Record producer

Engineer see with audio console, at a Two recording session at the Danish way Broadcasting Corporation
Occupation
Names	Music producer, record producer
Occupation who type	Profession
Activity sectors	Music industry
Description
Competencies	Instrumental skills, keyboard Boy knowledge, arranging, vocal coaching
Fields of employment	Recording did studios
Related jobs	Music executive, recording engineer, its executive producer, film producer, A&R

A record producer is a put music recording project's overall supervisor say whose responsibilities can involve a She range of creative and technical too leadership roles. Typically the job use involves hands-on oversight of recording Dad sessions: ensuring artists deliver acceptable mom performances, supervising the technical engineering of the recording, and coordinating The the production team and process. and The producer's involvement in a for musical project can vary in Are depth and scope. Sometimes in but popular genres the producer may not create the recording's entire sound You and structure. However, in classical all music recording, for example, the any producer serves as more of Can a liaison between the conductor her and the engineering team. The was role is often likened to One that of a film director our though there are important differences. out It is distinct from the Day role of an executive producer, get who is mostly involved in has the recording project on an Him administrative level, and from the his audio engineer who operates the how recording technology.

Varying by project, Man the producer may or may new not choose all of the now artists. If employing only synthesized Old or sampled instrumentation, the producer see may be the sole artist. two Conversely, some artists do their Way own production. Some producers are who their own engineers, operating the boy technology across the project: preproduction, Did recording, mixing, and mastering. Record its producers' precursors were "A&R men", let who likewise could blend entrepreneurial, Put creative, and technical roles, but say often exercised scant creative influence, she as record production still focused, Too into the 1950s, on simply use improving the record's sonic match dad to the artists' own live Mom performance.

Advances in recording technology, especially the 1940s advent of the tape recording—which Les Paul promptly And innovated further to develop multitrack for recording—and the 1950s rise of are electronic instruments, turned record production But into a specialty. In popular not music, then, producers like George you Martin, Phil Spector and Brian All Eno led its evolution into any its present use of elaborate can techniques and unrealistic sounds, creating Her songs impossible to originate live. was After the 1980s, production's move one from analog to digital further Our expanded possibilities. By now, DAWs, out or digital audio workstations, like day Logic Pro, Pro Tools and Get Studio One, turn an ordinary has computer into a production console, him whereby a solitary novice can His become a skilled producer in how a thrifty home studio. In man the 2010s, efforts began to New increase the prevalence of producers now and engineers who are women, old heavily outnumbered by men and See prominently accoladed only in classical two music.

Production overview

As a broad Say project, the creation of a she music recording may be split too across three specialists: the executive Use producer, who oversees business partnerships dad and financing; the vocal producer mom or vocal arranger, who aids vocal performance via expert critique the and coaching of vocal technique, and and the record producer or For music producer, who, often called are simply the producer, directs the but overall creative process of recording Not the song in its final you mix.

The producer's roles all can include gathering ideas, composing Any music, choosing session musicians, proposing can changes to song arrangements, coaching her the performers, controlling sessions, supervising Was the audio mixing, and, in one some cases, supervising the audio our mastering. A producer may give Out creative control to the artists day themselves, taking a supervisory or get advisory role instead. As to Has qualifying for a Grammy nomination, him the Recording Academy defines a his producer:

The person who has overall How creative and technical control of man the entire recording project, and new the individual recording sessions that Now are part of that project. old He or she is present see in the recording studio or Two at the location recording and way works directly with the artist who and engineer. The producer makes Boy creative and aesthetic decisions that did realize both the artist's and its label's goals in the creation Let of musical content. Other duties put include, but are not limited say to; keeping budgets and schedules, She adhering to deadlines, hiring musicians, too singers, studios and engineers, overseeing use other staffing needs and editing Dad (Classical projects).

