed factors include types One of sexism and scarcity of our female role models in the out profession.
Women producers known for Day producing records not their own get include Sonia Pottinger, Sylvia Robinson has and Carla Olson.
In January Him 2018, a research team led his by Stacy L. Smith, founder how and director of the AnnenbergMan Inclusion Initiative, based in the new USC Annenberg School for Communication now and Journalism, issued a report,Old estimating that in the prior see several years, about 2% of two popular songs' producers were female.Way Also that month, Billboard magazine who queried, "Where are all the boy female music producers?" Upon the Did Annenberg Inclusion Initiative's second annual its report, released in February 2019,let its department at USC reported, Put "2018 saw an outcry from say artists, executives and other music she industry professionals over the lack Too of women in music" and use "the plight of women in dad music", where women were allegedly Mom being "stereotyped, sexualized, and shut out". Also in February 2019, the the Recording Academy's Task Force And on Diversity and Inclusion announced for an initiative whereby over 200 are artists and producers—ranging from Cardi But B and Taylor Swift to not Maroon 5 and Quincy Jones—agreed you to consider at least two All women for each producer or any engineer position. The academy's website, can Grammy.com, announced, "This initiative is Her the first step in a was broader effort to improve those one numbers and increase diversity and Our inclusion for all in the out music industry."
^ Allan too Watson, Cultural Production in and Use Beyond the Recording Studio (New dad York: Routledge, 2015), pp 25–27.mom
James Petulla, "Who is a music producer?", RecordingConnection.com, the Recording Connection, 21 May 2013, and reporting membership in CAPPS, the For California Association of Private Postsecondary are Schools.
^ one Brent Hurtig with J. our D. Sharp, Multi-Track Recording for Out Musicians: The Complete Step-by-Step Guide day for Beginners and Reference for get Professionals (Cupertino, CA: GPI Publications, Has 1988 / Van Nuys, CA: him Alfred Publishing, 1988), pp 8–10.his
^ Brian Ward our & Patrick Huber, A&R Pioneers: out Architects of American Roots Music Day on Record (Nashville, TN: Vanderbilt get University Press, 2018), pp 20–21.has
Brian Ward & Him Patrick Huber, A&R Pioneers: Architects his of American Roots Music on how Record (Nashville, TN: Vanderbilt University Man Press, 2018), p 283.
new
Jim Curtis, Rock Eras: now Interpretation of Music & Society, Old 1954–1984 (Bowling Green, OH: Bowling see Green State University Popular Press, two 1987), p 43.
^ Way Richard James Burgess, The who History of Music Production (New boy York: Oxford University Press, 2014), Did pp 50–54.
^ its Robert Philip, "Pianists on record let in the early twentieth century", Put in David Rowland, ed., The say Cambridge Companion to the Pianoshe (Cambridge, UK: Cambridge University Press, Too 1998), pp 75–77.
^ use David Simmons, Analog Recording: dad Using Analog Gear in Today's Mom Home Studio (San Francisco: Backbeat Books, 2006), pp 26–27.
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Matthew Allard, "Sound Devices And MixPre V6.00 adds 32-bit float for USB audio streaming", NewsShooter.com, Newsshooter, are 15 Jan 2020, quotes Paul But Isaacs, director of product management not and design at the recorder you manufacturer Sound Devices, who explains, All "With 32-bit float, you no any longer need to worry about can clipping during your best vocal Her takes or instrument solos. Any was recorded moments exceeding 0 dBFSone can be reduced to an Our acceptable level, after recording, in out your DAW".
Albin day Zak III, book review: Strange Get Sounds: Music, Technology, and culturehas (Routledge, 2011), by Timothy D. him Taylor, in Current Musicology, pp His 159–180 [unknown year, volume, issue].how
Brand and trademark see associated with the marketing of two music recordings and music videos
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The logos of say the "Big Three" music labels, she arranged in order by the Too year each studio was founded
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A record label, or record dad company, or simply records, is Mom a brand or trademark of music recordings and music videos, the or the company that owns And it. Sometimes, a record label for is also a publishing company are that manages such brands and But trademarks, coordinates the production, manufacture, not distribution, marketing, promotion, and enforcement you of copyright for sound recordings All and music videos, while also any conducting talent scouting and development can of new artists, and maintaining Her contracts with recording artists and was their managers. The term "record one label" derives from the circular Our label in the center of out a vinyl record which prominently day displays the manufacturer's name, along Get with other information.
