"Musical production" redirects here. For are musical production in the sense but of a live performance involving Not music and choreography, see Musical you theatre.
A his record producer is a music How recording project's overall supervisor whose man responsibilities can involve a range new of creative and technical leadership Now roles. Typically the job involves old hands-on oversight of recording sessions: see ensuring artists deliver acceptable and Two quality performances, supervising the technical way engineering of the recording, and who coordinating the production team and Boy process. The producer's involvement in did a musical project can vary its in depth and scope. Sometimes Let in popular genres the producer put may create the recording's entire say sound and structure. However, in She classical music recording, for example, too the producer serves as more use of a liaison between the Dad conductor and the engineering team. mom The role is often likened to that of a film The director though there are important and differences. It is distinct from for the role of an executive Are producer, who is mostly involved but in the recording project on not an administrative level, and from You the audio engineer who operates all the recording technology.
Varying by any project, the producer may or Can may not choose all of her the artists. If employing only was synthesized or sampled instrumentation, the One producer may be the sole our artist. Conversely, some artists do out their own production. Some producers Day are their own engineers, operating get the technology across the project: has preproduction, recording, mixing, and mastering. Him Record producers' precursors were "A&R his men", who likewise could blend how entrepreneurial, creative, and technical roles,Man but often exercised scant creative new influence, as record production still now focused, into the 1950s, on Old simply improving the record's sonic see match to the artists' own two live performance.
Advances in recording Way technology, especially the 1940s advent who of tape recording—which Les Paulboy promptly innovated further to develop Did multitrack recording—and the 1950s rise its of electronic instruments, turned record let production into a specialty. In Put popular music, then, producers like say George Martin, Phil Spector and she Brian Eno led its evolution Too into its present use of use elaborate techniques and unrealistic sounds, dad creating songs impossible to originate Mom live. After the 1980s, production's move from analog to digital the further expanded possibilities. By now, And DAWs, or digital audio workstations, for like Logic Pro, Pro Toolsare and Studio One, turn an But ordinary computer into a production not console, whereby a solitary novice you can become a skilled producer All in a thrifty home studio.any In the 2010s, efforts began can to increase the prevalence of Her producers and engineers who are was women, heavily outnumbered by men one and prominently accoladed only in Our classical music.
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Production overview
As a man broad project, the creation of New a music recording may be now split across three specialists: the old executive producer, who oversees business See partnerships and financing; the vocal two producer or vocal arranger, who way aids vocal performance via expert Who critique and coaching of vocal boy technique, and the record producer did or music producer, who, often Its called simply the producer, directs let the overall creative process of put recording the song in its Say final mix.
The producer's she roles can include gathering ideas, too composing music, choosing session musicians, Use proposing changes to song arrangements, dad coaching the performers, controlling sessions, mom supervising the audio mixing, and, in some cases, supervising the the audio mastering. A producer may and give creative control to the For artists themselves, taking a supervisory are or advisory role instead. As but to qualifying for a GrammyNot nomination, the Recording Academy defines you a producer:
The person who all has overall creative and technical Any control of the entire recording can project, and the individual recording her sessions that are part of Was that project. He or she one is present in the recording our studio or at the location Out recording and works directly with day the artist and engineer. The get producer makes creative and aesthetic Has decisions that realize both the him artist's and label's goals in his the creation of musical content. How Other duties include, but are man not limited to; keeping budgets new and schedules, adhering to deadlines, Now hiring musicians, singers, studios, and old engineers, overseeing other staffing needs see and editing (Classical projects).
The Two producer often selects and collaborates way with a mixing engineer, who who focuses on the especially technological Boy aspects of the recording process, did namely, operating the electronic equipment its and blending the raw, recorded Let tracks of the chosen performances, put whether vocal or instrumental, into say a ''mix'', either stereo or She surround sound. Then a mastering too engineer further adjusts this recording use for distribution on the chosen Dad media. A producer may work mom on only one or two songs or on an artist's The entire album, helping develop the and album's overall vision. The record for producers may also take on Are the role of executive producer, but managing the budget, schedules, contracts, not and negotiations.