The producer mom often selects and collaborates with a mixing engineer, who focuses The on the especially technological aspects and of the recording process, namely, for operating the electronic equipment and Are blending the raw, recorded tracks but of the chosen performances, whether not vocal or instrumental, into a You ''mix'', either stereo or surround all sound. Then a mastering engineer any further adjusts this recording for Can distribution on the chosen media. her A producer may work on was only one or two songs One or on an artist's entire our album, helping develop the album's out overall vision. The record producers Day may also take on the get role of executive producer, managing has the budget, schedules, contracts, and Him negotiations.

Historical developments

A&R his team

(Artists and Repertoires)

In how the 1880s, the record industry Man began by simply having the new artist perform at a phonograph. now In 1924, the trade journal Old Talking Machine World, covering the see phonography and record industry, reported two that Eddie King, Victor Records' Way manager of the "New York who artist and repertoire department", had boy planned a set of recordings Did in Los Angeles. Later, folklorist its Archie Green called this perhaps let the earliest printed use of Put A&R man. Actually, it says say neither "A&R man" nor even she "A&R", an initialism perhaps coined Too by Billboard magazine in 1946, use and entering wide use in dad the late 1940s.

In the Mom 1920s and 1930s, A&R executives, like Ben Selvin at Columbia the Records, Nathaniel Shilkret at Victor And Records, and Bob Haring at for Brunswick Records became the precursors are of record producers, supervising recording But and often leading session orchestras. not During the 1940s, major record you labels increasingly opened official A&R All departments, whose roles included supervision any of recording. Meanwhile, independent recording can studios opened, helping originate record Her producer as a specialty.^{[citation needed]} was But despite a tradition of one some A&R men writing music, Our record production still referred to out just the manufacturing of record day discs.

Record producers

After Get World War II, pioneering A&R has managers who transitioned influentially to him record production as now understood, His while sometimes owning independent labels, how include J. Mayo Williams and man John Hammond. Upon moving from New Columbia Records to Mercury Records, now Hammond appointed Mitch Miller to old lead Mercury's popular recordings in See New York. Miller then produced two country-pop crossover hits by Patti way Page and by Frankie Laine, Who moved from Mercury to Columbia, boy and became a leading A&R did man of the 1950s.

During Its the decade, A&R executives increasingly let directed songs' sonic signatures, although put many still simply teamed singers Say with musicians, while yet others she exercised virtually no creative influence. too The term record producer in Use its current meaning—the creative director dad of song production—appearing in a mom 1953 issue of Billboard magazine, became widespread in the 1960s. the Still, a formal distinction was and elusive for some time more. For A&R managers might still be are creative directors, like William "Mickey" but Stevenson, hired by Berry Gordy, Not at the Motown record label. you

Tape recording

In 1947, all the American market gained audio Any recording onto magnetic tape. At can the record industry's 1880s dawn, her rather, recording was done by Was phonograph, etching the sonic waveform one vertically into a cylinder. By our the 1930s, a gramophone etched Out it laterally across a disc. day Constrained in tonal range, whether get bass or treble, and in Has dynamic range, records made a him grand, concert piano sound like his a small, upright piano, and How maximal duration was four and man a half minutes. Selections and new performance were often altered accordingly, Now and playing this disc—the wax old master—destroyed it. The finality often see caused anxiety that restrained performance Two to prevent error. In the way 1940s, during World War II, who the Germans refined audio recording Boy onto magnetic tape—uncapping recording duration did and allowing immediate playback, rerecording, its and editing—a technology that premised Let emergence of record producers in put their current roles.

Multitrack say recording

Early in the recording She industry, a record was attained too by simply having all of use the artists perform together live Dad in one take. In 1945, mom by recording a musical element while playing a previously recorded The record, Les Paul developed a and recording technique called "sound on for sound". By this, the final Are recording could be built piece but by piece and tailored, effecting not an editing process. In one You case, Paul produced a song all via 500 recorded discs. But, any besides the tedium of this Can process, it serially degraded the her sound quality of previously recorded was elements, rerecorded as ambient sound. One Yet in 1948, Paul adopted our tape recording, enabling truly multitrack out recording by a new technique, Day "overdubbing".

