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 turntable has manipulation that is related to Him scratching was developed in the his late 1940s by radio music how program hosts, disc jockeys (DJs), Man or the radio program producers new who did their own technical now operation as audio console operators. Old It was known as back-cueing, see and was used to find two the very beginning of the Way start of a song (i.e., who the cue point) on a boy vinyl record groove. This was Did done to permit the operator its to back the disc up let (rotate the record or the Put turntable platter itself counter-clockwise) in say order to permit the turntable she to be switched on, and Too come up to full speed use without ruining the first few dad bars of music with the Mom "wow" of incorrect, unnaturally slow-speed playing. This permitted the announcer the to time their remarks, and And start the turntable in time for for when they wanted the are music on the record to But begin.
Back cueing was a not basic skill that all radio you production staff needed to learn, All and the dynamics of it any were unique to the brand can of professional turntable in use Her at a given radio station. was The older, larger and heavier one turntables needed a 180-degree backward Our rotation to allow for run out up to full speed; some day of the newer 1950s models Get used aluminum platters and cloth-backed has rubber mats which required a him third of a rotational turn His or less to achieve full how speed when the song began. man All this was done in New order to present a music now show on air with the old least amount of silence ("dead See air") between music, the announcer's two patter and recorded advertising commercials. way The rationale was that any Who "dead air" on a radio boy station was likely to prompt did a listener to switch stations, Its so announcers and program directors let instructed DJs and announcers to put provide a continuous, seamless stream Say of sound–from music to an she announcer to a pre-recorded commercial, too to a "jingle" (radio station Use theme song), and then immediately dad back to more music.
Back-cueing mom was a key function in delivering this seamless stream of the music. Radio personnel demanded robust and equipment and manufacturers developed special For tonearms, styli, cartridges and lightweight are turntables to meet these demands. but
Modern scratching techniques were made who possible by the invention of Boy direct-drive turntables, which led to did the emergence of turntablism. Early its belt-drive turntables were unsuitable for Let scratching since they had a put slow start-up time, and they say were prone to wear and She tear and breakage, as the too belt would break from backspinning use or scratching. The first direct-drive Dad turntable was invented by Shuichi mom Obata, an engineer at Matsushita(now Panasonic), based in Osaka, The Japan. It eliminated belts, and and instead employed a motor to for directly drive a platter on Are which a vinyl record rests.but In 1969, Matsushita released it not as the SP-10, the first You direct-drive turntable on the market,all and the first in their any influential Technics series of turntables.Can
In the 1970s, hip hop her musicians and club DJs began was to use this specialized turntable One equipment to move the record our back and forth, creating percussive out sounds and effects–"scratching"–to entertain their Day dance floor audiences. Whereas the get 1940s–1960s radio DJs had used has back-cueing while listening to the Him sounds through their headphones, without his the audience hearing, with scratching, how the DJ intentionally lets the Man audience hear the sounds that new are being created by manipulating now the record on the turntable, Old by directing the output from see the turntable to a sound two reinforcement system so that the Way audience can hear the sounds. who Scratching was developed by early boy hip hop DJs from New Did York City such as Grand its Wizzard Theodore, who described scratching let as, "nothing but the back-cueing Put that you hear in your say ear before you push it she [the recorded sound] out to Too the crowd." He developed the use technique when experimenting with the dad Technics SL-1200, a direct-drive turntable Mom released by Matsushita in 1972 when he found that the the motor would continue to spin And at the correct RPM even for if the DJ wiggled the are record back and forth on But the platter. Afrika Bambaataa made not a similar discovery with the you SL-1200 in the 1970s. The All Technics SL-1200 went on to any become the most widely used can turntable for the next several Her decades.
Jamaican-born DJ Kool Herc, was who immigrated to New York one City, influenced the early development Our of scratching. Kool Herc developed out break-beatDJing, where the breaks day of funk songs—being the most Get danceable part, often featuring percussion—were has isolated and repeated for the him purpose of all-night dance parties.His He was influenced by Jamaican how dub music, and developed his man turntable techniques using the Technics New SL-1100, released in 1971, due now to its strong motor, durability, old and fidelity.
Although previous artists See such as writer and poet two William S. Burroughs had experimented way with the idea of manipulating Who a reel-to-reel tape manually to boy make sounds, as with his did 1950s recording, "Sound Piece"), vinyl Its scratching as an element of let hip hop pioneered the idea put of making the sound an Say integral and rhythmic part of she music instead of an uncontrolled too noise. Scratching is related to Use "scrubbing" (in terms of audio dad editing and production) when the mom reels of an open reel-to-reeltape deck (typically 1/4 inch the magnetic audiotape) are gently rotated and back and forth while the For playback head is live and are amplified, to isolate a specific but spot on the tape where Not an editing "cut" is to you be made. Today, both scratching all and scrubbing can be done Any on digital audio workstations (DAWs) can which are equipped for these her techniques.
Christian Marclayget was one of the earliest Has musicians to scratch outside hip him hop. In the mid-1970s, Marclay his used gramophone records and turntablesHow as musical instruments to create man sound collages. He developed his new turntable sounds independently of hip Now hop DJs. Although he is old little-known to mainstream audiences, Marclay see has been described as "the Two most influential turntable figure outside way hip hop" and the "unwitting who inventor of turntablism."
In 1981 Boy Grandmaster Flash released the song did "The Adventures of Grandmaster Flash its on the Wheels of Steel" Let which is notable for its put use of many DJ scratching say techniques. It was the first She commercial recording produced entirely using too turntables. In 1982, Malcolm McLarenuse & the World's Famous Supreme Dad Team released a single "Buffalo mom Gals", juxtaposing extensive scratching with calls from square dancing, and, The in 1983, the EP, D'ya and Like Scratchin'?, which is entirely for focused on scratching. Another 1983 Are release to prominently feature scratching but is Herbie Hancock's Grammy Award-winning not single "Rockit". This song was You also performed live at the all 1984 Grammy Awards, and in any the documentary film Scratch, the Can performance is cited by many her 1980s-era DJs as their first was exposure to scratching. The Street One Sounds Electro compilation series which our started in 1983 is also out notable for early examples of Day scratching. Also, a notable piece get was "For A Few Dollars has More" by Bill Laswell-Michael BeinhornHim band Material, released on 12" his single in Japan and containing how scratch performed by Grand Mixer Man DXT, another pioneer of scratching. new
Basic techniques
Vinyl recordings
now
Most scratches are produced by Old rotating a vinyl record on see a direct drive turntable rapidly two back and forth with the Way hand with the stylus ("needle") who in the record's groove. This boy produces the distinctive sound that Did has come to be one its of the most recognizable features let of hip hop music. Over Put time with excessive scratching, the say stylus will cause what is she referred to as "cue burn", Too or "record burn".[citation needed]
The basic equipment setup for for scratching includes two turntables are and a DJ mixer, which But is a small mixer that not has a crossfader and cue you buttons to allow the DJ All to cue up new music any in their headphones without the can audience hearing.[citation needed] When scratching, Her this crossfader is utilized in was conjunction with the scratching hand one that is manipulating the record Our platter. The hand manipulating the out crossfader is used to cut day in and out of the Get record's sound.[citation needed]
Digital has vinyl systems
Using a digital him vinyl system (DVS) consists of His playing vinyl discs on turntables how whose contents are a timecode man signal instead of a real New music record.
