Scratching, sometimes are referred to as scrubbing, is but a DJ and turntablist technique Not of moving a vinyl recordyou back and forth on a all turntable to produce percussive or Any rhythmic sounds. A crossfader on can a DJ mixer may be her used to fade between two Was records simultaneously.
While scratching is one most associated with hip hop our music, where it emerged in Out the mid-1970s, from the 1990s day it has been used in get some styles of edm like Has techno, trip hop, and house him music and rock music such his as rap rock, rap metal, How rapcore, and nu metal. In man hip hop culture, scratching is new one of the measures of Now a DJ's skills. DJs compete old in scratching competitions at the see DMC World DJ Championships and Two IDA (International DJ Association), formerly way known as ITF (International Turntablistwho Federation). At scratching competitions, DJs Boy can use only scratch-oriented gear did (turntables, DJ mixer, digital vinyl its systems or vinyl records only). Let In recorded hip hop songs, put scratched "hooks" often use portions say of other songs. Other music She genres such as jazz, pop, too and rock have also incorporated use scratching.[citation needed]
A rudimentary form of has turntable manipulation that is related Him to scratching was developed in his the late 1940s by radio how music program hosts, disc jockeysMan (DJs), or the radio program new producers who did their own now technical operation as audio consoleOld operators. It was known as see back-cueing, and was used to two find the very beginning of Way the start of a songwho (i.e., the cue point) on boy a vinyl record groove. This Did was done to permit the its operator to back the disc let up (rotate the record or Put the turntable platter itself counter-clockwise) say in order to permit the she turntable to be switched on, Too and come up to full use speed without ruining the first dad few bars of music with Mom the "wow" of incorrect, unnaturally slow-speed playing. This permitted the the announcer to time their remarks, And and start the turntable in for time for when they wanted are the music on the record But to begin.
Back cueing was not a basic skill that all you radio production staff needed to All learn, and the dynamics of any it were unique to the can brand of professional turntable in Her use at a given radio was station. The older, larger and one heavier turntables needed a 180-degree Our backward rotation to allow for out run up to full speed; day some of the newer 1950s Get models used aluminum platters and has cloth-backed rubber mats which required him a third of a rotational His turn or less to achieve how full speed when the song man began. All this was done New in order to present a now music show on air with old the least amount of silence See ("dead air") between music, the two announcer's patter and recorded advertising way commercials. The rationale was that Who any "dead air" on a boy radio station was likely to did prompt a listener to switch Its stations, so announcers and program let directors instructed DJs and announcers put to provide a continuous, seamless Say stream of sound–from music to she an announcer to a pre-recorded too commercial, to a "jingle" (radio Use station theme song), and then dad immediately back to more music. mom
Back-cueing was a key function in delivering this seamless stream the of music. Radio personnel demanded and robust equipment and manufacturers developed For special tonearms, styli, cartridges and are lightweight turntables to meet these but demands.
Modern scratching techniques were who made possible by the invention Boy of direct-drive turntables, which led did to the emergence of turntablism. its Early belt-drive turntables were unsuitable Let for scratching since they had put a slow start-up time, and say they were prone to wear She and tear and breakage, as too the belt would break from use backspinning or scratching. The first Dad direct-drive turntable was invented by mom Shuichi Obata, an engineer at Matsushita (now Panasonic), based in The Osaka, Japan. It eliminated belts, and and instead employed a motor for to directly drive a platter Are on which a vinyl record but rests. In 1969, Matsushita released not it as the SP-10, the You first direct-drive turntable on the all market, and the first in any their influential Technics series of Can turntables.