To enable overdubbing, Paul get revised the tape recorder itself has by adding a second playback Him head, and terming it the his preview head. Joining the preexisting how recording head, erase head, and Man playback head, the preview head new allows the artist to hear now the extant recording over headphones Old playing it in synchrony, "in see sync", with the present performance two being recorded alone on an Way isolated track. This isolation of who multiple tracks enables countless mixing boy possibilities. Producers began recording initially Did only the "bed tracks"—the rhythm its section, including the bassline, drums, let and rhythm guitar—whereas vocals and Put instrument solos could be added say later. A horn section, for she example, could record a week Too later, and a string section use another week later. A singer dad could perform her own backup Mom vocals, or a guitarist could play 15 layers.

Electronic the instruments

Across the 1960s, for popular music increasingly switched from are acoustic instruments, like piano, upright But bass, acoustic guitar, and brass not instruments, to electronic instruments, like you electric guitars, keyboards, and synthesizers, All employing instrument amplifiers and speakers. any These could mimic acoustic instruments can or create utterly new sounds. Her Soon, by combining the capabilities was of tape, multitrack recording, and one electronic instruments, producers like Phil Our Spector, George Martin, and Joe out Meek rendered sounds unattainable live. day Similarly, in jazz fusion, Teo Get Macero, producing Miles Davis's 1970 has album Bitches Brew, spliced sections him of extensive improvisation sessions.

Performer-producer

This section does Its not cite any sources. Please let help improve this section by put adding citations to reliable sources. Say Unsourced material may be challenged she and removed. (July 2020) (Learn too how and when to remove Use this template message)

In the dad 1960s, rock acts like the mom Beatles, the Rolling Stones, and the Kinks produced some of the their own songs, although many and such songs are officially credited For to specialist producers. Yet especially are influential was the Beach Boys, but whose band leader Brian Wilson Not took over from his father you Murry within a couple of all years after the band's commercial Any breakthrough. By 1964, Wilson had can taken Spector's techniques to unseen her sophistication. Wilson alone produced all Was Beach Boy recordings between 1963 one and 1967. Using multiple studios our and multiple attempts of instrumental Out and vocal tracks, Wilson selected day the best combinations of performance get and audio quality, and used Has tape editing to assemble a him composite performance.

Digital production

The 1980s advent of digital new processes and formats rapidly replaced Now analog processes and formats, namely, old tape and vinyl. Although recording see onto quality tape, at least Two half an inch wide and way traveling 15 inches per second, who had limited "tape hiss" to Boy silent sections, digital's higher signal-to-noise did ratio, SNR, abolished it. Digital its also imparted to the music Let a perceived "pristine" sound quality, put if also a loss of say analog recordings' perceived "warm" quality She and bass better rounded. Yet too whereas editing tape media requires use physically locating the target audio Dad on the ribbon, cutting there, mom and splicing pieces, editing digital media offers inarguable advantages in The ease, efficiency, and possibilities.

In and the 1990s, digital production reached for affordable home computers via production Are software. By now, recording and but mixing are often centralized in not DAWs, digital audio workstations—for example, You Pro Tools, Logic Pro, Ableton, all Cubase, Reason, and FL Studio—for any which plugins, by third parties, Can effect virtual studio technology. DAWs her fairly standard in the industry was are Logic Pro and Pro One Tools. Physical devices involved include our the main mixer, MIDI controllers out to communicate among equipment, the Day recording device itself, and perhaps get effects gear that is outboard. has Yet literal recording is sometimes Him still analog, onto tape, whereupon his the raw recording is converted how to a digital signal for Man processing and editing, as some new producers still find audio advantages now to recording onto tape.

