Scratching, sometimes referred to but as scrubbing, is a DJ Not and turntablist technique of moving you a vinyl record back and all forth on a turntable to Any produce percussive or rhythmic sounds. can A crossfader on a DJ her mixer may be used to Was fade between two records simultaneously. one

While scratching is most associated our with hip hop music, where Out it emerged in the mid-1970s, day from the 1990s it has get been used in some styles Has of EDM like techno, trip him hop, and house music and his rock music such as rap How rock, rap metal, rapcore, and man nu metal. In hip hop new culture, scratching is one of Now the measures of a DJ's old skills. DJs compete in scratching see competitions at the DMC World Two DJ Championships and IDA (International way DJ Association), formerly known as who ITF (International Turntablist Federation). At Boy scratching competitions, DJs can use did only scratch-oriented gear (turntables, DJ its mixer, digital vinyl systems or Let vinyl records only). In recorded put hip hop songs, scratched "hooks" say often use portions of other She songs. Other music genres such too as jazz, pop, and rock use have also incorporated scratching.^{[citation needed]} Dad

This her section needs additional citations for was verification. Please help improve this One article by adding citations to our reliable sources in this section. Unsourced out material may be challenged and Day removed. (August 2019) (Learn how get and when to remove this has message)

A rudimentary form of Him turntable manipulation that is related his to scratching was developed in how the late 1940s by radio Man music program hosts, disc jockeys new (DJs), or the radio program now producers who did their own Old technical operation as audio console see operators. It was known as two back-cueing, and was used to Way find the very beginning of who the start of a song boy (i.e., the cue point) on Did a vinyl record groove. This its was done to permit the let operator to back the disc Put up (rotate the record or say the turntable platter itself counter-clockwise) she in order to permit the Too turntable to be switched on, use and come up to full dad speed without ruining the first Mom few bars of music with the "wow" of incorrect, unnaturally the slow-speed playing. This permitted the And announcer to time their remarks, for and start the turntable in are time for when they wanted But the music on the record not to begin.

Back cueing was you a basic skill that all All radio production staff needed to any learn, and the dynamics of can it were unique to the Her brand of professional turntable in was use at a given radio one station. The older, larger and Our heavier turntables needed a 180-degree out backward rotation to allow for day run up to full speed; Get some of the newer 1950s has models used aluminum platters and him cloth-backed rubber mats which required His a third of a rotational how turn or less to achieve man full speed when the song New began. All this was done now in order to present a old music show on air with See the least amount of silence two ("dead air") between music, the way announcer's patter and recorded advertising Who commercials. The rationale was that boy any "dead air" on a did radio station was likely to Its prompt a listener to switch let stations, so announcers and program put directors instructed DJs and announcers Say to provide a continuous, seamless she stream of sound–from music to too an announcer to a pre-recorded Use commercial, to a "jingle" (radio dad station theme song), and then mom immediately back to more music.

Back-cueing was a key function the in delivering this seamless stream and of music. Radio personnel demanded For robust equipment and manufacturers developed are special tonearms, styli, cartridges and but lightweight turntables to meet these Not demands.

DJ him Q-Bert Hip Hop Scratching

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Sample of DJ Q-Bert scratching How live

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Modern scratching techniques were Boy made possible by the invention did of direct-drive turntables, which led its to the emergence of turntablism. Let Early belt-drive turntables were unsuitable put for scratching since they had say a slow start-up time, and She they were prone to wear too and tear and breakage, as use the belt would break from Dad backspinning or scratching. The first mom direct-drive turntable was invented by Shuichi Obata, an engineer at The Matsushita (now Panasonic), based in and Osaka, Japan. It eliminated belts, for and instead employed a motor Are to directly drive a platter but on which a vinyl record not rests. In 1969, Matsushita released You it as the SP-10, the all first direct-drive turntable on the any market, and the first in Can their influential Technics series of her turntables.