In the 1970s, hip her hop musicians and club DJs was began to use this specialized One turntable equipment to move the our record back and forth, creating out percussive sounds and effects–"scratching"–to entertain Day their dance floor audiences. Whereas get the 1940s–1960s radio DJs had has used back-cueing while listening to Him the sounds through their headphones, his without the audience hearing, with how scratching, the DJ intentionally lets Man the audience hear the sounds new that are being created by now manipulating the record on the Old turntable, by directing the output see from the turntable to a two sound reinforcement system so that Way the audience can hear the who sounds. Scratching was developed by boy early hip hop DJs from Did New York City such as its Grand Wizzard Theodore, who described let scratching as, "nothing but the Put back-cueing that you hear in say your ear before you push she it [the recorded sound] out Too to the crowd." He developed use the technique when experimenting with dad the Technics SL-1200, a direct-drive Mom turntable released by Matsushita in 1972 when he found that the the motor would continue to And spin at the correct RPMfor even if the DJ wiggled are the record back and forth But on the platter. Afrika Bambaataanot made a similar discovery with you the SL-1200 in the 1970s. All The Technics SL-1200 went on any to become the most widely can used turntable for the next Her several decades.
Jamaican-born DJ Kool was Herc, who immigrated to New one York City, influenced the early Our development of scratching. Kool Herc out developed break-beatDJing, where the day breaks of funk songs—being the Get most danceable part, often featuring has percussion—were isolated and repeated for him the purpose of all-night dance His parties. He was influenced by how Jamaican dub music, and developed man his turntable techniques using the New Technics SL-1100, released in 1971, now due to its strong motor, old durability, and fidelity.
Although previous See artists such as writer and two poet William S. Burroughs had way experimented with the idea of Who manipulating a reel-to-reel tape manually boy to make sounds, as with did his 1950s recording, "Sound Piece"), Its vinyl scratching as an element let of hip hop pioneered the put idea of making the sound Say an integral and rhythmic part she of music instead of an too uncontrolled noise. Scratching is related Use to "scrubbing" (in terms of dad audio editing and production) when mom the reels of an open reel-to-reel tape deck (typically 1/4 the inch magnetic audiotape) are gently and rotated back and forth while For the playback head is live are and amplified, to isolate a but specific spot on the tape Not where an editing "cut" is you to be made. Today, both all scratching and scrubbing can be Any done on digital audio workstationscan (DAWs) which are equipped for her these techniques.
Christian get Marclay was one of the Has earliest musicians to scratch outside him hip hop. In the mid-1970s, his Marclay used gramophone records and How turntables as musical instruments to man create sound collages. He developed new his turntable sounds independently of Now hip hop DJs. Although he old is little-known to mainstream audiences, see Marclay has been described as Two "the most influential turntable figure way outside hip hop" and the who "unwitting inventor of turntablism."
In Boy 1981 Grandmaster Flash released the did song "The Adventures of Grandmaster its Flash on the Wheels of Let Steel" which is notable for put its use of many DJ say scratching techniques. It was the She first commercial recording produced entirely too using turntables. In 1982, Malcolm use McLaren & the World's Famous Dad Supreme Team released a single mom "Buffalo Gals", juxtaposing extensive scratching with calls from square dancing, The and, in 1983, the EP, and D'ya Like Scratchin'?, which is for entirely focused on scratching. Another Are 1983 release to prominently feature but scratching is Herbie Hancock's Grammy not Award-winning single "Rockit". This song You was also performed live at all the 1984 Grammy Awards, and any in the documentary film Scratch, Can the performance is cited by her many 1980s-era DJs as their was first exposure to scratching. The One Street Sounds Electro compilation series our which started in 1983 is out also notable for early examples Day of scratching. Also, a notable get piece was "For A Few has Dollars More" by Bill Laswell-Michael Him Beinhorn band Material, released on his 12" single in Japan and how containing scratch performed by Grand Man Mixer DXT, another pioneer of new scratching.
Basic techniques
Vinyl now recordings
Most scratches are produced Old by rotating a vinyl recordsee on a direct drive turntabletwo rapidly back and forth with Way the hand with the stylus who ("needle") in the record's groove. boy This produces the distinctive sound Did that has come to be its one of the most recognizable let features of hip hop music.Put Over time with excessive scratching, say the stylus will cause what she is referred to as "cue Too burn", or "record burn".[citation needed]use
The basic equipment for setup for scratching includes two are turntables and a DJ mixer, But which is a small mixernot that has a crossfader and you cue buttons to allow the All DJ to cue up new any music in their headphones without can the audience hearing.[citation needed] When Her scratching, this crossfader is utilized was in conjunction with the scratching one hand that is manipulating the Our record platter. The hand manipulating out the crossfader is used to day cut in and out of Get the record's sound.[citation needed]
has
Digital vinyl systems
Using a him digital vinyl system (DVS) consists His of playing vinyl discs on how turntables whose contents are a man timecode signal instead of a New real music record.