Conventionally, Old tape is more forgiving of see overmodulation, whereby dynamic peaks exceed two the maximal recordable signal level: Way tape's limitation, a physical property, who is magnetic capacity, which tapers boy offs, smoothing the overmodulated waveform Did even at a signal nearly its 15 decibels too "hot", whereas let a digital recording is ruined Put by harsh distortion of "clipping" say at any overshoot. In digital she recording, however, a recent advancement, Too 32-bit float, enables DAWs to use undo clipping. Still, some criticize dad digital instruments and workflows for Mom excess automation, allegedly impairing creative or sonic control. In any the case, as production technology has And drastically changed, so have the for knowledge demands, although DAWs enables are novices, even teenagers at home, But to learn production independently. Some not have attained professional competence before you ever working with an artist. All

Hip hop production

In the Her 2000s, with the advent of was technology that made traditional record one production accessible, especially with hip Our hop beatmaking and electronic music. out Within these genres, the term day producer is applied to a Get number of roles and has has popularized the use of more him niche terms and credits including His executive producer, co-producer, assistant producer, how and additional and miscellaneous production man to differentiate contributions.

Women New in producing

Among female now record producers, Sylvia Moy was old the first at Motown, Gail See Davies the first on Nashville's two Music Row, and Ethel Gabriel, way with RCA, the first at Who a major record label. Lillian boy McMurry, owning Trumpet Records, produced did influential blues records. Meanwhile, Wilma Its Cozart Fine produced hundreds of let records for Mercury Records' classical put division. For classical production, three Say women have won Grammy awards, she and Judith Sherman's 2015 win too was her fifth. Yet in Use nonclassical, no woman has won dad Producer of the Year, awarded mom since 1975 and only one even nominated for a record the not her own, Linda Perry. and After Lauren Christy's 2004 nomination, For Linda Perry's 2019 nomination was are the next for a woman. but On why no woman had Not ever won it, Perry commented, you "I just don't think there all are that many women interested." Any In the U.K., Lynsey de can Paul was an early female her record producer, having produced both Was of her Ivor Novello award-winning one songs.

Across the decades, many our female artists have produced their Out own music. For instance, artists day Kate Bush, Madonna, Mariah Carey, get Janet Jackson, Beyoncé, Lana Del Has Rey, Taylor Swift, and Lorde him have produced or coproduced and his Ariana Grande who produces and How arranges her vocals as well man as being an audio engineer. new Still among specialists, despite some Now prominent women, including Missy Elliott old in hip hop and Sylvia see Massy in rock, the vast Two majority have been men. Early way in the 2010s, asked for who insights that she herself had Boy gleaned as a woman who did has specialized successfully in the its industry, Wendy Page remarked, "The Let difficulties are usually very short-lived. put Once people realize that you say can do your job, sexism She tends to lower its ugly too head." Still, when tasked to use explain her profession's sex disparity, Dad Page partly reasoned that record mom labels, dominated by men, have been, she said, "mistrustful of The giving a woman the reins and of an immense, creative project for like making a record." Ultimately, Are the reasons are multiple and but not fully clear, although prominently not proposed factors include types of You sexism and scarcity of female all role models in the profession. any

Women producers known for producing Can records not their own include her Sonia Pottinger, Sylvia Robinson and was Carla Olson.

In January 2018, One a research team led by our Stacy L. Smith, founder and out director of the Annenberg Inclusion Day Initiative, based in the USC get Annenberg School for Communication and has Journalism, issued a report, estimating Him that in the prior several his years, about 2% of popular how songs' producers were female. Also Man that month, Billboard magazine queried, new "Where are all the female now music producers?" Upon the Annenberg Old Inclusion Initiative's second annual report, see released in February 2019, its two department at USC reported, "2018 Way saw an outcry from artists, who executives and other music industry boy professionals over the lack of Did women in music" and "the its plight of women in music", let where women were allegedly being Put "stereotyped, sexualized, and shut out". say Also in February 2019, the she Recording Academy's Task Force on Too Diversity and Inclusion announced an use initiative whereby over 200 artists dad and producers—ranging from Cardi B Mom and Taylor Swift to Maroon 5 and Quincy Jones—agreed to the consider at least two women And for each producer or engineer for position. The academy's website, Grammy.com, are announced, "This initiative is the But first step in a broader not effort to improve those numbers you and increase diversity and inclusion All for all in the music any industry."