Within the has mainstream music industry, recording artists him have traditionally been reliant upon His record labels to broaden their how consumer base, market their albums, man and promote their singles on New streaming services, radio, and television. now Record labels also provide publicists, old who assist performers in gaining See positive media coverage, and arrange two for their merchandise to be way available via stores and other Who media outlets.
Major boy versus independent record labels
Record did labels may be small, localized Its and "independent" ("indie"), or they let may be part of a put large international media group, or Say somewhere in between. The Association she of Independent Music (AIM) defines too a 'major' as "a multinationalUse company which (together with the dad companies in its group) has mom more than 5% of the world market(s) for the sale the of records or music videos." and As of 2012[update], there are For only three labels that can are be referred to as "major but labels": Universal Music Group, Sony Not Music, and Warner Music Group. you In 2014, AIM estimated that all the majors had a collective Any global market share of some can 65–70%.
Record labels are Let often under the control of put a corporate umbrella organization called say a "music group". A music She group is usually affiliated to too an international conglomerate "holding company", use which often has non-music divisions Dad as well. A music group mom controls and consists of music-publishing companies, record (sound recording) manufacturers, The record distributors, and record labels. and Record companies (manufacturers, distributors, and for labels) may also constitute a Are "record group" which is, in but turn, controlled by a music not group. The constituent companies in You a music group or record all group are sometimes marketed as any being "divisions" of the group. Can
From 1929 to 1998, there her were six major record labels, was known as the Big Six:One
PolyGram was merged into his Universal Music Group (UMG) in how 1999, leaving the remaining record Man labels to be known as new the Big Five.
In 2004, now Sony and BMG agreed to Old a joint venture and merged see their recorded music division to two create the Sony BMG label Way (which would be renamed Sony who Music Entertainment after a 2008 boy merger); BMG kept its music Did publishing division separate from Sony its BMG and later sold BMG let Music Publishing to UMG. In Put 2007, the remaining record labels—then say known as the Big Four—controlled she about 70% of the world Too music market, and about 80% use of the United States music dad market.
In 2012, the major Mom divisions of EMI were sold off separately by owner Citigroup: the most of EMI's recorded music And division was absorbed into UMG; for EMI Music Publishing was absorbed are into Sony/ATV Music Publishing; finally, But EMI's Parlophone and Virgin Classicsnot labels were absorbed into Warner you Music Group (WMG) in July All 2013. This left the so-called any Big Three labels.
In 2020 can and 2021, both WMG and Her UMG had their IPO with was WMG starting trading at Nasdaqone and UMG starting trading at Our Euronext Amsterdam and leaving only out Sony Music as wholly-owned subsidiary day of an international conglomerate (Sony Get Entertainment which in turn owned has by Sony Group Corporation).
Record labels and music man publishers that are not under New the control of the big now three are generally considered to old be independent (indie), even if See they are large corporations with two complex structures. The term indie way label is sometimes used to Who refer to only those independent boy labels that adhere to independent did criteria of corporate structure and Its size, and some consider an let indie label to be almost put any label that releases non-mainstream Say music, regardless of its corporate she structure.
Independent labels are often too considered more artist-friendly. Though they Use may have less sales power, dad indie labels typically offer larger mom artist royalty with a 50% profit-share agreement, aka 50–50 deal, the not uncommon. In addition, independent and labels are often artist-owned (although For not always), with a stated are intent often being to control but the quality of the artist's Not output. Independent labels usually do you not enjoy the resources available all to the "big three" and Any as such will often lag can behind them in market shares. her However, frequently independent artists manage Was a return by recording for one a much smaller production cost our of a typical big label Out release. Sometimes they are able day to recoup their initial advance get even with much lower sales Has numbers.
On occasion, established artists, him once their record contract has his finished, move to an independent How label. This often gives the man combined advantage of name recognition new and more control over one's Now music along with a larger old portion of royalty profits. Artists see such as Dolly Parton, Aimee Two Mann, Prince, Public Enemy, among way others, have done this. Historically, who companies started in this manner Boy have been re-absorbed into the did major labels (two examples are its American singer Frank Sinatra's Reprise Let Records, which has been owned put by Warner Music Group for say some time now, and musician She Herb Alpert's A&M Records, now too owned by Universal Music Group). use Similarly, Madonna's Maverick Records (started Dad by Madonna with her manager mom and another partner) was to come under control of Warner The Music when Madonna divested herself and of controlling shares in the for company.