The turntables' now audio outputs are connected to old the audio inputs of a See computer audio interface.
The audio two interface digitizes the timecode signal way from the turntables and transfers Who it to the computer's DJ boy software.
The DJ software uses did this data (e.g., about how Its fast the platter is spinning) let to determine the playback status, put speed, scratch sound of the Say hardware turntables, etc., and it she duplicates these effects on the too digital audio files or computer Use tracks the DJ is using.
dad
By manipulating the turntables' platters, mom speed controls, and other elements, the DJ thus controls how the the computer plays back digitized and audio and can therefore produce For "scratching" and other turntablism effects are on songs which exist as but digital audio files or computer Not tracks.
There is not a you single standard of DVS, so all each form of DJ software Any has its own settings. Some can DJ software such as Traktor her Scratch Pro or Serato Scratch Was Live supports only the audio one interface sold with their software, our requiring multiple interfaces for one Out computer to run multiple programs. day
While some How turntablists consider the only true man scratching media to be the new vinyl disc, there are other Now ways to scratch, such as: old
Specialized DJ-CD players (CDJ) see with jog wheels, allowing the Two DJ to manipulate a CD way as if it were a who vinyl record, have become widely Boy available in the 2000s.
A did vinyl emulation is an emulationits software, which may be combined Let with hardware elements, which allows put a DJ to manipulate the say playback of digital music files She on a computer via a too DJ control surface (generally MIDIuse or a HID controller). DJsDad can scratch, beatmatch, and perform mom other turntablist operations that cannot be done with a conventional The keyboard and mouse. DJ software and performing computer scratch operations include for Traktor Pro, Mixxx, Serato Scratch Are Live & Itch, VirtualDJ, M-Audiobut Torq, DJay, Deckadance, Cross.
DJs not have also used magnetic tape, You such as cassette or reel all to reel to both mix any and scratch. Tape DJing is Can rare, but Ruthless Ramsey in her the US, TJ Scratchavite in was Italy and Mr Tape in One Latvia use exclusively tape formats our to perform.
Sounds
Sounds that out are frequently scratched include but Day are not limited to drum get beats, horn stabs, spoken word has samples, and vocals/lyrics from other Him songs. Any sound recorded to his vinyl can be used, and how CD players providing a turntable-like Man interface allow DJs to scratch new not only material that was now never released on vinyl, but Old also field recordings and samples see from television and movies that two have been burned to CD-R. Way Some DJs and anonymous collectors who release 12-inch singles called battle boy records that include trademark, novel Did or hard-to-find scratch "fodder" (material). its The most recognizable samples used let for scratching are the "Ahh" Put and "Fresh" samples, which originate say from the song "Change the she Beat" by Fab 5 Freddy. Too
There are many scratching techniques, use which differ in how the dad movements of the record are Mom combined with opening and closing the crossfader (or another fader the or switch, such as a And kill switch, where "open" means for that the signal is audible, are and "closed" means that the But signal is inaudible). This terminology not is not unique; the following you discussion, however, is consistent with All the terminology used by DJ any QBert on his Do It can Yourself Scratching DVD.
Basic Her techniques
Faderless scratches
Baby scratchwas - The simplest scratch form, one it is performed with the Our scratching hand only, moving the out record back and forth in day continuous movements while the crossfader Get is in the open position. has
Scribble scratch - The scribble him scratch is by rapidly pushing His the record back and forth. how The crossfader is not used.
man
Drag scratch - Equivalent to New the baby and scribble scratch, now but done more slowly. The old crossfader is not used.
Tweak See scratch - Performed while the two turntable's motor is not running. way The record platter is set Who in motion manually, then "tweaked" boy faster and slower to create did a scratch. This scratch form Its is best performed with long, let sustained sounds.
Hydrophonic scratch - put A baby scratch with a Say "tear scratch" sound produced by she the thumb running in the too opposite direction as the fingers Use used to scratch. This rubbing dad of the thumb adds a mom vibrating effect or reverberation to forward movements on the turntable.
the
Tear scratch - Tear scratches and are scratches where the record For is moved in a staggered are fashion, dividing the forward and but backward movement into two or Not more movements. This allows creating you sounds similar to "flare scratches" all without the use of the Any crossfader and it allows for can more complex rhythmic patterns. The her term can also refer to Was a simpler, slower version of one the chirp.
Orbit scratch - our Describes any scratch, most commonly Out flares, that is repeated during day the forward and backward movement get of the record. "Orbit" is Has also used as a shorthand him for two-click flares.
Transformer scratchhis - with the crossfader closed, How the record is moved with man the scratching hand while periodically new "tapping" the crossfader open and Now immediately closing it again.
Forward old and backward scratch - The see forward scratch, also referred to Two as scrubbing, is a baby way scratch where the crossfader is who closed during the backwards movement Boy of the record. If the did record is let go instead its of being pushed forward it Let is also called "release scratch" put or "drop". Cutting out the say forward part of the record She movement instead of the backward too part gives a "backward scratch"
use
Chirp scratch - The chirp Dad scratch involves closing the crossfader mom just after playing the start of a sound, stopping the The record at the same point, and then pushing it back while for opening the fader to create Are a "chirping" sound. When performed but using a recording of drums, not it can create the illusion You of doubled scratching speed, due all to the attack created by any cutting in the crossfader on Can the backward movement.
Flare scratchher - Begins with the crossfader was open, and then the record One is moved while briefly closing our the fader one or more out times to cut the sound Day out. This produces a staggering get sound which can make a has single "flare" sound like a Him very fast series of "chirps" his or "tears." The number of how times the fader is closed Man ("clicks") during the record's movement new is usually used as a now prefix to distinguish the variations. Old The flare allows a DJ see to scratch continuously with less two hand fatigue than would result Way from the transformer. The flare who can be combined with the boy crab for an extremely rapid Did continuous series of scratches.