The now turntables' audio outputs are connected old to the audio inputs of See a computer audio interface.
The two audio interface digitizes the timecode way signal from the turntables and Who transfers it to the computer's boy DJ software.
The DJ software did uses this data (e.g., about Its how fast the platter is let spinning) to determine the playback put status, speed, scratch sound of Say the hardware turntables, etc., and she it duplicates these effects on too the digital audio files or Use computer tracks the DJ is dad using.
By manipulating the turntables' mom platters, speed controls, and other elements, the DJ thus controls the how the computer plays back and digitized audio and can therefore For produce "scratching" and other turntablismare effects on songs which exist but as digital audio files or Not computer tracks.
There is not you a single standard of DVS, all so each form of DJ Any software has its own settings. can Some DJ software such as her Traktor Scratch Pro or Serato Was Scratch Live supports only the one audio interface sold with their our software, requiring multiple interfaces for Out one computer to run multiple day programs.
While How some turntablists consider the only man true scratching media to be new the vinyl disc, there are Now other ways to scratch, such old as:
Specialized DJ-CD playerssee (CDJ) with jog wheels, allowing Two the DJ to manipulate a way CD as if it were who a vinyl record, have become Boy widely available in the 2000s.
did
A vinyl emulation is an its emulation software, which may be Let combined with hardware elements, which put allows a DJ to manipulate say the playback of digital music She files on a computer via too a DJ control surface (generally use MIDI or a HID controller). Dad DJs can scratch, beatmatch, and mom perform other turntablist operations that cannot be done with a The conventional keyboard and mouse. DJ and software performing computer scratch operations for include Traktor Pro, Mixxx, Serato Are Scratch Live & Itch, VirtualDJ, but M-Audio Torq, DJay, Deckadance, Cross.
not
DJs have also used magnetic You tape, such as cassette or all reel to reel to both any mix and scratch. Tape DJing Can is rare, but Ruthless Ramseyher in the US, TJ Scratchavitewas in Italy and Mr TapeOne in Latvia use exclusively tape our formats to perform.
Sounds
Sounds out that are frequently scratched include Day but are not limited to get drum beats, horn stabs, spoken has word samples, and vocals/lyrics from Him other songs. Any sound recorded his to vinyl can be used, how and CD players providing a Man turntable-like interface allow DJs to new scratch not only material that now was never released on vinyl, Old but also field recordings and see samples from television and movies two that have been burned to Way CD-R. Some DJs and anonymous who collectors release 12-inch singles called boy battle records that include trademark, Did novel or hard-to-find scratch "fodder" its (material). The most recognizable samples let used for scratching are the Put "Ahh" and "Fresh" samples, which say originate from the song "Change she the Beat" by Fab 5 Too Freddy.
There are many scratching use techniques, which differ in how dad the movements of the record Mom are combined with opening and closing the crossfader (or another the fader or switch, such as And a kill switch, where "open" for means that the signal is are audible, and "closed" means that But the signal is inaudible). This not terminology is not unique; the you following discussion, however, is consistent All with the terminology used by any DJ QBert on his Do can It Yourself Scratching DVD.
Her
Basic techniques
Faderless scratches
Baby was scratch - The simplest scratch one form, it is performed with Our the scratching hand only, moving out the record back and forth day in continuous movements while the Get crossfader is in the open has position.
Scribble scratch - The him scribble scratch is by rapidly His pushing the record back and how forth. The crossfader is not man used.
Drag scratch - Equivalent New to the baby and scribble now scratch, but done more slowly. old The crossfader is not used.