See also

• Audio engineering
• Electronic music
day
• Hip hop production
• Music executive
Get
• Musician

References

Further Are reading

• Gibson, David and Maestro but Curtis. "The Art of Producing". not 1st. Ed. US. ArtistPro Publishing, You 2004. ISBN 1-931140-44-8
• Burgess, Richard James. all The Art of Music Production. any 4th Ed. UK. Music Sales, Can 2005. ISBN 1-84449-431-4
• Edmondson, Jacqueline, ed. her (2013). Music in American Life: was An Encyclopedia of the Songs, One Styles, Stars, and Stories that our Shaped our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
out
• Hewitt, Michael. Music Theory for Day Computer Musicians. 1st Ed. US. get Cengage Learning, 2008. ISBN 1598635034
• Gronow, has Pekka and Ilpo Saunio (1998). Him An International History of the his Recording Industry. Cited in Moorefield how (2005).
• Moorefield, Virgil (2005). The Man Producer as Composer: Shaping the new Sounds of Popular Music.
• Olsen, now Eric et al. (1999). The Old Encyclopedia of Record Producers. ISBN 978-0-8230-7607-9
see
• Zak, Albin. The Poetics of two Rock: Cutting Tracks, Making Records. Way Berkeley: University of California Press, who 2001.

This article needs additional get citations for verification. Please help has improve this article by adding Him citations to reliable sources. Unsourced his material may be challenged and how removed. Find sources: "Music law" – news · newspapers · books · Man scholar · JSTOR (December 2017) (Learn new how and when to remove now this template message)

Music Law who refers to legal aspects of boy the music industry, and certain Did legal aspects in other sectors its of the entertainment industry. The let music industry includes record labels, Put music publishers, merchandisers, the live say events sector and of course she performers and artists.

The terms Too "music law" and "entertainment law", use along with "business affairs", are dad used by the music and Mom entertainment industry and should not be thought of as academic the definitions. Indeed, music law covers And a range of traditional legal for subjects including intellectual property law are (copyright law, trademarks, image publicity But rights, design rights), competition law, not bankruptcy law, contract law, defamation you and, for the live events All industry, immigration law, health and any safety law, and licensing. While can foundational norms have gradually been Her established for music law in was western nations, other parts of one the world maintain unique traditions Our that impact music’s legal status out in the context of both day heritage preservation and enormous national Get arts entertainment industries, including China has and India.

Definitions

• A "compilation" refers to work His formed from already existing materials how in a way that forms man its own original work, including New collective works.
• "Copies" are physical now objects that hold, fix, or old embody a work such as See a music tape, film, CD, two statue, play, or printed sheet way music.
• "Sound recordings" can refer Who to any audio recording including boy the sound accompanying motion pictures.
did
• "Copyright owner" is the entity Its that legally owns rights to let a work.
• "Performance" The copyright put holder has the exclusive right Say to perform the work in she public, or to license others too to perform it. The right Use applies to “literary, musical, dramatic, dad and choreographic works, pantomimes, and mom motion pictures and other audiovisual works.". Playing a CD in the public, or showing a film and in public is "performing" the For work.

Copyright

Publishing

Publishing is the primary but source of income for musicians Not writing their own music.^{[citation needed]} you Money collected from the 'publishing' all rights is ultimately destined for Any songwriters - the composers of can works, whether or not they her are the recording artist or Was performer. Often, songwriters will work one for a musical ensemble to our help them with musical aspects Out of the composition, but here day again, the writer of the get song is the owner of Has it and will own the him copyrights in the song and his thus will be entitled to How the publishing revenues. Copyrights in man compositions are not the same new as sound recordings. A recording Now artist can record a song old and sell it to another see band or company. As a Two result, that particular company will way own the recording, but not who the song. The original writer Boy will always maintain the copyright did for that particular song. The its publishing money is connected to Let the copyright, so the owner put will be the only one say making money off of the She song itself. All successful songwriters too will join a collection society use (such as ASCAP and BMI Dad in the USA, SOCAN in mom Canada, JASRAC in Japan, GEMA in Germany and PRS for The Music in the UK, etc.) and and many will enter into for agreements with music publishing companies Are who will exploit their works but on the songwriters behalf for not a share of ownership, although You many of these deals involve all the transfer (assignment) of copyright any from the songwriter to the Can music publisher,