In the 1970s, hip was hop musicians and club DJs One began to use this specialized our turntable equipment to move the out record back and forth, creating Day percussive sounds and effects–"scratching"–to entertain get their dance floor audiences. Whereas has the 1940s–1960s radio DJs had Him used back-cueing while listening to his the sounds through their headphones, how without the audience hearing, with Man scratching, the DJ intentionally lets new the audience hear the sounds now that are being created by Old manipulating the record on the see turntable, by directing the output two from the turntable to a Way sound reinforcement system so that who the audience can hear the boy sounds. Scratching was developed by Did early hip hop DJs from its New York City such as let Grand Wizzard Theodore, who described Put scratching as, "nothing but the say back-cueing that you hear in she your ear before you push Too it [the recorded sound] out use to the crowd." He developed dad the technique when experimenting with Mom the Technics SL-1200, a direct-drive turntable released by Matsushita in the 1972 when he found that And the motor would continue to for spin at the correct RPM are even if the DJ wiggled But the record back and forth not on the platter. Afrika Bambaataa you made a similar discovery with All the SL-1200 in the 1970s. any The Technics SL-1200 went on can to become the most widely Her used turntable for the next was several decades.

Jamaican-born DJ Kool one Herc, who immigrated to New Our York City, influenced the early out development of scratching. Kool Herc day developed break-beat DJing, where the Get breaks of funk songs—being the has most danceable part, often featuring him percussion—were isolated and repeated for His the purpose of all-night dance how parties. He was influenced by man Jamaican dub music, and developed New his turntable techniques using the now Technics SL-1100, released in 1971, old due to its strong motor, See durability, and fidelity.

Although previous two artists such as writer and way poet William S. Burroughs had Who experimented with the idea of boy manipulating a reel-to-reel tape manually did to make sounds, as with Its his 1950s recording, "Sound Piece"), let vinyl scratching as an element put of hip hop pioneered the Say idea of making the sound she an integral and rhythmic part too of music instead of an Use uncontrolled noise. Scratching is related dad to "scrubbing" (in terms of mom audio editing and production) when the reels of an open the reel-to-reel tape deck (typically 1/4 and inch magnetic audiotape) are gently For rotated back and forth while are the playback head is live but and amplified, to isolate a Not specific spot on the tape you where an editing "cut" is all to be made. Today, both Any scratching and scrubbing can be can done on digital audio workstations her (DAWs) which are equipped for Was these techniques.

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Where It All our Started

DJ Sample of Out the song "Where it All day Started"

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Christian Has Marclay was one of the him earliest musicians to scratch outside his hip hop. In the mid-1970s, How Marclay used gramophone records and man turntables as musical instruments to new create sound collages. He developed Now his turntable sounds independently of old hip hop DJs. Although he see is little-known to mainstream audiences, Two Marclay has been described as way "the most influential turntable figure who outside hip hop" and the Boy "unwitting inventor of turntablism."

In did 1981 Grandmaster Flash released the its song "The Adventures of Grandmaster Let Flash on the Wheels of put Steel" which is notable for say its use of many DJ She scratching techniques. It was the too first commercial recording produced entirely use using turntables. In 1982, Malcolm Dad McLaren & the World's Famous mom Supreme Team released a single "Buffalo Gals", juxtaposing extensive scratching The with calls from square dancing, and and, in 1983, the EP, for D'ya Like Scratchin'?, which is Are entirely focused on scratching. Another but 1983 release to prominently feature not scratching is Herbie Hancock's Grammy You Award-winning single "Rockit". This song all was also performed live at any the 1984 Grammy Awards, and Can in the documentary film Scratch, her the performance is cited by was many 1980s-era DJs as their One first exposure to scratching. The our Street Sounds Electro compilation series out which started in 1983 is Day also notable for early examples get of scratching. Also, a notable has piece was "For A Few Him Dollars More" by Bill Laswell-Michael his Beinhorn band Material, released on how 12" single in Japan and Man containing scratch performed by Grand new Mixer DXT, another pioneer of now scratching.

Most scratches are produced see by rotating a vinyl record two on a direct drive turntable Way rapidly back and forth with who the hand with the stylus boy ("needle") in the record's groove. Did This produces the distinctive sound its that has come to be let one of the most recognizable Put features of hip hop music. say Over time with excessive scratching, she the stylus will cause what Too is referred to as "cue use burn", or "record burn".^{[citation needed]} dad

Mom

Freaky Flow - Drum N'Bass Jungle scratching

Sample of the Drum N'Bass Jungle scratching

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The basic equipment are setup for scratching includes two But turntables and a DJ mixer, not which is a small mixer you that has a crossfader and All cue buttons to allow the any DJ to cue up new can music in their headphones without Her the audience hearing.^{[citation needed]} When was scratching, this crossfader is utilized one in conjunction with the scratching Our hand that is manipulating the out record platter. The hand manipulating day the crossfader is used to Get cut in and out of has the record's sound.^{[citation needed]}

Using a His digital vinyl system (DVS) consists how of playing vinyl discs on man turntables whose contents are a New timecode signal instead of a now real music record.