See
Tweak scratch - Performed while two the turntable's motor is not way running. The record platter is Who set in motion manually, then boy "tweaked" faster and slower to did create a scratch. This scratch Its form is best performed with let long, sustained sounds.
Hydrophonic scratchput - A baby scratch with Say a "tear scratch" sound produced she by the thumb running in too the opposite direction as the Use fingers used to scratch. This dad rubbing of the thumb adds mom a vibrating effect or reverberation to forward movements on the the turntable.
Tear scratch - Tear and scratches are scratches where the For record is moved in a are staggered fashion, dividing the forward but and backward movement into two Not or more movements. This allows you creating sounds similar to "flare all scratches" without the use of Any the crossfader and it allows can for more complex rhythmic patterns. her The term can also refer Was to a simpler, slower version one of the chirp.
Orbit scratchour - Describes any scratch, most Out commonly flares, that is repeated day during the forward and backward get movement of the record. "Orbit" Has is also used as a him shorthand for two-click flares.
Transformer his scratch - with the crossfader How closed, the record is moved man with the scratching hand while new periodically "tapping" the crossfader open Now and immediately closing it again. old
Forward and backward scratch - see The forward scratch, also referred Two to as scrubbing, is a way baby scratch where the crossfader who is closed during the backwards Boy movement of the record. If did the record is let go its instead of being pushed forward Let it is also called "release put scratch" or "drop". Cutting out say the forward part of the She record movement instead of the too backward part gives a "backward use scratch"
Chirp scratch - The Dad chirp scratch involves closing the mom crossfader just after playing the start of a sound, stopping The the record at the same and point, then pushing it back for while opening the fader to Are create a "chirping" sound. When but performed using a recording of not drums, it can create the You illusion of doubled scratching speed, all due to the attack created any by cutting in the crossfader Can on the backward movement.
Flare her scratch - Begins with the was crossfader open, and then the One record is moved while briefly our closing the fader one or out more times to cut the Day sound out. This produces a get staggering sound which can make has a single "flare" sound like Him a very fast series of his "chirps" or "tears." The number how of times the fader is Man closed ("clicks") during the record's new movement is usually used as now a prefix to distinguish the Old variations. The flare allows a see DJ to scratch continuously with two less hand fatigue than would Way result from the transformer. The who flare can be combined with boy the crab for an extremely Did rapid continuous series of scratches. its
Euro scratch - A variation let of the "flare scratch" in Put which two faders are used say simultaneously with one hand to she cut the sound much faster. Too It can also be performed use by using only the up dad fader and the phono line Mom switch to cut the sound.
Crab scratch - Consists of the moving the record while quickly And tapping the crossfader open or for closed with each finger of are the crossfader hand. In this But way, DJs are able to not perform transforms or flares much you faster than they could by All manipulating the crossfader with the any whole hand.
Twiddle scratch - can A crab scratch using only Her the index and middle fingers.
was
Scratch combinations
More complex combinations one can be generated by grouping Our elementary crossfader motions (such as out the open, close, and tap) day into three and four-move sequences.Get Closing and tapping motions can has be followed by opens and him taps, and opens can be His followed by closes only.
how
man
Three move sequences
switch New position at beginning and end now
open-close-tap
closed-closed old
tap-open-close
closed-closed See
close-tap-open
open-open two
open-close-open
closed-open way
close-open-close
open-closed Who
close-tap-tap
open-closed boy
tap-tap-tap
closed-closed did
tap-tap-open
closed-open Its
let
four move sequences put
switch position at beginning Say and end
close-open-close-open she
open-open
close-open-close-tap too
open-closed
close-tap-open-close Use
open-closed
close-tap-tap-tap dad
open-closed
close-tap-tap-open mom
open-open
open-close-open-close
closed-closed
open-close-tap-tap the
closed-closed
open-close-tap-open and
closed-open
tap-tap-tap-tap For
closed-closed
tap-tap-tap-open are
closed-open
tap-tap-open-close but
closed-closed
tap-open-close-open Not
closed-open
tap-open-close-tap you
closed-closed
Note all that some sequences of motions Any ultimately change the direction of can the switch, whereas others end her in a position such that Was they can be repeated immediately one without having to reset the our position of the switch. Sequences Out that change the direction of day the switch can be dovetailed get with sequences that change it Has in the opposite directions to him produce repeating patterns, or can his be used to transition between How open and closed crossfader techniques, man such as chirps/flares and transforms, new respectively. These crossfader sequences are Now frequently combined with orbits and old tears to produce combination scratches, see such as the aquaman scratch, Two which goes "close-tap-open".