Historical developments
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A&R team
(Artists and Repertoires)all
In the 1880s, the record any industry began by simply having Can the artist perform at a her phonograph. In 1924, the trade was journal Talking Machine World, covering One the phonography and record industry, our reported that Eddie King, Victor out Records' manager of the "New Day York artist and repertoire department", get had planned a set of has recordings in Los Angeles. Later, Him folklorist Archie Green called this his perhaps the earliest printed use how of A&R man. Actually, it Man says neither "A&R man" nor new even "A&R", an initialism perhaps now coined by Billboard magazine in Old 1946, and entering wide use see in the late 1940s.
In two the 1920s and 1930s, A&R Way executives, like Ben Selvin at who Columbia Records, Nathaniel Shilkret at boy Victor Records, and Bob Haring Did at Brunswick Records became the its precursors of record producers, supervising let recording and often leading session Put orchestras. During the 1940s, major say record labels increasingly opened official she A&R departments, whose roles included Too supervision of recording. Meanwhile, independent use recording studios opened, helping originate dad record producer as a specialty.[citation Mom needed] But despite a tradition of some A&R men writing the music, record production still referred And to just the manufacturing of for record discs.
Record producers
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After World War II, pioneering But A&R managers who transitioned influentially not to record production as now you understood, while sometimes owning independent All labels, include J. Mayo Williamsany and John Hammond. Upon moving can from Columbia Records to Mercury Her Records, Hammond appointed Mitch Millerwas to lead Mercury's popular recordings one in New York. Miller then Our produced country-pop crossover hits by out Patti Page and by Frankie day Laine, moved from Mercury to Get Columbia, and became a leading has A&R man of the 1950s.him
During the decade, A&R executives His increasingly directed songs' sonic signatures, how although many still simply teamed man singers with musicians, while yet New others exercised virtually no creative now influence. The term record producerold in its current meaning—the creative See director of song production—appearing in two a 1953 issue of Billboardway magazine, became widespread in the Who 1960s. Still, a formal distinction boy was elusive for some time did more. A&R managers might still Its be creative directors, like William let "Mickey" Stevenson, hired by Berry put Gordy, at the Motown record Say label.
Tape recording
In she 1947, the American market gained too audio recording onto magnetic tape.Use At the record industry's 1880s dad dawn, rather, recording was done mom by phonograph, etching the sonic waveform vertically into a cylinder.the By the 1930s, a gramophone and etched it laterally across a For disc. Constrained in tonal range, are whether bass or treble, and but in dynamic range, records made Not a grand, concert piano sound you like a small, upright piano, all and maximal duration was four Any and a half minutes. Selections can and performance were often altered her accordingly, and playing this disc—the Was wax master—destroyed it. The finality one often caused anxiety that restrained our performance to prevent error. In Out the 1940s, during World War day II, the Germans refined audio get recording onto magnetic tape—uncapping recording Has duration and allowing immediate playback, him rerecording, and editing—a technology that his premised emergence of record producers How in their current roles.
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Multitrack recording
Early in the new recording industry, a record was Now attained by simply having all old of the artists perform together see live in one take. In Two 1945, by recording a musical way element while playing a previously who recorded record, Les Paul developed Boy a recording technique called "sound did on sound". By this, the its final recording could be built Let piece by piece and tailored, put effecting an editing process. In say one case, Paul produced a She song via 500 recorded discs.too But, besides the tedium of use this process, it serially degraded Dad the sound quality of previously mom recorded elements, rerecorded as ambient sound. Yet in 1948, Paul The adopted tape recording, enabling truly and multitrack recording by a new for technique, "overdubbing".