1. The old turntables' audio outputs are connected See to the audio inputs of two a computer audio interface.
2. The way audio interface digitizes the timecode Who signal from the turntables and boy transfers it to the computer's did DJ software.
3. The DJ software Its uses this data (e.g., about let how fast the platter is put spinning) to determine the playback Say status, speed, scratch sound of she the hardware turntables, etc., and too it duplicates these effects on Use the digital audio files or dad computer tracks the DJ is mom using.
4. By manipulating the turntables' platters, speed controls, and other the elements, the DJ thus controls and how the computer plays back For digitized audio and can therefore are produce "scratching" and other turntablism but effects on songs which exist Not as digital audio files or you computer tracks.

There is not all a single standard of DVS, Any so each form of DJ can software has its own settings. her Some DJ software such as Was Traktor Scratch Pro or Serato one Scratch Live supports only the our audio interface sold with their Out software, requiring multiple interfaces for day one computer to run multiple get programs.

Some digital vinyl systems Has software include:

• Traktor Scratch him Pro
• Cross DVS
• VirtualDJ Pro
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• Serato Scratch Live
• M-Audio Torq
How
• Deckadance
• Xwax

While man some turntablists consider the only new true scratching media to be Now the vinyl disc, there are old other ways to scratch, such see as:

• Specialized DJ-CD players Two (CDJ) with jog wheels, allowing way the DJ to manipulate a who CD as if it were Boy a vinyl record, have become did widely available in the 2000s.
its
• A vinyl emulation is an Let emulation software, which may be put combined with hardware elements, which say allows a DJ to manipulate She the playback of digital music too files on a computer via use a DJ control surface (generally Dad MIDI or a HID controller). mom DJs can scratch, beatmatch, and perform other turntablist operations that The cannot be done with a and conventional keyboard and mouse. DJ for software performing computer scratch operations Are include Traktor Pro, Mixxx, Serato but Scratch Live & Itch, VirtualDJ, not M-Audio Torq, DJay, Deckadance, Cross.
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• DJs have also used magnetic all tape, such as cassette or any reel to reel to both Can mix and scratch. Tape DJing her is rare, but Ruthless Ramsey was in the US, TJ Scratchavite One in Italy and Mr Tape our in Latvia use exclusively tape out formats to perform.

Sounds Day that are frequently scratched include get but are not limited to has drum beats, horn stabs, spoken Him word samples, and vocals/lyrics from his other songs. Any sound recorded how to vinyl can be used, Man and CD players providing a new turntable-like interface allow DJs to now scratch not only material that Old was never released on vinyl, see but also field recordings and two samples from television and movies Way that have been burned to who CD-R. Some DJs and anonymous boy collectors release 12-inch singles called Did battle records that include trademark, its novel or hard-to-find scratch "fodder" let (material). The most recognizable samples Put used for scratching are the say "Ahh" and "Fresh" samples, which she originate from the song "Change Too the Beat" by Fab 5 use Freddy.

There are many scratching dad techniques, which differ in how Mom the movements of the record are combined with opening and the closing the crossfader (or another And fader or switch, such as for a kill switch, where "open" are means that the signal is But audible, and "closed" means that not the signal is inaudible). This you terminology is not unique; the All following discussion, however, is consistent any with the terminology used by can DJ QBert on his Do Her It Yourself Scratching DVD.