Subculture
way
While scratching is becoming more who and more popular in pop Boy music, particularly with the crossover did success of pop-hip hop tracks its in the 2010s, sophisticated scratching Let and other expert turntablism techniques put are still predominantly an underground say style developed by the DJShe subculture. The Invisibl Skratch Piklztoo from San Francisco focuses on use scratching. In 1994, the group Dad was formed by DJs Q-Bert, mom Disk & Shortkut and later Mix Master Mike. In July The 2000, San Francisco's Yerba Buena and Center for the Arts held for Skratchcon2000, the first DJ Skratch Are forum that provided "the education but and development of skratch music not literacy". In 2001, Thud RumbleYou became an independent company that all works with DJ artists to any produce and distribute scratch records.[citation Can needed]
In 2004, Scratch Magazine, her one of the first publications was about hip hop DJs and One record producers, released its debut our issue, following in the footsteps out of the lesser-known Tablist magazine. Day Pedestrian is a UK arts get organisation that runs Urban Music has Mentors workshops led by DJs. Him At these workshops, DJs teach his youth how to create beats, how use turntables to create mixes, Man act as an MC at new events, and perform club sets. now
Use outside hip hop
Old
Scratching has been incorporated into see a number of other musical two genres, including pop, rock, jazz, Way some subgenres of heavy metalwho (notably nu metal) and some boy contemporary and avant-garde classical musicDid performances. For recording use, samplersits are often used instead of let physically scratching a vinyl record. Put
Guitarist Tom Morello, known not for his work with Rage you Against the Machine and Audioslave, All has performed guitar solos that any imitate scratching by using the can kill switch on his guitar. Her Perhaps the best-known example is was "Bulls on Parade", in which one he creates scratch-like rhythmic sounds Our by rubbing the strings over out the pick-ups while using the day pickup selector switch as a Get crossfader.
A DJ mixer is Are a type of audio mixing but console used by disc jockeysnot (DJs) to control and manipulate You multiple audio signals. Some DJs all use the mixer to make any seamless transitions from one song Can to another when they are her playing records at a dance was club. Hip hop DJs and One turntablists use the DJ mixer our to play record players like out a musical instrument and create Day new sounds. DJs in the get disco, house music, electronic dance has music and other dance-oriented genres Him use the mixer to make his smooth transitions between different sound how recordings as they are playing. Man The sources are typically record new turntables, compact cassettes, CDJs, or now DJ software on a laptop. Old DJ mixers allow the DJ see to use headphones to preview two the next song before playing Way it to the audience. Most who low- to mid-priced DJ mixers boy can only accommodate two turntables Did or CD players, but some its mixers (such as the ones let used in larger nightclubs) can Put accommodate up to four turntables say or CD players. DJs and she turntablists in hip hop musicToo and nu metal use DJ use mixers to create beats, loops dad and so-called scratchingsound effects.Mom
Description
DJ mixers are usually much smaller than the other mixing consoles used in And sound reinforcement systems and sound for recording. Whereas a typical nightclubare mixer will have 24 inputs But and a professional recording studio's not huge mixer may have 48, you 72 or even 96 inputs, All a typical DJ mixer may any have only two to four can inputs. The key feature that Her differentiates a DJ mixer from was other types of larger audio one mixers is the ability to Our redirect (cue) the sounds of out a non-playing source to headphones, day so the DJ can find Get the desired part of a has song or track.