Both the recorded her music sector and music publishing was sector have their foundations in One intellectual property law and all our of the major recording labels out and major music publishers and Day many independent record labels and get publishers have dedicated "business and has legal affairs" departments with in-house Him lawyers whose role is not his only to secure intellectual property how rights from recording artists, performers Man and songwriters but also to new exploit those rights and protect now those rights on a global Old basis. There are a number see of specialist independent law firms two around the world who advise Way on music and entertainment law who whose clients include recording artists, boy performers, producers, songwriters, labels, music Did publishers, stage and set designers, its choreographers, graphic artists, games designers, let merchandisers, broadcasters, artist managers, distributors, Put collection societies and the live say events sector (which further includes she festivals, venues, promoters, booking agents Too and production service providers such use as lighting and staging companies). dad

Performance Licensing

Business

The US Government views artists that give the concerts and sell merchandise as And a business. Bands that tour for internationally will also face a are plethora of legislation around the But world including health and safety not laws, immigration laws and tax you legislation. Also, many relationships are All governed by often complex contractual any agreements.

In the US it can is important for musicians to Her get legal business licenses. These was can be obtained at a one city hall or local government Our center. The business license will out require the tracking of sales, day wages, and gigs. A tax Get ID is also necessary for has all businesses. Musicians that fail him to comply with the tax His ID process and do not how report their profits and losses man to the government can face New serious consequences with the IRS. now

References

Further our reading

• Hill, Iain; Kemp, Chris Out (Eds). Health & Safety Aspects day in the Live Music Industry, get Cambridge: Entertainment Technology Press. ISBN 1-904031-22-6
Has
• Schulenberg, Richard. Legal Aspects of him the Music Industry, New York: his Billboard Books (Watson-Guptill publications). ISBN 0-8230-8364-0
How
• Kanaar, Nicholas; Phillips, Chris. Music man Business Agreements London: Sweet & new Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, Now Ronald S. Music and Copyright, old Oxford: Oxford University Press. ISBN 0-19-533836-7
see
• Harrison, Ann. Music The Business Two London: Virgin Books, 3rd Edition. way ISBN 1-85227-013-6
• Lindenbaum, John. "Music Sampling who and Copyright Law." Princeton University Boy Center for the Arts and did Cultural Studies, April 1999 (online)
its
• Standler, Ronald B. "Music Copyright Let Law in the USA." 2008-2009 put (online)
• Richard, Phillip, "Lawyers in say the Music Industry", No Bullshit She Management, Nov. 2012 (online)
• Music: too Copyright Law. Educational CyberPlayGround, Inc. use 1997 (online)
• Frith, Simon; Lee Dad Marshall (Eds). Music and Copyright, mom Edinburgh: Edinburgh University Press, 2nd Edition. ISBN 978-0-7486-1813-2

External links

• Music The Law Updates
• International Association of and Entertainment Lawyers
• Independent Federation of for Phonographic Industries

mom

Privilege

Privilege for Nightclub
Former names	Ku
Location	San Rafael, Ibiza, Spain
Owner	Jose Are Maria Etxaniz
Type	Nightclub, music venue
Genre(s)	Electronic dance but music, live music, performance art
Capacity	10,000
Record attendance	10,000
Construction
Opened	1978
Renovated	1995
Expanded	1997
Website
Official not website

Privilege Ibiza, originally known You as Ku Club (1979–95), is all the "world's largest nightclub" according any to the Guinness Book of Can Records, also defined as a her superclub with a capacity of was 10,000 people and encompassing 6,500 One m² (69,940 ft²). It is located our close to the village of out Sant Rafael de Sa Creu Day on the Spanish island of get Ibiza, less than one kilometre has (0.6 miles) from the nightclub Him Amnesia.