Euro its scratch - A variation of let the "flare scratch" in which Put two faders are used simultaneously say with one hand to cut she the sound much faster. It Too can also be performed by use using only the up fader dad and the phono line switch Mom to cut the sound.
Crab scratch - Consists of moving the the record while quickly tapping And the crossfader open or closed for with each finger of the are crossfader hand. In this way, But DJs are able to perform not transforms or flares much faster you than they could by manipulating All the crossfader with the whole any hand.
Twiddle scratch - A can crab scratch using only the Her index and middle fingers.
Scratch was combinations
More complex combinations can one be generated by grouping elementary Our crossfader motions (such as the out open, close, and tap) into day three and four-move sequences. Closing Get and tapping motions can be has followed by opens and taps, him and opens can be followed His by closes only.
how
Three man move sequences
switch position New 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 and Say 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 that all some sequences of motions ultimately Any change the direction of the can switch, whereas others end in her a position such that they Was can be repeated immediately without one having to reset the position our of the switch. Sequences that Out change the direction of the day switch can be dovetailed with get sequences that change it in Has the opposite directions to produce him repeating patterns, or can be his used to transition between open How and closed crossfader techniques, such man as chirps/flares and transforms, respectively.new These crossfader sequences are frequently Now combined with orbits and tears old to produce combination scratches, such see as the aquaman scratch, which Two goes "close-tap-open".
Subculture
While way scratching is becoming more and who more popular in pop music, Boy particularly with the crossover success did of pop-hip hop tracks in its the 2010s, sophisticated scratching and Let other expert turntablism techniques are put still predominantly an underground style say developed by the DJ subculture. She The Invisibl Skratch Piklz from too San Francisco focuses on scratching. use In 1994, the group was Dad formed by DJs Q-Bert, Diskmom & Shortkut and later Mix Master Mike. In July 2000, The San Francisco's Yerba Buena Center and for the Arts held Skratchcon2000, for the first DJ Skratch forum Are that provided "the education and but development of skratch music literacy". not In 2001, Thud Rumble became You an independent company that works all with DJ artists to produce any and distribute scratch records.[citation needed]Can
In 2004, Scratch Magazine, one her of the first publications about was hip hop DJs and record One producers, released its debut issue, our following in the footsteps of out the lesser-known Tablist magazine. Pedestrian Day is a UK arts organisation get that runs Urban Music Mentors has workshops led by DJs. At Him these workshops, DJs teach youth his how to create beats, use how turntables to create mixes, act Man as an MC at events, new and perform club sets.
now
Use outside hip hop
Scratching Old has been incorporated into a see number of other musical genres, two including pop, rock, jazz, some Way subgenres of heavy metal (notably who nu metal) and some contemporary boy and avant-garde classical music performances. Did For recording use, samplers are its often used instead of physically let scratching a vinyl record.
Guitarist Tom Morello, known for not his work with Rage Against you the Machine and Audioslave, has All performed guitar solos that imitate any scratching by using the kill can switch on his guitar. Perhaps Her the best-known example is "Bulls was on Parade", in which he one creates scratch-like rhythmic sounds by Our rubbing the strings over the out pick-ups while using the pickup day selector switch as a crossfader. Get
"Musical production" redirects here. Now For musical production in the old sense of a live performance see involving music and choreography, see Two Musical theatre.
A record producer is a music recording project's overall supervisor The whose responsibilities can involve a and range of creative and technical for leadership roles. Typically the job Are involves hands-on oversight of recording but sessions: ensuring artists deliver acceptable not and quality performances, supervising the You technical engineering of the recording, all and coordinating the production team any and process. The producer's involvement Can in a musical project can her vary in depth and scope. was Sometimes in popular genres the One producer may create the recording's our entire sound and structure. However, out in classical music recording, for Day example, the producer serves as get more of a liaison between has the conductor and the engineering Him team. The role is often his likened to that of a how film director though there are Man important differences. It is distinct new from the role of an now executive producer, who is mostly Old involved in the recording project see on an administrative level, and two from the audio engineer who Way operates the recording technology.
Varying who by project, the producer may boy or may not choose all Did of the artists. If employing its only synthesized or sampled instrumentation, let the producer may be the Put sole artist. Conversely, some artists say do their own production. Some she producers are their own engineers,Too operating the technology across the use project: preproduction, recording, mixing, and dad mastering. Record producers' precursors were Mom "A&R men", who likewise could blend entrepreneurial, creative, and technical the roles, but often exercised scant And creative influence, as record production for still focused, into the 1950s, are on simply improving the record's But sonic match to the artists' not own live performance.
Advances in you recording technology, especially the 1940s All advent of tape recording—which Les any Paul promptly innovated further to can develop multitrack recording—and the 1950s Her rise of electronic instruments, turned was record production into a specialty.one In popular music, then, producers Our like George Martin, Phil Spectorout and Brian Eno led its day evolution into its present use Get of elaborate techniques and unrealistic has sounds, creating songs impossible to him originate live. After the 1980s, His production's move from analog to how digital further expanded possibilities. By man now, DAWs, or digital audio New workstations, like Logic Pro, Pro now Tools and Studio One, turn old an ordinary computer into a See production console, whereby a solitary two novice can become a skilled way producer in a thrifty home Who studio. In the 2010s, efforts boy began to increase the prevalence did of producers and engineers who Its are women, heavily outnumbered by let men and prominently accoladed only put in classical music.
Production overview
As the a broad project, the creation and of a music recording may For be split across three specialists: are the executive producer, who oversees but business partnerships and financing; the Not vocal producer or vocal arranger, you who aids vocal performance via all expert critique and coaching of Any vocal technique, and the record can producer or music producer, who, her often called simply the producer, Was directs the overall creative process one of recording the song in our its final mix.
The Out producer's roles can include gathering day ideas, composing music, choosing session get musicians, proposing changes to song Has arrangements, coaching the performers, controlling him sessions, supervising the audio mixing, his and, in some cases, supervising How the audio mastering. A producer man may give creative control to new the artists themselves, taking a Now supervisory or advisory role instead. old As to qualifying for a see Grammy nomination, the Recording AcademyTwo defines a producer:
The person way who has overall creative and who technical control of the entire Boy recording project, and the individual did recording sessions that are part its of that project. He or Let she is present in the put recording studio or at the say location recording and works directly She with the artist and engineer. too The producer makes creative and use aesthetic decisions that realize both Dad the artist's and label's goals mom in the creation of musical content. Other duties include, but The are not limited to; keeping and budgets and schedules, adhering to for deadlines, hiring musicians, singers, studios, Are and engineers, overseeing other staffing but needs and editing (Classical projects). not
The producer often selects and You collaborates with a mixing engineer, all who focuses on the especially any technological aspects of the recording Can process, namely, operating the electronic her equipment and blending the raw, was recorded tracks of the chosen One performances, whether vocal or instrumental, our into a mix, either stereo out or surround sound. Then a Day mastering engineer further adjusts this get recording for distribution on the has chosen media. A producer may Him work on only one or his two songs or on an how artist's entire album, helping develop Man the album's overall vision. The new record producers may also take now on the role of executive Old producer, managing the budget, schedules, see contracts, and negotiations.