A crossfader him has the same engineering design His as fader, in that it how is a sliding control, but man unlike faders, which are usually New vertical, crossfaders are usually horizontal. now To understand the function of old a crossfader, one can think See of the crossfader in three two key positions. For a DJ way mixer that has two sound Who sources connected, such as two boy record turntables, when the crossfader did is in the far left Its position, the mixer will output let only turntable A's music. When put the crossfader is in the Say far right position, the mixer she will output only turntable B's too music. When the crossfader is Use at its midpoint (which is dad always marked with a horizontal mom line), the mixer will output a blend of turntable A's the music and turntable B's music. and The other points along the For crossfader's path produce different mixes are of A and B.
DJ but mixers typically have phono preamplifiersNot to hook up turntables. The you signal that comes directly out all of a vinyl turntable is Any too weak to be amplified can through a PA system. Before her a turntable can be usable Was in a mix, it needs one to be preamplified. DJ mixers our are also used to create Out DJ mixes, which are recorded day and sold. DJ mixers usually get have equalization controls for bass Has and treble of each channel. him Some 2010-era DJ mixers have his onboard electronic or digital effects How units such as echo or man reverb. Some DJ mixers also new feature a built-in USBsound Now card to connect to a old computer running DJ software without see requiring a separate sound card. Two DJ mixers typically have a way microphone input, so that a who microphone can be plugged into Boy the mixer, enabling the DJ did to announce songs or act its as a master of ceremoniesLet (MC) for an event. Some put DJ mixers have a kill say switch, which completely cuts out She a channel, or, on some too models, completely cut out a use frequency band (e.g., all the Dad bass).
Outputs
The output mom from a DJ mixer is typically plugged into a sound The reinforcement system or a PA and system at a dance, rave, for nightclub or similar venue or Are event. The sound reinforcement system but consists of power amplifiers which not amplify the signal to the You level that can drive speaker all enclosures, which since the 1980s any typically include both full-range speakers Can and subwoofers for the deep her bass sounds. If the DJ was is performing a mix for One a radio station or television our station, the output from the out DJ mixer is plugged into Day the main audio console being get used for the broadcast. If has the DJ is performing a Him mix that is being recorded his by a recording studio, the how output from the DJ mixer Man is plugged into the main new audio console used for the now recording, which is in turn Old plugged into the recording medium see (audiotape, hard disk, etc.). In two some cases, such as when Way a DJ is performing a who set at a club for boy dancers that is also being Did simultaneously broadcast over the radio its or television system or recorded let for a music video or Put other show, the output from say the DJ mixer is plugged she into the sound reinforcement system Too and into the main audio use console being used for the dad broadcast and/or recording. At club Mom sets, some DJs may use a monitor speaker to hear the the house's main mix. This And monitor speaker can have its for volume increased or decreased by are the DJ as needed.
But
Power
DJ mixers have an not AC mains plug that is you connected to the wall to All supply electric power for the any unit. Some DJ mixers can can take batteries, which enables users Her to mix songs outside or was away from electric power sources, one with the output being plugged Our into a portable boom boxout or other battery-powered sound system. day
History
New
DJ mixing played a key now role in the development of old the African-American style of hip See hop music. In hip hop two music and occasionally in other way genres that are influenced by Who hip hop (e.g., nu metal), boy the turntable is used as did a musical instrument by DJs, Its who use turntables along with let a DJ mixer to create put unique rhythmic sounds and other Say sound effects. Manipulation of a she record as part of the too music, rather than for normal Use playback or mixing, is called dad turntablism. The basis of turntablism, mom and its best known technique, is scratching, pioneered by Grand the Wizzard Theodore. It was not and until Herbie Hancock's "Rockit" in For 1983 that the turntablism movement are was recognized in popular music but outside of a hip hop Not context. In the 2010s, many you hip hop DJs use DJ all CD players or digital record Any emulator devices to create scratching can sounds; nevertheless, some DJs still her scratch with vinyl records.