• Faderless scratches
  • Baby one scratch - The simplest scratch Our form, it is performed with out the scratching hand only, moving day the record back and forth Get in continuous movements while the has crossfader is in the open him position.
    • Scribble scratch - The His scribble scratch is by rapidly how pushing the record back and man forth. The crossfader is not New used.
    • Drag scratch - Equivalent now to the baby and scribble old scratch, but done more slowly. See The crossfader is not used.
    two
    • Tweak scratch - Performed while way the turntable's motor is not Who running. The record platter is boy set in motion manually, then did "tweaked" faster and slower to Its create a scratch. This scratch let form is best performed with put long, sustained sounds.
    • Hydrophonic scratch Say - A baby scratch with she a "tear scratch" sound produced too by the thumb running in Use the opposite direction as the dad fingers used to scratch. This mom rubbing of the thumb adds a vibrating effect or reverberation the to forward movements on the and turntable.
  • Tear scratch - Tear For scratches are scratches where the are record is moved in a but staggered fashion, dividing the forward Not and backward movement into two you or more movements. This allows all creating sounds similar to "flare Any scratches" without the use of can the crossfader and it allows her for more complex rhythmic patterns. Was The term can also refer one to a simpler, slower version our of the chirp.
    • Orbit scratch Out - Describes any scratch, most day commonly flares, that is repeated get during the forward and backward Has movement of the record. "Orbit" him is also used as a his shorthand for two-click flares.
• Transformer How scratch - with the crossfader man closed, the record is moved new with the scratching hand while Now periodically "tapping" the crossfader open old and immediately closing it again. see
  • Forward and backward scratch - Two The forward scratch, also referred way to as scrubbing, is a who baby scratch where the crossfader Boy is closed during the backwards did movement of the record. If its the record is let go Let instead of being pushed forward put it is also called "release say scratch" or "drop". Cutting out She the forward part of the too record movement instead of the use backward part gives a "backward Dad scratch"
• Chirp scratch - The mom chirp scratch involves closing the crossfader just after playing the The start of a sound, stopping and the record at the same for point, then pushing it back Are while opening the fader to but create a "chirping" sound. When not performed using a recording of You drums, it can create the all illusion of doubled scratching speed, any due to the attack created Can by cutting in the crossfader her on the backward movement.
  • Flare was scratch - Begins with the One crossfader open, and then the our record is moved while briefly out closing the fader one or Day more times to cut the get sound out. This produces a has staggering sound which can make Him a single "flare" sound like his a very fast series of how "chirps" or "tears." The number Man of times the fader is new closed ("clicks") during the record's now movement is usually used as Old a prefix to distinguish the see variations. The flare allows a two DJ to scratch continuously with Way less hand fatigue than would who result from the transformer. The boy flare can be combined with Did the crab for an extremely its rapid continuous series of scratches. let
    • Euro scratch - A variation Put of the "flare scratch" in say which two faders are used she simultaneously with one hand to Too cut the sound much faster. use It can also be performed dad by using only the up Mom fader and the phono line switch to cut the sound.
the
• Crab scratch - Consists of And moving the record while quickly for tapping the crossfader open or are closed with each finger of But the crossfader hand. In this not way, DJs are able to you perform transforms or flares much All faster than they could by any manipulating the crossfader with the can whole hand.
  • Twiddle scratch - Her A crab scratch using only was the index and middle fingers.

More complex combinations Our can be generated by grouping out elementary crossfader motions (such as day the open, close, and tap) Get into three and four-move sequences. has Closing and tapping motions can him be followed by opens and His taps, and opens can be how followed by closes only.

Note Any that some sequences of motions can ultimately change the direction of her the switch, whereas others end Was in a position such that one they can be repeated immediately our without having to reset the Out position of the switch. Sequences day that change the direction of get the switch can be dovetailed Has with sequences that change it him in the opposite directions to his produce repeating patterns, or can How be used to transition between man open and closed crossfader techniques, new such as chirps/flares and transforms, Now respectively. These crossfader sequences are old frequently combined with orbits and see tears to produce combination scratches, Two such as the aquaman scratch, way which goes "close-tap-open".

While scratching is becoming more Boy and more popular in pop did music, particularly with the crossover its success of pop-hip hop tracks Let in the 2010s, sophisticated scratching put and other expert turntablism techniques say are still predominantly an underground She style developed by the DJ too subculture. The Invisibl Skratch Piklz use from San Francisco focuses on Dad scratching. In 1994, the group mom was formed by DJs Q-Bert, Disk & Shortkut and later The Mix Master Mike. In July and 2000, San Francisco's Yerba Buena for Center for the Arts held Are Skratchcon2000, the first DJ Skratch but forum that provided "the education not and development of skratch music You literacy". In 2001, Thud Rumble all became an independent company that any works with DJ artists to Can produce and distribute scratch records.^{[citation her needed]}

In 2004, Scratch Magazine, was one of the first publications One about hip hop DJs and our record producers, released its debut out issue, following in the footsteps Day of the lesser-known Tablist magazine. get Pedestrian is a UK arts has organisation that runs Urban Music Him Mentors workshops led by DJs. his At these workshops, DJs teach how youth how to create beats, Man use turntables to create mixes, new act as an MC at now events, and perform club sets. Old