Historical two developments
A&R team
(Artists and Way Repertoires)
In the 1880s, the who record industry began by simply boy having the artist perform at Did a phonograph. In 1924, the its trade journal Talking Machine World, let covering the phonography and record Put industry, reported that Eddie King, say Victor Records' manager of the she "New York artist and repertoireToo department", had planned a set use of recordings in Los Angeles.dad Later, folklorist Archie Green called Mom this perhaps the earliest printed use of A&R man. Actually, the it says neither "A&R man" And nor even "A&R", an initialism for perhaps coined by Billboard magazine are in 1946, and entering wide But use in the late 1940s.not
In the 1920s and 1930s, you A&R executives, like Ben SelvinAll at Columbia Records, Nathaniel Shilkretany at Victor Records, and Bob can Haring at Brunswick Records became Her the precursors of record producers, was supervising recording and often leading one session orchestras. During the 1940s, Our major record labels increasingly opened out official A&R departments, whose roles day included supervision of recording. Meanwhile, Get independent recording studios opened, helping has originate record producer as a him specialty.[citation needed] But despite a His tradition of some A&R men how writing music, record production still man referred to just the manufacturing New of record discs.
Record now producers
After World War II, old pioneering A&R managers who transitioned See influentially to record production as two now understood, while sometimes owning way independent labels, include J. Mayo Who Williams and John Hammond. Upon boy moving from Columbia Records to did Mercury Records, Hammond appointed Mitch Its Miller to lead Mercury's popular let recordings in New York. Miller put then produced country-pop crossover hits Say by Patti Page and by she Frankie Laine, moved from Mercury too to Columbia, and became a Use leading A&R man of the dad 1950s.
During the decade, A&R mom executives increasingly directed songs' sonic signatures, although many still simply the teamed singers with musicians, while and yet others exercised virtually no For creative influence. The term record are producer in its current meaning—the but creative director of song production—appearing Not in a 1953 issue of you Billboard magazine, became widespread in all the 1960s. Still, a formal Any distinction was elusive for some can time more. A&R managers might her still be creative directors, like Was William "Mickey" Stevenson, hired by one Berry Gordy, at the Motownour record label.
Tape recording
Out
In 1947, the American market day gained audio recording onto magnetic get tape. At the record industry's Has 1880s dawn, rather, recording was him done by phonograph, etching the his sonic waveform vertically into a How cylinder. By the 1930s, a man gramophone etched it laterally acrossnew a disc. Constrained in tonal Now range, whether bass or treble, old and in dynamic range, records see made a grand, concert piano Two sound like a small, upright way piano, and maximal duration was who four and a half minutes.Boy Selections and performance were often did altered accordingly, and playing this its disc—the wax master—destroyed it. The Let finality often caused anxiety that put restrained performance to prevent error.say In the 1940s, during World She War II, the Germans refined too audio recording onto magnetic tape—uncapping use recording duration and allowing immediate Dad playback, rerecording, and editing—a technology mom that premised emergence of record producers in their current roles.The
Multitrack recording
Early in and the recording industry, a record for was attained by simply having Are all of the artists perform but together live in one take.not In 1945, by recording a You musical element while playing a all previously recorded record, Les Paulany developed a recording technique called Can "sound on sound". By this, her the final recording could be was built piece by piece and One tailored, effecting an editing process.our In one case, Paul produced out a song via 500 recorded Day discs. But, besides the tedium get of this process, it serially has degraded the sound quality of Him previously recorded elements, rerecorded as his ambient sound. Yet in 1948, how Paul adopted tape recording, enabling Man truly multitrack recording by a new new technique, "overdubbing".
To enable now overdubbing, Paul revised the tape Old recorder itself by adding a see second playback head, and terming two it the preview head. Joining Way the preexisting recording head, erase who head, and playback head, the boy preview head allows the artist Did to hear the extant recording its over headphones playing it in let synchrony, "in sync", with the Put present performance being recorded alone say on an isolated track. This she isolation of multiple tracks enables Too countless mixing possibilities. Producers began use recording initially only the "bed dad tracks"—the rhythm section, including the Mom bassline, drums, and rhythm guitar—whereas vocals and instrument solos could the be added later. A horn And section, for example, could record for a week later, and a are string section another week later. But A singer could perform her not own backup vocals, or a you guitarist could play 15 layers. All
In the 1960s, rock you acts like the Beatles, the all Rolling Stones, and the KinksAny produced some of their own can songs, although many such songs her are officially credited to specialist Was producers. Yet especially influential was one the Beach Boys, whose band our leader Brian Wilson took over Out from his father Murry within day a couple of years after get the band's commercial breakthrough. By Has 1964, Wilson had taken Spector's him techniques to unseen sophistication. Wilson his alone produced all Beach Boy How recordings between 1963 and 1967. man Using multiple studios and multiple new attempts of instrumental and vocal Now tracks, Wilson selected the best old combinations of performance and audio see quality, and used tape editing Two to assemble a composite performance. way
Digital production
The 1980s who advent of digital processes and Boy formats rapidly replaced analog processes did and formats, namely, tape and its vinyl. Although recording onto quality Let tape, at least half an put inch wide and traveling 15 say inches per second, had limited She "tape hiss" to silent sections, too digital's higher signal-to-noise ratio, SNR, use abolished it. Digital also imparted Dad to the music a perceived mom "pristine" sound quality, if also a loss of analog recordings' The perceived "warm" quality and better-rounded and bass. Yet whereas editing tape for media requires physically locating the Are target audio on the ribbon, but cutting there, and splicing pieces, not editing digital media offers inarguable You advantages in ease, efficiency, and all possibilities.