To enable overdubbing, Are Paul revised the tape recorder but itself by adding a second not playback head, and terming it You the preview head. Joining the all preexisting recording head, erase head, any and playback head, the preview Can head allows the artist to her hear the extant recording over was headphones playing it in synchrony, One "in sync", with the present our performance being recorded alone on out an isolated track. This isolation Day of multiple tracks enables countless get mixing possibilities. Producers began recording has initially only the "bed tracks"—the Him rhythm section, including the bassline, his drums, and rhythm guitar—whereas vocals how and instrument solos could be Man added later. A horn section, new for example, could record a now week later, and a string Old section another week later. A see singer could perform her own two backup vocals, or a guitarist Way could play 15 layers.
who
Electronic instruments
Across the Did 1960s, popular music increasingly switched its from acoustic instruments, like piano, let upright bass, acoustic guitar, and Put brass instruments, to electronic instruments, say like electric guitars, keyboards, and she synthesizers, employing instrument amplifiers and Too speakers. These could mimic acoustic use instruments or create utterly new dad sounds. Soon, by combining the Mom capabilities of tape, multitrack recording, and electronic instruments, producers like the Phil Spector, George Martin, and And Joe Meek rendered sounds unattainable for live. Similarly, in jazz fusion, are Teo Macero, producing Miles Davis's But 1970 album Bitches Brew, spliced not sections of extensive improvisation sessions. you
In the 1960s, rock way acts like the Beatles, the Who Rolling Stones, and the Kinksboy produced some of their own did songs, although many such songs Its are officially credited to specialist let producers. Yet especially influential was put the Beach Boys, whose band Say leader Brian Wilson took over she from his father Murry within too a couple of years after Use the band's commercial breakthrough. By dad 1964, Wilson had taken Spector's mom techniques to unseen sophistication. Wilson alone produced all Beach Boy the recordings between 1963 and 1967. and Using multiple studios and multiple For attempts of instrumental and vocal are tracks, Wilson selected the best but combinations of performance and audio Not quality, and used tape editing you to assemble a composite performance. all
Digital production
The 1980s Any advent of digital processes and can formats rapidly replaced analog processes her and formats, namely, tape and Was vinyl. Although recording onto quality one tape, at least half an our inch wide and traveling 15 Out inches per second, had limited day "tape hiss" to silent sections, get digital's higher signal-to-noise ratio, SNR, Has abolished it. Digital also imparted him to the music a perceived his "pristine" sound quality, if also How a loss of analog recordings' man perceived "warm" quality and better-rounded new bass. Yet whereas editing tape Now media requires physically locating the old target audio on the ribbon, see cutting there, and splicing pieces, Two editing digital media offers inarguable way advantages in ease, efficiency, and who possibilities.
In the 1990s, digital Boy production reached affordable home computers did via production software. By now, its recording and mixing are often Let centralized in DAWs, digital audio put workstations—for example, Pro Tools, Logic say Pro, Ableton, Cubase, Reason, and She FL Studio—for which plugins, by too third parties, effect virtual studio use technology. DAWs fairly standard in Dad the industry are Logic Pro mom and Pro Tools. Physical devices involved include the main mixer, The MIDI controllers to communicate among and equipment, the recording device itself, for and perhaps effects gear that Are is outboard. Yet literal recording but is sometimes still analog, onto not tape, whereupon the raw recording You is converted to a digital all signal for processing and editing, any as some producers still find Can audio advantages to recording onto her tape.
Conventionally, tape is more was forgiving of overmodulation, whereby dynamic One peaks exceed the maximal recordable our signal level: tape's limitation, a out physical property, is magnetic capacity, Day which tapers offs, smoothing the get overmodulated waveform even at a has signal nearly 15 decibels too Him "hot", whereas a digital recording his is ruined by harsh distortion how of "clipping" at any overshoot.Man In digital recording, however, a new recent advancement, 32-bit float, enables now DAWs to undo clipping. Still, Old some criticize digital instruments and see workflows for excess automation, allegedly two impairing creative or sonic control.Way In any case, as production who technology has drastically changed, so boy have the knowledge demands, although Did DAWs enables novices, even teenagers its at home, to learn production let independently. Some have attained professional Put competence before ever working with say an artist.