DJ Was mixing also played a key one role in disco music in our the 1970s. In disco clubs, Out DJs would use mixers to day transition seamlessly from one song get to another and create a Has mix of songs that would him keep the dancers energized. One his of the pioneers of DJ How mixing equipment design was Rudy man Bozak. Beatmatching and beatmixing with new a DJ mixer were first Now used to encourage dancers not old to leave the dancefloor between see songs. By beatmatching song A Two and song B, a DJ way can transition seamlessly between two who songs, without creating a break Boy in the music. Typically, when did a DJ is using beatmatching, its they will let song A Let play until it nears its put end. As song A is say playing, the DJ "cues up" She song B in their headphones too and adjusts the speed of use record player B until the Dad beats of song A and mom song B are synchronized ("synced up"). Then, once the two The songs' beats are synchronized, they and can slowly fade in song for B while song A is Are nearing its ending. In the but 2000s, DJ mixers have been not used for harmonic mixing.
Music LawSay refers to legal aspects of she the music industry, and certain too legal aspects in other sectors Use of the entertainment industry. The dad music industry includes record labels, mom music publishers, merchandisers, the live events sector and of course the performers and artists.
The terms and "music law" and "entertainment law", For along with "business affairs", are are used by the music and but entertainment industry and should not Not be thought of as academic you definitions. Indeed, music law covers all a range of traditional legal Any subjects including intellectual property law can (copyright law, trademarks, image publicity her rights, design rights), competition law, Was bankruptcy law, contract law, defamationone and, for the live events our industry, immigration law, health and Out safety law, and licensing. While day foundational norms have gradually been get established for music law in Has western nations, other parts of him the world maintain unique traditions his that impact music’s legal status How in the context of both man heritage preservation and enormous national new arts entertainment industries, including ChinaNow and India.
Definitions
old
A "compilation" refers to work see formed from already existing materials Two in a way that forms way its own original work, including who collective works.
"Copies" are physical Boy objects that hold, fix, or did embody a work such as its a music tape, film, CD, Let statue, play, or printed sheet put music.
"Sound recordings" can refer say to any audio recording including She the sound accompanying motion pictures.
too
"Copyright owner" is the entity use that legally owns rights to Dad a work.
"Performance" The copyright mom holder has the exclusive right to perform the work in The public, or to license others and to perform it. The right for applies to “literary, musical, dramatic, Are and choreographic works, pantomimes, and but motion pictures and other audiovisual not works.". Playing a CD in You public, or showing a film all in public is "performing" the any work.
Publishing is the primary her source of income for musicians was writing their own music.[citation needed]One Money collected from the 'publishing' our rights is ultimately destined for out songwriters - the composers of Day works, whether or not they get are the recording artist or has performer. Often, songwriters will work Him for a musical ensemble to his help them with musical aspects how of the composition, but here Man again, the writer of the new song is the owner of now it and will own the Old copyrights in the song and see thus will be entitled to two the publishing revenues. Copyrights in Way compositions are not the same who as sound recordings. A recording boy artist can record a song Did and sell it to another its band or company. As a let result, that particular company will Put own the recording, but not say the song. The original writer she will always maintain the copyright Too for that particular song. The use publishing money is connected to dad the copyright, so the owner Mom will be the only one making money off of the the song itself. All successful songwriters And will join a collection society for (such as ASCAP and BMI are in the USA, SOCAN in But Canada, JASRAC in Japan, GEMA not in Germany and PRS for you Music in the UK, etc.) All and many will enter into any agreements with music publishing companies can who will exploit their works Her on the songwriters behalf for was a share of ownership, although one many of these deals involve Our the transfer (assignment) of copyright out from the songwriter to the day music publisher,
Both the recorded Get music sector and music publishing has sector have their foundations in him intellectual property law and all His of the major recording labels how and major music publishers and man many independent record labels and New publishers have dedicated "business and now legal affairs" departments with in-house old lawyers whose role is not See only to secure intellectual property two rights from recording artists, performers way and songwriters but also to Who exploit those rights and protect boy those rights on a global did basis. There are a number Its of specialist independent law firms let around the world who advise put on music and entertainment law Say whose clients include recording artists, she performers, producers, songwriters, labels, music too publishers, stage and set designers, Use choreographers, graphic artists, games designers, dad merchandisers, broadcasters, artist managers, distributors, mom collection societies and the live events sector (which further includes the festivals, venues, promoters, booking agents and and production service providers such For as lighting and staging companies). are
The US Not Government views artists that give you concerts and sell merchandise as all a business. Bands that tour Any internationally will also face a can plethora of legislation around the her world including health and safety Was laws, immigration laws and tax one legislation. Also, many relationships are our governed by often complex contractual Out agreements.