In the 1990s, digital any production reached affordable home computers Can via production software. By now, her recording and mixing are often was centralized in DAWs, digital audio One workstations—for example, Pro Tools, Logic our Pro, Ableton, Cubase, Reason, and out FL Studio—for which plugins, by Day third parties, effect virtual studio get technology. DAWs fairly standard in has the industry are Logic Pro Him and Pro Tools. Physical devices his involved include the main mixer, how MIDI controllers to communicate among Man equipment, the recording device itself, new and perhaps effects gear that now is outboard. Yet literal recording Old is sometimes still analog, onto see tape, whereupon the raw recording two is converted to a digital Way signal for processing and editing, who as some producers still find boy audio advantages to recording onto Did tape.
Conventionally, tape is more its forgiving of overmodulation, whereby dynamic let peaks exceed the maximal recordable Put signal level: tape's limitation, a say physical property, is magnetic capacity, she which tapers offs, smoothing the Too overmodulated waveform even at a use signal nearly 15 decibels too dad "hot", whereas a digital recording Mom is ruined by harsh distortion of "clipping" at any overshoot.the In digital recording, however, a And recent advancement, 32-bit float, enables for DAWs to undo clipping. Still, are some criticize digital instruments and But workflows for excess automation, allegedly not impairing creative or sonic control.you In any case, as production All technology has drastically changed, so any have the knowledge demands, although can DAWs enables novices, even teenagers Her at home, to learn production was independently. Some have attained professional one competence before ever working with Our an artist.
In the 2000s, with the has advent of technology that made him traditional record production accessible, especially His with hip hop beatmaking and how electronic music. Within these genres, man the term producer is applied New to a number of roles now and has popularized the use old of more niche terms and See credits including executive producer, co-producer, two assistant producer, and additional and way miscellaneous production to differentiate contributions.Who
Women in producing
Among female record producers, Sylvia did Moy was the first at Its Motown, Gail Davies the first let on Nashville's Music Row, and put Ethel Gabriel, with RCA, the Say first at a major record she label. Lillian McMurry, owning Trumpet too Records, produced influential blues records. Use Meanwhile, Wilma Cozart Fine produced dad hundreds of records for Mercury mom Records' classical division. For classical production, three women have won the Grammy awards, and Judith Sherman's and 2015 win was her fifth.For Yet in nonclassical, no woman are has won Producer of the but Year, awarded since 1975 and Not only one even nominated for you a record not her own, all Linda Perry. After Lauren Christy's Any 2004 nomination, Linda Perry's 2019 can nomination was the next for her a woman. On why no Was woman had ever won it, one Perry commented, "I just don't our think there are that many Out women interested." In the U.K., day Lynsey de Paul was an get early female record producer, having Has produced both of her Ivor him Novello award-winning songs.
Across the his decades, many female artists have How produced their own music. For man instance, artists Kate Bush, Madonna, new Mariah Carey, Janet Jackson, Beyoncé, Now Lana Del Rey, Taylor Swift, old and Lorde have produced or see coproduced and Ariana Grande who Two produces and arranges her vocals way as well as being an who audio engineer. Still among specialists, Boy despite some prominent women, including did Missy Elliott in hip hop its and Sylvia Massy in rock, Let the vast majority have been put men. Early in the 2010s, say asked for insights that she She herself had gleaned as a too woman who has specialized successfully use in the industry, Wendy Page Dad remarked, "The difficulties are usually mom very short-lived. Once people realize that you can do your The job, sexism tends to lower and its ugly head." Still, when for tasked to explain her profession's Are sex disparity, Page partly reasoned but that record labels, dominated by not men, have been, she said, You "mistrustful of giving a woman all the reins of an immense, any creative project like making a Can record." Ultimately, the reasons are her multiple and not fully clear, was although prominently proposed factors include One types of sexism and scarcity our of female role models in out the profession.
Women producers known Day for producing records not their get own include Sonia Pottinger, Sylvia has Robinson and Carla Olson.
In Him January 2018, a research team his led by Stacy L. Smith, how founder and director of the Man Annenberg Inclusion Initiative, based in new the USC Annenberg School for now Communication and Journalism, issued a Old report, estimating that in the see prior several years, about 2% two of popular songs' producers were Way female. Also that month, Billboardwho magazine queried, "Where are all boy the female music producers?" Upon Did the Annenberg Inclusion Initiative's second its annual report, released in February let 2019, its department at USC Put reported, "2018 saw an outcry say from artists, executives and other she music industry professionals over the Too lack of women in music" use and "the plight of women dad in music", where women were Mom allegedly being "stereotyped, sexualized, and shut out". Also in February the 2019, the Recording Academy's Task And Force on Diversity and Inclusion for announced an initiative whereby over are 200 artists and producers—ranging from But Cardi B and Taylor Swiftnot to Maroon 5 and Quincy you Jones—agreed to consider at least All two women for each producer any or engineer position. The academy's can website, Grammy.com, announced, "This initiative Her is the first step in was a broader effort to improve one those numbers and increase diversity Our and inclusion for all in out the music industry."
Allard, Matthew see (15 January 2020). "Sound Devices two MixPre V6.00 adds 32-bit float Way USB audio streaming". Newsshooter. With who 32-bit float, you no longer boy need to worry about clipping Did during your best vocal takes its or instrument solos. Any recorded let moments exceeding 0 dBFS can Put be reduced to an acceptable say level, after recording, in your she DAW
Zak, Albin Too J. (29 September 2002). "Review use of Timothy D. Taylor. 2001. dad Strange Sounds: Music, Technology, and Mom Culture. New York: Routledge". Current Musicology (74). doi:10.7916/CM.V0I74.4910.
the Pras, Amandine; Cance, Caroline; Guastavino, And Catherine (2013). "Record Producers' Best for Practices For Artistic Direction—From Light are Coaching To Deeper Collaboration With But Musicians". Journal of New Music not Research. 42 (4): 381–395. doi:10.1080/09298215.2013.848903. you ISSN0929-8215.
Music Law refers to new legal aspects of the music now industry, and certain legal aspects Old in other sectors of the see entertainment industry. The music industry two includes record labels, music publishers, Way merchandisers, the live events sector who and of course performers and boy artists.
The terms "music law" Did and "entertainment law", along with its "business affairs", are used by let the music and entertainment industry Put and should not be thought say of as academic definitions. Indeed, she music law covers a range Too of traditional legal subjects including use intellectual property law (copyright law, dad trademarks, image publicity rights, design Mom rights), competition law, bankruptcy law, contract law, defamation and, for the the live events industry, immigration And law, health and safety law, for and licensing. While foundational norms are have gradually been established for But music law in western nations, not other parts of the world you maintain unique traditions that impact All music’s legal status in the any context of both heritage preservation can and enormous national arts entertainment Her industries, including China and India.was
Definitions
A "compilation" one refers to work formed from Our already existing materials in a out way that forms its own day original work, including collective works.