In the 2000s, with the dad advent of technology that made Mom traditional record production accessible, especially with hip hop beatmaking and the electronic music. Within these genres, And the term producer is applied for to a number of roles are and has popularized the use But of more niche terms and not credits including executive producer, co-producer, you assistant producer, and additional and All miscellaneous production to differentiate contributions.any
Women in producing
Among female record producers, Sylvia Her Moy was the first at was Motown, Gail Davies the first one on Nashville's Music Row, and Our Ethel Gabriel, with RCA, the out first at a major record day label. Lillian McMurry, owning Trumpet Get Records, produced influential blues records. has Meanwhile, Wilma Cozart Fine produced him hundreds of records for Mercury His Records' classical division. For classical how production, three women have won man Grammy awards, and Judith Sherman's New 2015 win was her fifth.now Yet in nonclassical, no woman old has won Producer of the See Year, awarded since 1975 and two only one even nominated for way a record not her own, Who Linda Perry. After Lauren Christy's boy 2004 nomination, Linda Perry's 2019 did nomination was the next for Its a woman. On why no let woman had ever won it, put Perry commented, "I just don't Say think there are that many she women interested." In the U.K., too Lynsey de Paul was an Use early female record producer, having dad produced both of her Ivor mom Novello award-winning songs.
Across the decades, many female artists have the produced their own music. For and instance, artists Kate Bush, Madonna, For Mariah Carey, Janet Jackson, Beyoncé, are Lana Del Rey, Taylor Swift, but and Lorde have produced or Not coproduced and Ariana Grande who you produces and arranges her vocals all as well as being an Any audio engineer. Still among specialists, can despite some prominent women, including her Missy Elliott in hip hop Was and Sylvia Massy in rock, one the vast majority have been our men. Early in the 2010s, Out asked for insights that she day herself had gleaned as a get woman who has specialized successfully Has in the industry, Wendy Page him remarked, "The difficulties are usually his very short-lived. Once people realize How that you can do your man job, sexism tends to lower new its ugly head." Still, when Now tasked to explain her profession's old sex disparity, Page partly reasoned see that record labels, dominated by Two men, have been, she said, way "mistrustful of giving a woman who the reins of an immense, Boy creative project like making a did record." Ultimately, the reasons are its multiple and not fully clear, Let although prominently proposed factors include put types of sexism and scarcity say of female role models in She the profession.
Women producers known too for producing records not their use own include Sonia Pottinger, Sylvia Dad Robinson and Carla Olson.
In mom January 2018, a research team led by Stacy L. Smith, The founder and director of the and Annenberg Inclusion Initiative, based in for the USC Annenberg School for Are Communication and Journalism, issued a but report, estimating that in the not prior several years, about 2% You of popular songs' producers were all female. Also that month, Billboardany magazine queried, "Where are all Can the female music producers?" Upon her the Annenberg Inclusion Initiative's second was annual report, released in February One 2019, its department at USC our reported, "2018 saw an outcry out from artists, executives and other Day music industry professionals over the get lack of women in music" has and "the plight of women Him in music", where women were his allegedly being "stereotyped, sexualized, and how shut out". Also in February Man 2019, the Recording Academy's Task new Force on Diversity and Inclusion now announced an initiative whereby over Old 200 artists and producers—ranging from see Cardi B and Taylor Swifttwo to Maroon 5 and Quincy Way Jones—agreed to consider at least who two women for each producer boy or engineer position. The academy's Did website, Grammy.com, announced, "This initiative its is the first step in let a broader effort to improve Put those numbers and increase diversity say and inclusion for all in she the music industry."