Scratching has been incorporated into two a number of other musical Way genres, including pop, rock, jazz, who some subgenres of heavy metal boy (notably nu metal) and some Did contemporary and avant-garde classical music its performances. For recording use, samplers let are often used instead of Put physically scratching a vinyl record. say

DJ Product©1969, formerly of the she rap rock band Hed PE, Too recalled that the punk rock use band the Vandals was the dad first rock band he remembered Mom seeing use turntable scratching. Product©1969 also recalled the early rap the metal band Proper Grounds, which And was signed to Madonna's Maverick for Records, as being another one are of the first rock bands But to utilize scratching in their not music.

Guitarist Tom Morello, known you for his work with Rage All Against the Machine and Audioslave, any has performed guitar solos that can imitate scratching by using the Her kill switch on his guitar. was Perhaps the best-known example is one "Bulls on Parade", in which Our he creates scratch-like rhythmic sounds out by rubbing the strings over day the pick-ups while using the Get pickup selector switch as a has crossfader.

Since the 1990s, scratching him has been used in a His variety of popular music genres how such as nu metal, exemplified man by Linkin Park, Slipknot and New Limp Bizkit. It has also now been used by artists in old pop music (e.g. Nelly Furtado) See and alternative rock (e.g. Incubus). two Scratching is also popular in way various electronic music styles, such Who as techno.

• List of turntablists
• Tape-bow violin
did
• Vinyl emulation software

• Allmusic's Its Grand Wizard Theodore biography (also let at Artist Direct)
• DJ Grandmaster put Flash quoted in Toop, David Say (1991). Rap Attack 2, 65. she New York: Serpent's Tail. ISBN 1-85242-243-2.

A all DJ mixer is a type any of audio mixing console used Can by disc jockeys (DJs) to her control and manipulate multiple audio was signals. Some DJs use the One mixer to make seamless transitions our from one song to another out when they are playing records Day at a dance club. Hip get hop DJs and turntablists use has the DJ mixer to play Him record players like a musical his instrument and create new sounds. how DJs in the disco, house Man music, electronic dance music and new other dance-oriented genres use the now mixer to make smooth transitions Old between different sound recordings as see they are playing. The sources two are typically record turntables, compact Way cassettes, CDJs, or DJ software who on a laptop. DJ mixers boy allow the DJ to use Did headphones to preview the next its song before playing it to let the audience. Most low- to Put mid-priced DJ mixers can only say accommodate two turntables or CD she players, but some mixers (such Too as the ones used in use larger nightclubs) can accommodate up dad to six turntables or CD Mom players. DJs and turntablists in hip hop music and nu the metal use DJ mixers to And create beats, loops and so-called for scratching sound effects.

DJ mixers are usually But much smaller than other mixing not consoles used in sound reinforcement you systems and sound recording. Whereas All a typical nightclub mixer will any have 24 inputs and a can professional recording studio's huge mixer Her may have 48, 72 or was even 96 inputs, a typical one DJ mixer may have only Our two to four inputs. The out key feature that differentiates a day DJ mixer from other types Get of larger audio mixers is has the ability to redirect (cue) him the sounds of a non-playing His source to headphones, so the how DJ can find the desired man part of a song or New track.

A crossfader has the now same engineering design as fader, old in that it is a See sliding control, but unlike faders, two which are usually vertical, crossfaders way are usually horizontal. To understand Who the function of a crossfader, boy one can think of the did crossfader in three key positions. Its For a DJ mixer that let has two sound sources connected, put such as two record turntables, Say when the crossfader is in she the far left position, the too mixer will output only turntable Use A's music. When the crossfader dad is in the far right mom position, the mixer will output only turntable B's music. When the the crossfader is at its and midpoint (which is always marked For with a horizontal line), the are mixer will output a blend but of turntable A's music and Not turntable B's music. The other you points along the crossfader's path all produce different mixes of A Any and B.