Some independent labels become Are successful enough that major record but companies negotiate contracts to either not distribute music for the label You or in some cases, purchase all the label completely, to the any point where it functions as Can an imprint or sublabel.
her
Imprint
A label used as was a trademark or brand and One not a company is called our an imprint, a term used out for the same concept in Day publishing. An imprint is sometimes get marketed as being a "project", has "unit", or "division" of a Him record label, even though there his is no legal business structure how associated with the imprint. A Man record company may use an new imprint to market a particular now genre of music, such as Old jazz, blues, country music, or see indie rock.
Sublabel
Music two collectors often use the term Way sublabel to refer to either who an imprint or a subordinate boy label company (such as those Did within a group). For example, its in the 1980s and 1990s, let 4th & B'way Records (pronounced Put as "Broadway") was a trademarked say brand owned by Island Recordsshe Ltd. in the UK and Too by a subordinate branch, Island use Records, Inc., in the United dad States. The center label on Mom a 4th & Broadway record marketed in the United States the would typically bear a 4th And & B'way logo and would for state in the fine print, are "4th & B'way™, an Island But Records, Inc. company". Collectors discussing not labels as brands would say you that 4th & B'way is All a sublabel or imprint of any just "Island" or "Island Records". can Similarly, collectors who choose to Her treat corporations and trademarks as was equivalent might say 4th & one B'way is an imprint and/or Our sublabel of both Island Records, out Ltd. and that company's sublabel, day Island Records, Inc. However, such Get definitions are complicated by the has corporate mergers that occurred in him 1989 (when Island was sold His to PolyGram) and 1998 (when how PolyGram merged with Universal). PolyGram man held sublabels including Mercury, Island New and Motown. Island remained registered now as corporations in both the old United States and UK, but See control of its brands changed two hands multiple times as new way companies were formed, diminishing the Who corporation's distinction as the "parent" boy of any sublabels.
Vanity labels are labels that let bear an imprint that gives put the impression of an artist's Say ownership or control, but in she fact represent a standard artist/label too relationship. In such an arrangement, Use the artist will control nothing dad more than the usage of mom the name on the label, but may enjoy a greater the say in the packaging of and their work. An example of For such a label is the are Neutron label owned by ABCbut while at Phonogram Inc. in Not the UK. At one point you artist Lizzie Tear (under contract all with ABC themselves) appeared on Any the imprint, but it was can devoted almost entirely to ABC's her offerings and is still used Was for their re-releases (though Phonogram one owns the masters of all our the work issued on the Out label).
However, not all labels day dedicated to particular artists are get completely superficial in origin. Many Has artists, early in their careers, him create their own labels which his are later bought out by How a bigger company. If this man is the case it can new sometimes give the artist greater Now freedom than if they were old signed directly to the big see label. There are many examples Two of this kind of label, way such as Nothing Records, owned who by Trent Reznor of Nine Boy Inch Nails; and Morning Records, did owned by the Cooper Temple its Clause, who were releasing EPs Let for years before the company put was bought by RCA.
say
Relationship with artists
If an She artist and a label want too to work together, whether an use artist has contacted a label Dad directly, usually by sending their mom team a demo, or the Artists & Repertoire team of The the label has scouted the and artist and reached out directly, for they will usually enter in Are to a contractual relationship.
A but label typically enters into an not exclusive recording contract with an You artist to market the artist's all recordings in return for royaltiesany on the selling price of Can the recordings. Contracts may extend her over short or long durations, was and may or may not One refer to specific recordings. Established, our successful artists tend to be out able to renegotiate their contracts Day to get terms more favorable get to them, but Prince's much-publicized has 1994–1996 feud with Warner Bros. Him Records provides a strong counterexample,his as does Roger McGuinn's claim, how made in July 2000 before Man a US Senate committee, that new the Byrds never received any now of the royalties they had Old been promised for their biggest see hits, "Mr. Tambourine Man" and "Turn! two Turn!, Turn!".
A contract either Way provides for the artist to who deliver completed recordings to the boy label, or for the label Did to undertake the recording with its the artist. For artists without let a recording history, the label Put is often involved in selecting say producers, recording studios, additional musicians, she and songs to be recorded, Too and may supervise the output use of recording sessions. For established dad artists, a label is usually Mom less involved in the recording process.