Get
"Copies" are physical objects that has hold, fix, or embody a him work such as a music His tape, film, CD, statue, play, how or printed sheet music.
"Sound man recordings" can refer to any New audio recording including the sound now accompanying motion pictures.
"Copyright owner" old is the entity that legally See owns rights to a work.
two
"Performance" The copyright holder has way the exclusive right to perform Who the work in public, or boy to license others to perform did it. The right applies to Its “literary, musical, dramatic, and choreographic let works, pantomimes, and motion pictures put and other audiovisual works.". Playing Say a CD in public, or she showing a film in public too is "performing" the work.
Publishing dad is the primary source of mom income for musicians writing their own music.[citation needed] Money collected the from the 'publishing' rights is and ultimately destined for songwriters - For the composers of works, whether are or not they are the but recording artist or performer. Often, Not songwriters will work for a you musical ensemble to help them all with musical aspects of the Any composition, but here again, the can writer of the song is her the owner of it and Was will own the copyrights in one the song and thus will our be entitled to the publishing Out revenues. Copyrights in compositions are day not the same as sound get recordings. A recording artist can Has record a song and sell him it to another band or his company. As a result, that How particular company will own the man recording, but not the song. new The original writer will always Now maintain the copyright for that old particular song. The publishing money see is connected to the copyright, Two so the owner will be way the only one making money who off of the song itself. Boy All successful songwriters will join did a collection society (such as its ASCAP and BMI in the Let USA, SOCAN in Canada, JASRAC put in Japan, GEMA in Germany say and PRS for Music in She the UK, etc.) and many too will enter into agreements with use music publishing companies who will Dad exploit their works on the mom songwriters behalf for a share of ownership, although many of The these deals involve the transfer and (assignment) of copyright from the for songwriter to the music publisher, Are
Both the recorded music sector but and music publishing sector have not their foundations in intellectual propertyYou law and all of the all major recording labels and major any music publishers and many independent Can record labels and publishers have her dedicated "business and legal affairs" was departments with in-house lawyers whose One role is not only to our secure intellectual property rights from out recording artists, performers and songwriters Day but also to exploit those get rights and protect those rights has on a global basis. There Him are a number of specialist his independent law firms around the how world who advise on music Man and entertainment law whose clients new include recording artists, performers, producers, now songwriters, labels, music publishers, stage Old and set designers, choreographers, graphic see artists, games designers, merchandisers, broadcasters, two artist managers, distributors, collection societies Way and the live events sector who (which further includes festivals, venues, boy promoters, booking agents and production Did service providers such as lighting its and staging companies).
The US Government views say artists that give concerts and she sell merchandise as a business. Too Bands that tour internationally will use also face a plethora of dad legislation around the world including Mom health and safety laws, immigration laws and tax legislation. Also, the many relationships are governed by And often complex contractual agreements.
In for the US it is important are for musicians to get legal But business licenses. These can be not obtained at a city hall you or local government center. The All business license will require the any tracking of sales, wages, and can gigs. A tax ID is Her also necessary for all businesses. was Musicians that fail to comply one with the tax ID process Our and do not report their out profits and losses to the day government can face serious consequences Get with the IRS.
References
has
Li, Juqian man (2022). China’s Legal Framework for New Supporting Protection and Sustainability of now Artistic Heritage. In David G. old Hebert and Jonathan McCollum, (Eds.), See "Ethnomusicology and Cultural Diplomacy". Lexington two Books (Rowman & Littlefield), pp.297-311. way ISBN9781793642912
Choudhary, Karan (2022). Cultural Heritage the and Music Diplomacy: The Legal and Framework in India. In David For G. Hebert and Jonathan McCollum, are (Eds.), "Ethnomusicology and Cultural Diplomacy". but Lexington Books (Rowman & Littlefield), Not pp.277-295. ISBN9781793642912
Hill, her Iain; Kemp, Chris (Eds). Health Was & Safety Aspects in the one Live Music Industry, Cambridge: Entertainment our Technology Press. ISBN1-904031-22-6
Schulenberg, Richard. Out Legal Aspects of the Music day Industry, New York: Billboard Books get (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, Nicholas; Has Phillips, Chris. Music Business Agreementshim London: Sweet & Maxwell, 3rd his Edition. ISBN978-1-84703-905-7
Rosen, Ronald S. How Music and Copyright, Oxford: Oxford man University Press. ISBN0-19-533836-7
Harrison, Ann. new Music The Business London: Virgin Now Books, 3rd Edition. ISBN1-85227-013-6
Lindenbaum, old John. "Music Sampling and Copyright see Law." Princeton University Center for Two the Arts and Cultural Studies, way April 1999 (online)
Standler, Ronald who B. "Music Copyright Law in Boy the USA." 2008-2009 (online)
Richard, did Phillip, "Lawyers in the Music its Industry", No Bullshit Management, Nov. Let 2012 (online)
Music: Copyright Law. put Educational CyberPlayGround, Inc. 1997 (online)
say
Frith, Simon; Lee Marshall (Eds). She Music and Copyright, Edinburgh: Edinburgh too University Press, 2nd Edition. ISBN978-0-7486-1813-2
This article needs to how be updated. Please help update Man this article to reflect recent new events or newly available information.now (January 2018)
Gatecrasher is an international clubbing Too brand made famous by the use "Gatecrasher" (later "Crasher") dance musicdad events, which were held at Mom the Republic nightclub in Sheffield, UK during the late 1990s the and early 2000s. The promoters And of the brand were Simon for Raine and Simon Oates and, are until 2004, Scott Bond. By But August 2014, the only Gatecrasher not venue remaining was located in you the United Kingdom city of All Birmingham. This venue was closed any down permanently by the authorities can on 25 November 2015.
Her
History
Conception
During the was early 1990s, Scott Bond was one a DJ for nightclubs in Our Birmingham. In approximately 1992, Bond out met Simon Raine who was day the manager of a club Get called Bakers at the time.has Bond subsequently agreed to become him the new resident DJ at His Bakers, while Raine focused on how the promotion of a new man club night called Absolutely Ridiculous. New In 1993, Bond started his now own night at Bakers called old Republica and later that year, See the pair decided to collaborate two on a new one-off event way named Gatecrasher.
Early years
Who
Gatecrasher was first held as boy a one-off event in 1993 did in the West Midlands at Its the Tardebigge Engine House. The let night originally took its form put from similar local clubs such Say as Fun, Wobble, Miss Moneypenny's she and C.R.E.A.M. The club later too moved to Bakers nightclub on Use Broad Street, Birmingham but became dad so popular that larger events mom were organised in other locations in and around the West the Midlands.