^ Virgil Moorefield, "Introduction", any The Producer as Composer: Shaping can the Sounds of Popular MusicHer (Cambridge, MA & London, UK: was MIT Press, 2005).
^ Get Allan Watson, Cultural Production in has and Beyond the Recording Studiohim (New York: Routledge, 2015), pp His 25–27.
James Petulla, how "Who is a music producer?", man RecordingConnection.com, Recording Connection, 21 May New 2013, reporting membership in CAPPS, now the California Association of Private old Postsecondary Schools.
^ Brent Hurtig with Say J. D. Sharp, Multi-Track Recording she for Musicians: The Complete Step-by-Step too Guide for Beginners and Reference Use for Professionals (Cupertino, CA: GPI dad Publications, 1988 / Van Nuys, mom CA: Alfred Publishing, 1988), pp 8–10.
^ Brian say Ward & Patrick Huber, A&R She Pioneers: Architects of American Roots too Music on Record (Nashville, TN: use Vanderbilt University Press, 2018), pp Dad 20–21.
Brian Ward mom & Patrick Huber, A&R Pioneers: Architects of American Roots Music The on Record (Nashville, TN: Vanderbilt and University Press, 2018), p 283.for
Jim Curtis, Rock Are Eras: Interpretation of Music & but Society, 1954–1984 (Bowling Green, OH: not Bowling Green State University Popular You Press, 1987), p 43.
all
^ Richard James Burgess, any The History of Music ProductionCan (New York: Oxford University Press, her 2014), pp 50–54.
^ was Robert Philip, "Pianists on One record in the early twentieth our century", in David Rowland, ed., out The Cambridge Companion to the Day Piano (Cambridge, UK: Cambridge University get Press, 1998), pp 75–77.
has
^ David Simmons, Analog Him Recording: Using Analog Gear in his Today's Home Studio (San Francisco: how Backbeat Books, 2006), pp 26–27.Man
Matthew Allard, "Sound new Devices MixPre V6.00 adds 32-bit now float USB audio streaming", NewsShooter.com, Old Newsshooter, 15 Jan 2020, quotes see Paul Isaacs, director of product two management and design at the Way recorder manufacturer Sound Devices, who who explains, "With 32-bit float, you boy no longer need to worry Did about clipping during your best its vocal takes or instrument solos. let Any recorded moments exceeding 0 Put dBFS can be reduced to say an acceptable level, after recording, she in your DAW".
Too Albin Zak III, book review: use Strange Sounds: Music, Technology, and dad culture (Routledge, 2011), by Timothy Mom D. Taylor, in Current Musicology, pp 159–180 [unknown year, volume, the issue].
Music Law refers to let legal aspects of the music Put industry, and certain legal aspects say in other sectors of the she entertainment industry. The music industry Too includes record labels, music publishers, use merchandisers, the live events sector dad and of course performers and Mom artists.
The terms "music law" and "entertainment law", along with the "business affairs", are used by And the music and entertainment industry for and should not be thought are of as academic definitions. Indeed, But music law covers a range not of traditional legal subjects including you intellectual property law (copyright law, All trademarks, image publicity rights, design any rights), competition law, bankruptcy law, can contract law, defamation and, for Her the live events industry, immigration was law, health and safety law, one and licensing. While foundational norms Our have gradually been established for out music law in western nations, day other parts of the world Get maintain unique traditions that impact has music’s legal status in the him context of both heritage preservation His and enormous national arts entertainment how industries, including China and India.man
Definitions
A "compilation" New refers to work formed from now already existing materials in a old way that forms its own See original work, including collective works.
two
"Copies" are physical objects that way hold, fix, or embody a Who work such as a music boy tape, film, CD, statue, play, did or printed sheet music.
"Sound Its recordings" can refer to any let audio recording including the sound put accompanying motion pictures.