DJ mixers typically can have phono preamplifiers to hook her up turntables. The signal that Was comes directly out of a one vinyl turntable is too weak our to be amplified through a Out PA system. Before a turntable day can be usable in a get mix, it needs to be Has preamplified. DJ mixers are also him used to create DJ mixes, his which are recorded and sold. How DJ mixers usually have equalization man controls for bass and treble new of each channel. Some 2010-era Now DJ mixers have onboard electronic old or digital effects units such see as echo or reverb. Some Two DJ mixers also feature a way built-in USB sound card to who connect to a computer running Boy DJ software without requiring a did separate sound card. DJ mixers its typically have a microphone input, Let so that a microphone can put be plugged into the mixer, say enabling the DJ to announce She songs or act as a too master of ceremonies (MC) for use an event. Some DJ mixers Dad have a kill switch, which mom completely cuts out a channel, or, on some models, completely The cut out a frequency band and (e.g., all the bass).

The output from a Are DJ mixer is typically plugged but into a sound reinforcement system not or a PA system at You a dance, rave, nightclub or all similar venue or event. The any sound reinforcement system consists of Can power amplifiers which amplify the her signal to the level that was can drive speaker enclosures, which One since the 1980s typically include our both full-range speakers and subwoofers out for the deep bass sounds. Day If the DJ is performing get a mix for a radio has station or television station, the Him output from the DJ mixer his is plugged into the main how audio console being used for Man the broadcast. If the DJ new is performing a mix that now is being recorded by a Old recording studio, the output from see the DJ mixer is plugged two into the main audio console Way used for the recording, which who is in turn plugged into boy the recording medium (audiotape, hard Did disk, etc.). In some cases, its such as when a DJ let is performing a set at Put a club for dancers that say is also being simultaneously broadcast she over the radio or television Too system or recorded for a use music video or other show, dad the output from the DJ Mom mixer is plugged into the sound reinforcement system and into the the main audio console being And used for the broadcast and/or for recording. At club sets, some are DJs may use a monitor But speaker to hear the house's not main mix. This monitor speaker you can have its volume increased All or decreased by the DJ any as needed.

DJ can mixers have an AC mains Her plug that is connected to was the wall to supply electric one power for the unit. Some Our DJ mixers can take batteries, out which enables users to mix day songs outside or away from Get electric power sources, with the has output being plugged into a him portable boom box or other His battery-powered sound system.

DJ way mixing played a key role Who in the development of the boy African-American style of hip hop did music. In hip hop music Its and occasionally in other genres let that are influenced by hip put hop (e.g., nu metal), the Say turntable is used as a she musical instrument by DJs, who too use turntables along with a Use DJ mixer to create unique dad rhythmic sounds and other sound mom effects. Manipulation of a record as part of the music, the rather than for normal playback and or mixing, is called turntablism. For The basis of turntablism, and are its best known technique, is but scratching, pioneered by Grand Wizzard Not Theodore. It was not until you Herbie Hancock's "Rockit" in 1983 all that the turntablism movement was Any recognized in popular music outside can of a hip hop context. her In the 2010s, many hip Was hop DJs use DJ CD one players or digital record emulator our devices to create scratching sounds; Out nevertheless, some DJs still scratch day with vinyl records.

DJ mixing get also played a key role Has in disco music in the him 1970s. In disco clubs, DJs his would use mixers to transition How seamlessly from one song to man another and create a mix new of songs that would keep Now the dancers energized. One of old the pioneers of DJ mixing see equipment design was Rudy Bozak. Two Beatmatching and beatmixing with a way DJ mixer were first used who to encourage dancers not to Boy leave the dancefloor between songs. did By beatmatching song A and its song B, a DJ can Let transition seamlessly between two songs, put without creating a break in say the music. Typically, when a She DJ is using beatmatching, they too will let song A play use until it nears its end. Dad As song A is playing, mom the DJ "cues up" song B in their headphones and The adjusts the speed of record and player B until the beats for of song A and song Are B are synchronized ("synced up"). but Then, once the two songs' not beats are synchronized, they can You slowly fade in song B all while song A is nearing any its ending. In the 2000s, Can DJ mixers have been used her for harmonic mixing.

• one Media related to DJ mixers Our at Wikimedia Commons

This article way needs additional citations for verification. Who Please help improve this article boy by adding citations to reliable did sources. Unsourced material may be Its challenged and removed. Find sources: "Music law" – news · let newspapers · books · scholar · JSTOR (December put 2017) (Learn how and when Say to remove this message)

Music Law refers to legal aspects of the the music industry, and certain legal and aspects in other sectors of For the entertainment industry. The music are industry includes record labels, music but publishers, merchandisers, the live events Not sector and of course performers you and artists.