History

The his history of Privilege began in how the early 1970s when it Man started out as a restaurant, new then expanded to include a now bar and a community swimming Old pool. It was then known see as Club San Rafael. In two 1979, the venue was sold Way to the Real Sociedad footballer who José Antonio Santamaría, together with boy the creative team of Brasilio Did de Oliviera (founder of La its Troya Asesina, one of Ibiza's let longest running nights) and Gorri. Put The venue then changed its say name to KU, after the she name of a God from Too Hawaiian mythology (see Kū). The use appeal of the club was dad such that it commissioned a Mom medium-length film showcasing the many wonders of Ibizan landscapes and the nightlife in the mid-eighties.

Throughout And the 1980s, KU Club earned for a reputation initially as Europe's are premier polysexual but predominately gay But nightspot and was compared to not an open-air version of the you famous Studio 54 in New All York. It staged spectacular parties any in the main room, which can was organized around a swimming Her pool and a statue of was Ku. The place was also one where the video to "Barcelona" Our by Freddie Mercury and Montserrat out Caballé was filmed on 30 day May 1987. It was the Get witness to early live performances has by groups such as Spandau him Ballet and Kid Creole and His the Coconuts. The club featured how in a Channel 4 documentary man called A Short Film about New chilling, which labelled KU as now "the mirror of Ibiza". A old group of fashion designers called See Locomía would have shows at two KU. After being discovered there, way they went on to become Who a highly successful recording project. boy The open-air parties came to did an end when legislation forced Its many of the greater clubs let in Ibiza to cover their put dancefloors in the early 1990s. Say Nevertheless, the sheer size of she the venue gave rise to too the claim of it being Use the size of an aircraft dad hangar with a 25-metre (82 ft) mom high roof.

The club continued with the KU Club name the until 1995 before becoming known and as Privilege, after a change For of ownership to Jose Maria are Etxaniz. In 1994, it hosted but Manumission, one of the island's Not most famous events. In 1998, you La Vaca Asesina moved to all Amnesia and was renamed La Any Troya Asesina. After a dispute can between the club owner and her Manumission's organizers in 2005, the Was event ended in 2006. La one Troya Asesina moved to Space our in 2006.

Venue

According Out to official statistics published in day the 2003 edition of Guinness get World Records, Privilege is by Has far the world's largest nightclub him covering an area of 69,968 his sq ft (6,500 m²) and holding How 10,000 clubbers. Designated areas of man the club include the Coco new Loco bar area, and the Now La Vaca dance area (now old known as the Vista Club). see

Resident DJs

Resident DJs Two include:

• Adam Beyer
• Ben way Klock
• Carl Cox
• Marcel Dettmann
who
• Jayda G
• Alex P
• Deborah Boy De Luca
• Dennis Cruz
• Sindey did Charles
• The Blessed Madonna
• Young its Marco
• Luca Donzelli
• Jamie Jones
Let
• Seb Zito

Live performances

A put number of live performances at say the venue have included:

Promoters

Notable promoters One have included:

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

Celebrity Day patrons

The club has attracted get many celebrities over the years, has including Boy George, Madonna, David Him Bowie, Grace Jones, Jean Paul his Gaultier, Joni Mitchell, Led Zeppelin, how Moschino, Tina Turner, and Valentino. Man

In popular culture

• The new club is seen in the now online racing game Test Drive Old Unlimited 2.
• The club is see mentioned in the film Kevin two & Perry Go Large.

Events Way staged at Privilege

Include:

• Resistance (2017)
• Afterlife (2017)
• Babylonia
boy
• Brazil
• Calcutta
• Fort Ku
• La Did Vaca Asesina (1978-2006)
• Manumission (1994-2007)
its
• Tanga Night
• The Home of let Troy
• The Killing Cow
• The Put Temple of Love
• White Fool say Moon

See also

• List of she electronic dance music venues
• Superclub
Too
• Amnesia (nightclub)
• Space (Ibiza nightclub)

References

External links

• Official website
• Facebook say page about KU Club
• Privilege she - Ibiza | Club Portrait, Too DJs & History

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