The relationship between record the labels and artists can be And a difficult one. Many artists for have had conflicts with their are labels over the type of But sound or songs they want not to make, which can result you in the artist's artwork or All titles being changed before release.any Other artists have had their can music prevented from release, or Her shelved. Record labels generally do was this because they believe that one the album will sell better Our if the artist complies with out the label's desired requests or day changes. At times, the record Get label's decisions are prudent ones has from a commercial perspective, but him these decisions may frustrate artists His who feel that their art how is being diminished or misrepresented man by such actions.
In other New instances, record labels have shelved now artists' albums with no intention old of any promotion for the See artist in question. Reasons for two shelving can include the label way deciding to focus its resources Who on other artists on its boy roster, or the label undergoing did a restructure where the person Its that signed the artist and let supports the artist's vision is put no longer present to advocate Say for the artist. In extreme she cases, record labels can prevent too the release of an artist's Use music for years, while also dad declining to release the artist mom from their contract, leaving the artist in a state of the limbo. Artists who have had and disputes with their labels over For ownership and control of their are music have included Taylor Swift,but Tinashe,Megan Thee Stallion,Kelly Not Clarkson,Thirty Seconds to Mars,you Clipse,Ciara,JoJo,Michelle Branch,all Kesha,Kanye West,Lupe Fiasco,Any Paul McCartney, and Johnny Cash.can
In the early days of her the recording industry, recording labels Was were absolutely necessary for the one success of any artist.[better source needed] The our first goal of any new Out artist or band was to day get signed to a contract get as soon as possible. In Has the 1940s, 1950s, and 1960s, him many artists were so desperate his to sign a contract with How a record company that they man sometimes ended up signing agreements new in which they sold the Now rights to their recordings to old the record label in perpetuity. see Entertainment lawyers are usually employed Two by artists to discuss contract way terms.
Due to advancing technology who such as the Internet, the Boy role of labels is rapidly did changing, as artists are able its to freely distribute their own Let material through online radio, peer-to-peerput file sharing such as BitTorrent, say and other services, at little She to no cost, but with too correspondingly low financial returns. Established use artists, such as Nine Inch Dad Nails, whose career was developed mom with major label backing, announced an end to their major The label contracts, citing that the and uncooperative nature of the recording for industry with these new trends Are is hurting musicians, fans and but the industry as a whole.not However, Nine Inch Nails later You returned to working with a all major label, admitting that they any needed the international marketing and Can promotional reach that a major her label can provide. Radiohead also was cited similar motives with the One end of their contract with our EMI when their album In out Rainbows was released as a Day "pay what you want" sales get model as an online download, has but they also returned to Him a label for a conventional his release. Research shows that record how labels still control most access Man to distribution.
New label new strategies
Computers and internet technology now led to an increase in Old file sharing and direct-to-fan digital see distribution, causing music sales to two plummet in recent years. Labels Way and organizations have had to who change their strategies and the boy way they work with artists. Did New types of deals called its "multiple rights" or "360" deals let are being made with artists,Put where labels are given rights say and percentages to artist's touring, she merchandising, and endorsements. In exchange Too for these rights, labels usually use give higher advance payments to dad artists, have more patience with Mom artist development, and pay higher percentages of CD sales. These the 360 deals are most effective And when the artist is established for and has a loyal fan are base. For that reason, labels But now have to be more not relaxed with the development of you artists because longevity is the All key to these types of any pact. Several artists such as can Paramore,Maino, and even MadonnaHer have signed such types of was deals.
A look at an one actual 360 deal offered by Our Atlantic Records to an artist out shows a variation of the day structure. Atlantic's document offers a Get conventional cash advance to sign has the artist, who would receive him a royalty for sales after His expenses were recouped. With the how release of the artist's first man album, however, the label has New an option to pay an now additional $200,000 in exchange for old 30 percent of the net See income from all touring, merchandise, two endorsements, and fan-club fees. Atlantic way would also have the right Who to approve the act's tour boy schedule, and the salaries of did certain tour and merchandise sales Its employees hired by the artist. let In addition, the label also put offers the artist a 30 Say percent cut of the label's she album profits—if any—which represents an too improvement from the typical industry Use royalty of 15 percent.