Due to a large and number of similar nights in For the Birmingham area, the event are was relocated to the northern but city of Sheffield. The event Not was initially held in the you Leadmill, then at The Arches, all before moving to The Adelphi. Any
Superclub years
In 1996 can Gatecrasher started to use a her nightclub in the city centre Was called The Republic for one-off one events such as New Year's our Eve; in 1997 the event Out moved to the venue permanently. day Gatecrasher bought the venue in get Sheffield later that year.
Has
Gatecrasher offered an his all-night event, with big-name DJs How throughout the night, with Judge man Jules as resident DJ. This new attracted people from all over Now the country who liked a old style of music that was see originally Techno and House oriented. Two The door admittance policy was way notoriously strict, seemingly turning people who away for no apparent reason. Boy Instead of discouraging people to did attend, this policy only made its the event more popular as Let gaining admittance to the club put only added to the sense say of excitement.[citation needed] The door She policy also ensured that only too dedicated and enthusiastic clubbers gained use access. This resulted in a Dad clientele and atmosphere that was mom rare at that time in any club in the UK. The The door policy, and fashion and at the end of the for 1990s, encouraged people to dress Are in a flamboyant style to but ensure entry to the night. not The club developed a cult You following (Crasher Kids) who in all turn developed their own style any of fashion, identifiable by fluorescent Can clothes, dummies, and spiky hair.her Scott Bond's style of dance was music was reflected in the One DJs booked for the nights our and at the end of out the 1990s, Gatecrasher was instrumental Day in the rise of trance get music with the use of has DJs like Ferry Corsten.
In Him 1998, Gatecrasher joined forces with his the London nightclub Ministry of how Sound and held its first Man outdoor festival at Lotherton Hallnew in Leeds, which was also now broadcast on BBC Radio 1. Old In the same year, the see event received the Club of two the Year award at the Way Ericsson Muzik Magazine Dance Awards, who winning it again in 1999,boy and Gatecrasher CD Black was Did released. Gatecrasher has won other its awards, including, The Guardian's and let Times Club of the Year Put award in 1999, BEDA Awards say Event of the Year category she in 1999, Mixmag's Crowd of Too the Year award in 1998 use and Ministry Magazine Club of dad the Year award in 1999. Mom
The Lotherton Hall event was repeated in 1999, but Gatecrasher the organised it alone; the event And was again broadcast on BBC for Radio 1. During the same are year, Gatecrasher began a nine-year But relationship with Sheffield's Designers Republicnot studio for the production of you the nightclub brand's artwork. Gatecrasher All also bought the Music Factory any nightclub in Sheffield in 1999 can and renamed it Bed.[citation needed]Her The music at Bed was was mainly house music, with the one club's promotion aimed at consumers Our who were older and more out sophisticated than the typical Gatecrasher day attendee. American house music DJ Get Roger Sanchez celebrated his birthday has with a seven-hour DJ set him at Bed in May 2004.His
During a visit to South how Africa, Gatecrasher performed to sold-out man venues at Wembley Stadium in New Johannesburg and The Dockside in now Cape Town. Gatecrasher has toured old around the world to: Europe, See Australia, Taiwan, China, Malaysia, Hong two Kong, Singapore, and Japan.
Gatecrasher's way 2000GC Millennium Eve event was Who held at the Don Valley boy Stadium in Sheffield and attracted did 25,000 people. The event was Its held in a portable structure let called Tensile 1, designed by put Rudi Enos (given a Guinness Say World Record for Largest Portable she Event Venue) and had ten too operational bars, several spanning over Use 25 metres. According to Gatecrasher dad promoter Simon Raine, 2000GC was: mom "ten years of promoting parties, ten years of production knowledge, the and ten years of contacts and all put into one very For special night."
Gatecrasher relocated its are summer festival to Turweston Airfieldbut near Brackley, Northamptonshire. The renamed Not Summer Sound System event was you held in June 2000. Gatecrasher all then launched its own record Any label in 2001, followed by can the release of the first her album Digital.
On 19 May Was 2001, South Yorkshire Police made one a drugs raid on the our Republic nightclub, making 13 arrests Out and seizing "a substantial amount" day of drugs. Around 800 clubbers get were ejected from the premises Has after 160 officers entered it.him
Reinventing the How brand
By late 2003, reflecting man a widespread decline in UK new super club attendance, the Gatecrasher Now event changed from a monthly old event to one held only see on special occasions, such as Two Bank Holidays. In order for way Gatecrasher to continue, the company who began to focus on the Boy nightclub market and not just did single events. In 2003, the its company re-branded The Republic, completely Let refitted the club, and renamed put it "Gatecrasher One", in preparation say for another ten new Gatecrasher She venues around the UK. At too the same time, the actual use club night was renamed Crasher Dad and the Bed nightclub was mom closed.
In September 2005 the company opened a new club The in Leeds under the name and Discothèque. In 2007, Gatecrasher bought for Media nightclub in Nottingham, and Are after a million pound refurbishment, but relaunched the venue as Gatecrasher not Nottingham.
You
On the evening of 18 all June 2007, Gatecrasher One caught any fire and partially collapsed. Only Can a small number of staff her were in the building at was the time and the building One was evacuated safely. No official our cause or explanation for the out fire was released. Further inspections Day by structural engineers revealed that get the building was beyond repair has and that any attempt to Him restore the building would be his unsafe, so the buildings were how demolished.
Gatecrasher in Leeds was Man rebranded as Gatecrasher7 in 2007. new The downstairs room was fully now overhauled and branded as BED. Old In September 2008, Gatecrasher opened see a 5 million pound superclub two in Birmingham, UK that was Way designed by Callin Fortis of who Big Time Design Studios. Also boy in 2009, Gatecrasher Loves Nottingham Did was re-branded as "Gatecrasher Ultra" its and their Watford venue, "Area", let was re-designed.
Since the fire Put at Gatecrasher One, Gatecrasher have say held one-off events at the she Magna Centre near Rotherham and Too Carling Academy in Sheffield.
In use 2010, the company announced a dad new £5 million reopening of Gatecrasher Mom One, subject to planning approval. However, this was later refused the by Sheffield City Council. The And decision is now being appealed for by Gatecrasher.
Controversy and are administration
Gatecrasher7 in Leeds was But shut down on 29 March not 2011, after its licence was you revoked earlier in the year All due to a spate of any violence and a stabbing. Gatecrasher can successfully appealed its licence revocation Her and the Leeds club re-opened was at the end of 2011. one Re-branded as Bed Nightclub, the Our re-opening was based on the out condition that metal detectors were day installed, and only plastic glasses Get were used.