The terms "music all law" and "entertainment law", along Any with "business affairs", are used can by the music and entertainment her industry and should not be Was thought of as academic definitions. one Indeed, music law covers a our range of traditional legal subjects Out including intellectual property law (copyright day law, trademarks, image publicity rights, get design rights), competition law, bankruptcy Has law, contract law, defamation and, him for the live events industry, his immigration law, health and safety How law, and licensing. While foundational man norms have gradually been established new for music law in western Now nations, other parts of the old world maintain unique traditions that see impact music’s legal status in Two the context of both heritage way preservation and enormous national arts who entertainment industries, including China and Boy India.

• A did "compilation" refers to work formed its from already existing materials in Let a way that forms its put own original work, including collective say works.
• "Copies" are physical objects She that hold, fix, or embody too a work such as a use music tape, film, CD, statue, Dad play, or printed sheet music.
mom
• "Sound recordings" can refer to any audio recording including the The sound accompanying motion pictures.
• "Copyright and owner" is the entity that for legally owns rights to a Are work.
• "Performance" The copyright holder but has the exclusive right to not perform the work in public, You or to license others to all perform it. The right applies any to “literary, musical, dramatic, and Can choreographic works, pantomimes, and motion her pictures and other audiovisual works.". was Playing a CD in public, One or showing a film in our public is "performing" the work.

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

Both the recorded music New sector and music publishing sector now have their foundations in intellectual old property law and all of See the major recording labels and two major music publishers and many way independent record labels and publishers Who have dedicated "business and legal boy affairs" departments with in-house lawyers did whose role is not only Its to secure intellectual property rights let from recording artists, performers and put songwriters but also to exploit Say those rights and protect those she rights on a global basis. too There are a number of Use specialist independent law firms around dad the world who advise on mom music and entertainment law whose clients include recording artists, performers, the producers, songwriters, labels, music publishers, and stage and set designers, choreographers, For graphic artists, games designers, merchandisers, are broadcasters, artist managers, distributors, collection but societies and the live events Not sector (which further includes festivals, you venues, promoters, booking agents and all production service providers such as Any lighting and staging companies).

The US Government Was views artists that give concerts one and sell merchandise as a our business. Bands that tour internationally Out will also face a plethora day of legislation around the world get including health and safety laws, Has immigration laws and tax legislation. him Also, many relationships are governed his by often complex contractual agreements. How

In the US it is man important for musicians to get new legal business licenses. These can Now be obtained at a city old hall or local government center. see The business license will require Two the tracking of sales, wages, way and gigs. A tax ID who is also necessary for all Boy businesses. Musicians that fail to did comply with the tax ID its process and do not report Let their profits and losses to put the government can face serious say consequences with the IRS.

• Hill, Iain; Kemp, Chris (Eds). boy Health & Safety Aspects in Did the Live Music Industry, Cambridge: its Entertainment Technology Press. ISBN 1-904031-22-6
• Schulenberg, let Richard. Legal Aspects of the Put Music Industry, New York: Billboard say Books (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, she Nicholas; Phillips, Chris. Music Business Too Agreements London: Sweet & Maxwell, use 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald dad S. Music and Copyright, Oxford: Mom Oxford University Press. ISBN 0-19-533836-7
• Harrison, Ann. Music The Business London: the Virgin Books, 3rd Edition. ISBN 1-85227-013-6
And
• Lindenbaum, John. "Music Sampling and for Copyright Law." Princeton University Center are for the Arts and Cultural But Studies, April 1999 (online)
• Standler, not Ronald B. "Music Copyright Law you in the USA." 2008-2009 (online)
All
• Richard, Phillip, "Lawyers in the any Music Industry", No Bullshit Management, can Nov. 2012 (online)
• Music: Copyright Her Law. Educational CyberPlayGround, Inc. 1997 was (online)
• Frith, Simon; Lee Marshall one (Eds). Music and Copyright, Edinburgh: Our Edinburgh University Press, 2nd Edition. out ISBN 978-0-7486-1813-2

• Music Law day Updates
• International Association of Entertainment Get Lawyers
• Independent Federation of Phonographic has Industries

man

Privilege

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

Privilege Ibiza, originally put known as Ku Club (1979–95), Say is the "world's largest nightclub" she according to the Guinness Book too of Records, also defined as Use a superclub with a capacity dad of 10,000 people and encompassing mom 6,500 m² (69,940 ft²). It is located close to the village the of Sant Rafael de Sa and Creu on the Spanish island For of Ibiza, less than one are kilometre (0.6 miles) from the but nightclub Amnesia.