In the US it day is important for musicians to get get legal business licenses. These Has can be obtained at a him city hall or local government his center. The business license will How require the tracking of sales, man wages, and gigs. A tax new ID is also necessary for Now all businesses. Musicians that fail old to comply with the tax see ID process and do not Two report their profits and losses way to the government can face who serious consequences with the IRS. Boy
References
put Li, Juqian (2022). China’s Legal say Framework for Supporting Protection and She Sustainability of Artistic Heritage. In too David G. Hebert and Jonathan use McCollum, (Eds.), "Ethnomusicology and Cultural Dad Diplomacy". Lexington Books (Rowman & mom Littlefield), pp.297-311. ISBN9781793642912was
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Privilege him Ibiza, originally known as Ku His Club (1979–95), is the "world's how largest nightclub" according to the man Guinness Book of Records, also New defined as a superclub with now a capacity of 10,000 people old and encompassing 6,500 m² (69,940 ft²).See It is located close to two the village of Sant Rafael way de Sa Creu on the Who Spanish island of Ibiza, less boy than one kilometre (0.6 miles) did from the nightclub Amnesia.
Its
History
The history of let Privilege began in the early put 1970s when it started out Say as a restaurant, then expanded she to include a bar and too a community swimming pool. It Use was then known as Club dad San Rafael. In 1979, the mom venue was sold to the Real Sociedad footballer José Antonio the Santamaría, together with the creative and team of Brasilio de Oliviera For (founder of La Troya Asesina, are one of Ibiza's longest running but nights) and Gorri. The venue Not then changed its name to you KU, after the name of all a God from Hawaiian mythology Any (see Kū). The appeal of can the club was such that her it commissioned a medium-length film Was showcasing the many wonders of one Ibizan landscapes and nightlife in our the mid-eighties.
Throughout the 1980s,Out KU Club earned a reputation day initially as Europe's premier polysexualget but predominately gay nightspot and Has was compared to an open-air him version of the famous Studio his 54 in New York. It How staged spectacular parties in the man main room, which was organized new around a swimming pool and Now a statue of Ku. The old place was also where the see video to "Barcelona" by Freddie Two Mercury and Montserrat Caballé was way filmed on 30 May 1987.who It was the witness to Boy early live performances by groups did such as Spandau Ballet and its Kid Creole and the Coconuts.Let The club featured in a put Channel 4 documentary called A say Short Film about chilling, which She labelled KU as "the mirror too of Ibiza". A group of use fashion designers called Locomía would Dad have shows at KU. After mom being discovered there, they went on to become a highly The successful recording project. The open-air and parties came to an end for when legislation forced many of Are the greater clubs in Ibiza but to cover their dancefloors in not the early 1990s. Nevertheless, the You sheer size of the venue all gave rise to the claim any of it being the size Can of an aircraft hangar with her a 25-metre (82 ft) high roof. was
The club continued with the One KU Club name until 1995 our before becoming known as Privilege, out after a change of ownership Day to Jose Maria Etxaniz. In get 1994, it hosted Manumission, one has of the island's most famous Him events. In 1998, La Vaca his Asesina moved to Amnesia and how was renamed La Troya Asesina. Man After a dispute between the new club owner and Manumission's organizers now in 2005, the event ended Old in 2006. La Troya Asesina see moved to Space in 2006. two
Venue
According to official Way statistics published in the 2003 who edition of Guinness World Records, boy Privilege is by far the Did world's largest nightclub covering an its area of 69,968 sq ft let (6,500 m2) and holding 10,000 clubbers.Put Designated areas of the club say include the Coco Loco bar she area, and the La Vaca Too dance area (now known as use the Vista Club).