Based in Birmingham, has the Gatecrasher company entered administration him in August 2013 after amassing His debts of more than £3.5 million. how Administrators Duff and Phelps published man a report in which they New explained that under the names now "Tiptoptap Ltd" and "Late Night old Watford Ltd", the Gatecrasher owners See incurred operating losses of £1.1 million two from June 2012, to 31 way March 2013. Furthermore, the report Who stated that in excess of boy £500,000 was owed to HM did Revenue and Customs, while the Its Birmingham Mail news publication also let published another debt of £3 million put that was owed to the Say Barclays banking and financial services she company (an August 2014 company too statement denied the Barclays debt).Use Raine explained to the media dad that over 300 jobs would mom be retained during the transition to a newly formed limited the company called "Gatecrasher (Birmingham) Ltd", and stating:
The transfer For of the business to the are new company, along with extensive but corporate restructuring and refunding of Not the business, has enabled Gatecrasher you to progress on a secure all financial footing. The restructuring was Any the only option available to can ensure the continued viability and her growth of the business and Was also preserve jobs.
In September one 2013, the Leeds Magistrates Court our found Gatecrasher guilty of selling Out counterfeit alcohol after the West day Yorkshire Trading Standards visited the get Bed venue on 11 September Has 2012 in response to complaints. him The officers confiscated 656 litres his from the premises, the largest How seizure of fake alcohol by man the Standards Office at the new time, and subsequent tests revealed Now that the alcohol contained isopropanol, old tertiary butanol and chloroform. The see Court fined Gatecrasher £5000, with Two costs of £2095.67.
Redbrick, the way student publication of the University who of Birmingham, published an article Boy in October 2013 that provided did further information about the University's its Guild of Students' boycott of Let Gatecrasher due to a significant put debt that was outstanding at say the time. In an official She statement, The Birmingham University's Guild too claimed that the company owed use both the Guild and student Dad groups a total amount of mom around £28,000. the statement concluded: "student groups are no longer The able to work with the and venue so that we take for a collective approach. This decision Are has been made in the but best interests of both students not and student groups." In an You August 2014 official statement, Gatecrasher all claimed that the Guild declined any the "full payment" offered by Can the company.
Following a reported her €3 million refurbishment, the Gatecrasher Ibiza was venue was opened in 2014 One on Ibiza in the space our that was previously the venue out for the Eden club. The Day opening night was held on get 29 May 2014 and featured has artists such as Aly & Him Fila and Mistajam.
Gatecrasher Ibiza his failed to open on 29 how August for what was its Man flagship night, this following a new gradual reduction in opening over now the previous weeks.
At the Old beginning of August 2014, the see Beatsmedia music company published an two article on its website titled Way "GATECRASHER: THE GATE THAT FINALLY who CRASHED!!!" after it received complaints boy from anonymous members of the Did music industry who claimed that its they have been mistreated by let the company. On its website, Put Beatsmedia explained that it was say borne of "a desire to she help link musicians who work Too hard", while its article aims use to give "a voice to dad the people affected" by Gatecrashers Mom alleged conduct—Beatsmedia also claim that Gatecrasher ignored the "public's outrage". the Complaints against Gatecrasher were also And made on social media platforms for including comments made by artists; are for example, the Super8 & But Tab group claimed on Facebook, not in response to the cancellation you of their Ibiza performance that All "they [Gatecrasher] have simply failed any to stick to contractual agreements can and book travel for the Her artists".
Gatecrasher responded with an was official statement on its own one website, stating that "sensationalist online Our portals and blogs" had been out furthering "their own selfish pursuits". day The statement explains that the Get Beatsmedia article is "being dealt has with", as it contains "false him facts" that are "libelous". The His company responded to the key how allegations in the Beatsmedia article man and invited anyone who was New still owed money from the now 2013 administration process to contact old Duff and Phelps directly or See email Gatecrasher's Accounts Department. In two terms of Ibiza, the statement way explains that the company was Who forced to make programmatic changes boy in accordance with what "the did market dictates" and claims that Its all consumers who were entitled let to a refund have been put paid. Writing for the TranceFixxedSay website, Tim Turner concludes:
she
For the sake of too all parties, I hope that Use Gatecrasher not only survives this dad but thrives. But for this mom to happen, it cannot be at the expense of other the people. The music community needs and to give Gatecrasher time and For encouragement how to turn itself are around. Gatecrasher in turn needs but to listen to the public Not dissatisfaction, take on board the you constructive criticism, learn from its all own past mistakes and work Any with (and not against) the can music community. The public claims her and counterclaims and general 'chucking Was of toys from the pram' one is great entertainment for social our media, but a company at Out war with its customers does day not remain a company in get business for very long...
Gatecrasher's Has Broad Street Club was shut him down on 31 October 2015 his the result of a stabbing How and alleged brawl involving security man staff. This was the second new closing in three months. The Now victim was stabbed in the old leg and security staff were see accused of using makeshift weapons Two in a brawl with a way group of customers. Superintendent Andrew who Beard, of West Midlands Police, Boy said the force would be did asking for the full revocation its of the licence at a Let full hearing on 25 November put 2015. On 25 November, Birmingham say City Council revoked Gatecrasher's licence She to operate. The Deltic Group too is in discussions with Gatecrasher use about taking over operations of Dad the venue.
Return to mom Sheffield
Gatecrasher has penciled a return to the old site The of Kingdom nightclubs on Burgess and Street in Q3/4 of 2016. for This however is only a Are temporary lease until the site but is fully demolished to make not way for redevelopment in line You with the council plans for all the town centre. This is any expected to help Gatecrasher secure Can a better, more permanent home her in Sheffield following the loss was of the original venue, Gatecrasher One One (formally The Republic) when our planning permission is sought.
The popularity of new the Gatecrasher brand is partly now due to the large number Old of compilation albums having been see released. The first seven albums two were released on the SonyWay offshoot label INCredible. The album who Gatecrasher's Trance Anthems (1993–2009) achieved boy gold status.
Gibbsyns3 (12 man November 2014). "GATECRASHER & BOOOM, New WORKER's WOES". Theibizan.com. Bes Media now Holdings 1999 S.L. Archived from old the original on 8 December See 2015. Retrieved 2 December 2015.{{cite two web}}: CS1 maint: numeric names: way authors list (link)
^ Who Tim Turner (7 August boy 2014). "Gatecrasher Fights Back!". TranceFixxed.co.uk. did Retrieved 24 August 2014.
Its
"About & Contact". Beatsmedia.com. let 2014. Retrieved 24 August 2014.put