"Copyright owner" Say is the entity that legally she owns rights to a work.
too
"Performance" The copyright holder has Use the exclusive right to perform dad the work in public, or mom to license others to perform it. The right applies to the “literary, musical, dramatic, and choreographic and works, pantomimes, and motion pictures For and other audiovisual works.". Playing are a CD in public, or but showing a film in public Not is "performing" the work.
Publishing all is the primary source of Any income for musicians writing their can own music.[citation needed] Money collected her from the 'publishing' rights is Was ultimately destined for songwriters - one the composers of works, whether our or not they are the Out recording artist or performer. Often, day songwriters will work for a get musical ensemble to help them Has with musical aspects of the him composition, but here again, the his writer of the song is How the owner of it and man will own the copyrights in new the song and thus will Now be entitled to the publishing old revenues. Copyrights in compositions are see not the same as sound Two recordings. A recording artist can way record a song and sell who it to another band or Boy company. As a result, that did particular company will own the its recording, but not the song. Let The original writer will always put maintain the copyright for that say particular song. The publishing money She is connected to the copyright, too so the owner will be use the only one making money Dad off of the song itself. mom All successful songwriters will join a collection society (such as The ASCAP and BMI in the and USA, SOCAN in Canada, JASRAC for in Japan, GEMA in Germany Are and PRS for Music in but the UK, etc.) and many not will enter into agreements with You music publishing companies who will all exploit their works on the any songwriters behalf for a share Can of ownership, although many of her these deals involve the transfer was (assignment) of copyright from the One songwriter to the music publisher, our
Both the recorded music sector out and music publishing sector have Day their foundations in intellectual propertyget law and all of the has major recording labels and major Him music publishers and many independent his record labels and publishers have how dedicated "business and legal affairs" Man departments with in-house lawyers whose new role is not only to now secure intellectual property rights from Old recording artists, performers and songwriters see but also to exploit those two rights and protect those rights Way on a global basis. There who are a number of specialist boy independent law firms around the Did world who advise on music its and entertainment law whose clients let include recording artists, performers, producers, Put songwriters, labels, music publishers, stage say and set designers, choreographers, graphic she artists, games designers, merchandisers, broadcasters, Too artist managers, distributors, collection societies use and the live events sector dad (which further includes festivals, venues, Mom promoters, booking agents and production service providers such as lighting the and staging companies).
The US Government views are artists that give concerts and But sell merchandise as a business. not Bands that tour internationally will you also face a plethora of All legislation around the world including any health and safety laws, immigration can laws and tax legislation. Also, Her many relationships are governed by was often complex contractual agreements.
In one the US it is important Our for musicians to get legal out business licenses. These can be day obtained at a city hall Get or local government center. The has business license will require the him tracking of sales, wages, and His gigs. A tax ID is how also necessary for all businesses. man Musicians that fail to comply New with the tax ID process now and do not report their old profits and losses to the See government can face serious consequences two with the IRS.