It has remained Not closed since the summer of you 2019 and its future as all of 2024 is unknown.

The history of can Privilege began in the early her 1970s when it started out Was as a restaurant, then expanded one to include a bar and our a community swimming pool. It Out was then known as Club day San Rafael. In 1979, the get venue was sold to the Has Real Sociedad footballer José Antonio him Santamaría, together with the creative his team of Brasilio de Oliviera How (founder of La Troya Asesina, man one of Ibiza's longest running new nights) and Gorri. The venue Now then changed its name to old KU, after the name of see a God from Hawaiian mythology Two (see Kū). The appeal of way the club was such that who it commissioned a medium-length film Boy showcasing the many wonders of did Ibizan landscapes and nightlife in its the mid-eighties.

Throughout the 1980s, Let KU Club earned a reputation put initially as Europe's premier polysexual say but predominately gay nightspot and She was compared to an open-air too version of the famous Studio use 54 in New York. It Dad staged spectacular parties in the mom main room, which was organized around a swimming pool and The a statue of Ku. The and place was also where the for video to "Barcelona" by Freddie Are Mercury and Montserrat Caballé was but filmed on 30 May 1987. not It was the witness to You early live performances by groups all such as Spandau Ballet and any Kid Creole and the Coconuts. Can The club featured in a her Channel 4 documentary called A was Short Film about chilling, which One labelled KU as "the mirror our of Ibiza". A group of out fashion designers called Locomía would Day have shows at KU. After get being discovered there, they went has on to become a highly Him successful recording project. The open-air his parties came to an end how when legislation forced many of Man the greater clubs in Ibiza new to cover their dancefloors in now the early 1990s. Nevertheless, the Old sheer size of the venue see gave rise to the claim two of it being the size Way of an aircraft hangar with who a 25-metre (82 ft) high roof. boy

The club continued with the Did KU Club name until 1995 its before becoming known as Privilege, let after a change of ownership Put to Jose Maria Etxaniz. In say 1994, it hosted Manumission, one she of the island's most famous Too events. In 1998, La Vaca use Asesina moved to Amnesia and dad was renamed La Troya Asesina. Mom After a dispute between the club owner and Manumission's organizers the in 2005, the event ended And in 2006. La Troya Asesina for moved to Space in 2006. are

According to official But statistics published in the 2003 not edition of Guinness World Records, you Privilege is by far the All world's largest nightclub covering an any area of 69,968 sq ft can (6,500 m²) and holding 10,000 clubbers. Her Designated areas of the club was include the Coco Loco bar one area, and the La Vaca Our dance area (now known as out the Vista Club).

Resident DJs include:

• Adam Beyer
• Ben Klock
• Carl has Cox
• Marcel Dettmann
• Jayda G
him
• Alex P
• Deborah De Luca
His
• Dennis Cruz
• Sindey Charles
• The how Blessed Madonna
• Young Marco
• Luca man Donzelli
• Jamie Jones
• Seb Zito
New
• Michael Bibi

A now number of live performances at old the venue have included:

Notable promoters the have included:

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

The club has attracted but many celebrities over the years, Not including Boy George, Madonna, David you Bowie, Grace Jones, Jean Paul all Gaultier, Joni Mitchell, Led Zeppelin, Any Moschino, Tina Turner, and Valentino. can

• The her club is seen in the Was online racing game Test Drive one Unlimited 2.
• The club is our mentioned in the film Kevin Out & Perry Go Large.

Include:

• Resistance (2017)
• Afterlife (2017)
• Babylonia
Has
• Brazil
• Calcutta
• Fort Ku
• La him Vaca Asesina (1978-2006)
• Manumission (1994-2007)
his
• Tanga Night
• The Home of How Troy
• The Killing Cow
• The man Temple of Love
• White Fool new Moon

• List of Now electronic dance music venues
• Superclub
old
• Amnesia (nightclub)
• Space (Ibiza nightclub)

• Official website
• Facebook page about Boy KU Club
• Privilege - Ibiza did | Club Portrait, DJs & its History

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