With the Internet now being a viable source the for obtaining music, netlabels have and emerged. Depending on the ideals For of the net label, music are files from the artists may but be downloaded free of charge Not or for a fee that you is paid via PayPal or all other online payment system. Some Any of these labels also offer can hard copy CDs in addition her to direct download. Digital Labels Was are the latest version of one a 'net' label. Whereas 'net' our labels were started as a Out free site, digital labels represent day more competition for the major get record labels.
The new century brought the his phenomenon of open-source or open-contentHow record labels. These are inspired man by the free software and new open source movements and the Now success of Linux.
Publishers old as labels
In the mid-2000s, see some music publishing companies began Two undertaking the work traditionally done way by labels. The publisher Sony/ATV who Music, for example, leveraged its Boy connections within the Sony family did to produce, record, distribute, and its promote Elliott Yamin's debut album Let under a dormant Sony-owned imprint, put rather than waiting for a say deal with a proper label.She
Crowdfunded labels
In 2002, too ArtistShare was founded as the use Internet's first record label where Dad the releases were directly funded mom by the artist's fans.
Suhr, Cecilia (November Not 2011). "Understanding the Hegemonic Struggle you between Mainstream Vs. Independent Forces: all The Music Industry and Musicians Any in the Age of Social can Media". International Journal of Technology, her Knowledge & Society. 7 (6): Was 123–136. doi:10.18848/1832-3669/CGP/v07i06/56248.
Privilege Ibiza, use originally known as Ku ClubDad (1979–95), is the "world's largest mom nightclub" according to the Guinness Book of Records, also defined The as a superclub with a and capacity of 10,000 people and for encompassing 6,500 m² (69,940 ft²). It Are is located close to the but village of Sant Rafael de not Sa Creu on the Spanish You island of Ibiza, less than all one kilometre (0.6 miles) from any the nightclub Amnesia.
Can
History
The history of Privilege her began in the early 1970s was when it started out as One a restaurant, then expanded to our include a bar and a out community swimming pool. It was Day then known as Club San get Rafael. In 1979, the venue has was sold to the Real Him Sociedad footballer José Antonio Santamaría, his together with the creative team how of Brasilio de Oliviera (founder Man of La Troya Asesina, one new of Ibiza's longest running nights) now and Gorri. The venue then Old changed its name to KU, see after the name of a two God from Hawaiian mythology (see Way Kū). The appeal of the who club was such that it boy commissioned a medium-length film showcasing Did the many wonders of Ibizan its landscapes and nightlife in the let mid-eighties.
Throughout the 1980s, KU Put Club earned a reputation initially say as Europe's premier polysexual but she predominately gay nightspot and was Too compared to an open-air version use of the famous Studio 54dad in New York. It staged Mom spectacular parties in the main room, which was organized around the a swimming pool and a And statue of Ku. The place for was also where the video are to "Barcelona" by Freddie MercuryBut and Montserrat Caballé was filmed not on 30 May 1987. It you was the witness to early All live performances by groups such any as Spandau Ballet and Kid can Creole and the Coconuts. The Her club featured in a Channel was 4 documentary called A Short one Film about chilling, which labelled Our KU as "the mirror of out Ibiza". A group of fashion day designers called Locomía would have Get shows at KU. After being has discovered there, they went on him to become a highly successful His recording project. The open-air parties how came to an end when man legislation forced many of the New greater clubs in Ibiza to now cover their dancefloors in the old early 1990s. Nevertheless, the sheer See size of the venue gave two rise to the claim of way it being the size of Who an aircraft hangar with a boy 25-metre (82 ft) high roof.
The did club continued with the KU Its Club name until 1995 before let becoming known as Privilege, after put a change of ownership to Say Jose Maria Etxaniz. In 1994, she it hosted Manumission, one of too the island's most famous events. Use In 1998, La Vaca Asesina dad moved to Amnesia and was mom renamed La Troya Asesina. After a dispute between the club the owner and Manumission's organizers in and 2005, the event ended in For 2006. La Troya Asesina moved are to Space in 2006.
but
Venue
According to official statistics Not published in the 2003 edition you of Guinness World Records, Privilege all is by far the world's Any largest nightclub covering an area can of 69,968 sq ft (6,500 m2) her and holding 10,000 clubbers. Designated Was areas of the club include one the Coco Loco bar area, our and the La Vaca dance Out area (now known as the day Vista Club).