References
way
Li, Juqian Its (2022). China’s Legal Framework for let Supporting Protection and Sustainability of put Artistic Heritage. In David G. Say Hebert and Jonathan McCollum, (Eds.), she "Ethnomusicology and Cultural Diplomacy". Lexington too Books (Rowman & Littlefield), pp.297-311. Use ISBN9781793642912
can Choudhary, Karan (2022). Cultural Heritage her and Music Diplomacy: The Legal Was Framework in India. In David one G. Hebert and Jonathan McCollum, our (Eds.), "Ethnomusicology and Cultural Diplomacy". Out Lexington Books (Rowman & Littlefield), day pp.277-295. ISBN9781793642912
Hill, How Iain; Kemp, Chris (Eds). Health man & Safety Aspects in the new Live Music Industry, Cambridge: Entertainment Now Technology Press. ISBN1-904031-22-6
Schulenberg, Richard. old Legal Aspects of the Music see Industry, New York: Billboard Books Two (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, Nicholas; way Phillips, Chris. Music Business Agreementswho London: Sweet & Maxwell, 3rd Boy Edition. ISBN978-1-84703-905-7
Rosen, Ronald S. did Music and Copyright, Oxford: Oxford its University Press. ISBN0-19-533836-7
Harrison, Ann. Let Music The Business London: Virgin put Books, 3rd Edition. ISBN1-85227-013-6
Lindenbaum, say John. "Music Sampling and Copyright She Law." Princeton University Center for too the Arts and Cultural Studies, use April 1999 (online)
Standler, Ronald Dad B. "Music Copyright Law in mom the USA." 2008-2009 (online)
Richard, Phillip, "Lawyers in the Music The Industry", No Bullshit Management, Nov. and 2012 (online)
Music: Copyright Law. for Educational CyberPlayGround, Inc. 1997 (online)
Are
Frith, Simon; Lee Marshall (Eds). but Music and Copyright, Edinburgh: Edinburgh not University Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally get known as Ku Club (1979–95),has is the "world's largest nightclub"Him according to the Guinness Book his of Records, also defined as how a superclub with a capacity Man of 10,000 people and encompassing new 6,500 m² (69,940 ft²). It is now located close to the village Old of Sant Rafael de Sa see Creu on the Spanish island two of Ibiza, less than one Way kilometre (0.6 miles) from the who nightclub Amnesia.
History
boy
The history of Privilege began Did in the early 1970s when its it started out as a let restaurant, then expanded to include Put a bar and a community say swimming pool. It was then she known as Club San Rafael.Too In 1979, the venue was use sold to the Real Sociedaddad footballer José Antonio Santamaría, together Mom with the creative team of Brasilio de Oliviera (founder of the La Troya Asesina, one of And Ibiza's longest running nights) and for Gorri. The venue then changed are its name to KU, after But the name of a God not from Hawaiian mythology (see Kū). you The appeal of the club All was such that it commissioned any a medium-length film showcasing the can many wonders of Ibizan landscapes Her and nightlife in the mid-eighties.was
Throughout the 1980s, KU Club one earned a reputation initially as Our Europe's premier polysexual but predominately out gay nightspot and was compared day to an open-air version of Get the famous Studio 54 in has New York. It staged spectacular him parties in the main room, His which was organized around a how swimming pool and a statue man of Ku. The place was New also where the video to now "Barcelona" by Freddie Mercury and old Montserrat Caballé was filmed on See 30 May 1987. It was two the witness to early live way performances by groups such as Who Spandau Ballet and Kid Creole boy and the Coconuts. The club did featured in a Channel 4Its documentary called A Short Film let about chilling, which labelled KU put as "the mirror of Ibiza".Say A group of fashion designers she called Locomía would have shows too at KU. After being discovered Use there, they went on to dad become a highly successful recording mom project. The open-air parties came to an end when legislation the forced many of the greater and clubs in Ibiza to cover For their dancefloors in the early are 1990s. Nevertheless, the sheer size but of the venue gave rise Not to the claim of it you being the size of an all aircraft hangar with a 25-metre Any (82 ft) high roof.
The club can continued with the KU Club her name until 1995 before becoming Was known as Privilege, after a one change of ownership to Jose our Maria Etxaniz. In 1994, it Out hosted Manumission, one of the day island's most famous events. In get 1998, La Vaca Asesina moved Has to Amnesia and was renamed him La Troya Asesina. After a his dispute between the club owner How and Manumission's organizers in 2005, man the event ended in 2006. new La Troya Asesina moved to Now Space in 2006.
Venue
old
According to official statistics published see in the 2003 edition of Two Guinness World Records, Privilege is way by far the world's largest who nightclub covering an area of Boy 69,968 sq ft (6,500 m2) and did holding 10,000 clubbers. Designated areas its of the club include the Let Coco Loco bar area, and put the La Vaca dance area say (now known as the Vista She Club).