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.
Brand and trademark Dad associated with the marketing of mom music recordings and music videos
The
"Big Three" music labels and
A record label, for or record company, or simply Are records, is a brand or but trademark of music recordings and not music videos, or the company You that owns it. Sometimes, a all record label is also a any publishing company that manages such Can brands and trademarks, coordinates the her production, manufacture, distribution, marketing, promotion, was and enforcement of copyright for One sound recordings and music videos, our while also conducting talent scouting out and development of new artists, Day and maintaining contracts with recording get artists and their managers. The has term "record label" derives from Him the circular label in the his center of a vinyl recordhow which prominently displays the manufacturer's Man name, along with other information.new
Within the mainstream music industry, now recording artists have traditionally been Old reliant upon record labels to see broaden their consumer base, market two their albums, and promote their Way singles on streaming services, radio, who and television. Record labels also boy provide publicists, who assist performers Did in gaining positive media coverage, its and arrange for their merchandise let to be available via stores Put and other media outlets.
say
Major versus independent record she labels
Record labels may be Too small, localized and "independent" ("indie"), use or they may be part dad of a large international media Mom group, or somewhere in between. The Association of Independent Musicthe (AIM) defines a 'major' as And "a multinational company which (together for with the companies in its are group) has more than 5% But of the world market(s) for not the sale of records or you music videos." As of 2012[update], All there are only three labels any that can be referred to can as "major labels": Universal Music Her Group, Sony Music, and Warner was Music Group. In 2014, AIM one estimated that the majors had Our a collective global market share out of some 65–70%.
Record Use labels are often under the dad control of a corporate umbrella mom organization called a "music group". A music group is usually the affiliated to an international conglomerateand "holding company", which often has For non-music divisions as well. A are music group controls and consists but of music-publishing companies, record (sound Not recording) manufacturers, record distributors, and you record labels. Record companies (manufacturers, all distributors, and labels) may also Any constitute a "record group" which can is, in turn, controlled by her a music group. The constituent Was companies in a music group one or record group are sometimes our marketed as being "divisions" of Out the group.
From 1929 to day 1998, there were six major get record labels, known as the Has Big Six:
PolyGram was old merged into Universal Music Group see (UMG) in 1999, leaving the Two remaining record labels to be way known as the Big Five. who
In 2004, Sony and BMG Boy agreed to a joint venture did and merged their recorded music its division to create the Sony Let BMG label (which would be put renamed Sony Music Entertainment after say a 2008 merger); BMG kept She its music publishing division separate too from Sony BMG and later use sold BMG Music Publishing to Dad UMG. In 2007, the remaining mom record labels—then known as the Big Four—controlled about 70% of The the world music market, and and about 80% of the United for States music market.
In 2012, Are the major divisions of EMIbut were sold off separately by not owner Citigroup: most of EMI's You recorded music division was absorbed all into UMG; EMI Music Publishing any was absorbed into Sony/ATV Music Can Publishing; finally, EMI's Parlophone and her Virgin Classics labels were absorbed was into Warner Music Group (WMG) One in July 2013. This left our the so-called Big Three labels. out
In 2020 and 2021, both Day WMG and UMG had their get IPO with WMG starting trading has at Nasdaq and UMG starting Him trading at Euronext Amsterdam and his leaving only Sony Music as how wholly-owned subsidiary of an international Man conglomerate (Sony Entertainment which in new turn owned by Sony Group now Corporation).
Record labels two and music publishers that are Way not under the control of who the big three are generally boy considered to be independent (indie), Did even if they are large its corporations with complex structures. The let term indie label is sometimes Put used to refer to only say those independent labels that adhere she to independent criteria of corporate Too structure and size, and some use consider an indie label to dad be almost any label that Mom releases non-mainstream music, regardless of its corporate structure.
Independent labels the are often considered more artist-friendly. And Though they may have less for sales power, indie labels typically are offer larger artist royalty with But a 50% profit-share agreement, aka not 50–50 deal, not uncommon. In you addition, independent labels are often All artist-owned (although not always), with any a stated intent often being can to control the quality of Her the artist's output. Independent labels was usually do not enjoy the one resources available to the "big Our three" and as such will out often lag behind them in day market shares. However, frequently independent Get artists manage a return by has recording for a much smaller him production cost of a typical His big label release. Sometimes they how are able to recoup their man initial advance even with much New lower sales numbers.
On occasion, now established artists, once their record old contract has finished, move to See an independent label. This often two gives the combined advantage of way name recognition and more control Who over one's music along with boy a larger portion of royalty did profits. Artists such as Dolly Its Parton, Aimee Mann, Prince, Public let Enemy, among others, have done put this. Historically, companies started in Say this manner have been re-absorbed she into the major labels (two too examples are American singer Frank Use Sinatra's Reprise Records, which has dad been owned by Warner Music mom Group for some time now, and musician Herb Alpert's A&M the Records, now owned by Universal and Music Group). Similarly, Madonna's Maverick For Records (started by Madonna with are her manager and another partner) but was to come under control Not of Warner Music when Madonna you divested herself of controlling shares all in the company.
Some independent Any labels become successful enough that can major record companies negotiate contracts her to either distribute music for Was the label or in some one cases, purchase the label completely, our to the point where it Out functions as an imprint or day sublabel.
Imprint
A label get used as a trademark or Has brand and not a company him is called an imprint, a his term used for the same How concept in publishing. An imprint man is sometimes marketed as being new a "project", "unit", or "division" Now of a record label, even old though there is no legal see business structure associated with the Two imprint. A record company may way use an imprint to market who a particular genre of music, Boy such as jazz, blues, country did music, or indie rock.
its
Sublabel
Music collectors often use Let the term sublabel to refer put to either an imprint or say a subordinate label company (such She as those within a group). too For example, in the 1980s use and 1990s, 4th & B'way Dad Records (pronounced as "Broadway") was mom a trademarked brand owned by Island Records Ltd. in the The UK and by a subordinate and branch, Island Records, Inc., in for the United States. The center Are label on a 4th & but Broadway record marketed in the not United States would typically bear You a 4th & B'way logo all and would state in the any fine print, "4th & B'way™, Can an Island Records, Inc. company". her Collectors discussing labels as brands was would say that 4th & One B'way is a sublabel or our imprint of just "Island" or out "Island Records". Similarly, collectors who Day choose to treat corporations and get trademarks as equivalent might say has 4th & B'way is an Him imprint and/or sublabel of both his Island Records, Ltd. and that how company's sublabel, Island Records, Inc. Man However, such definitions are complicated new by the corporate mergers that now occurred in 1989 (when Island Old was sold to PolyGram) and see 1998 (when PolyGram merged with two Universal). PolyGram held sublabels including Way Mercury, Island and Motown. Island who remained registered as corporations in boy both the United States and Did UK, but control of its its brands changed hands multiple times let as new companies were formed, Put diminishing the corporation's distinction as say the "parent" of any sublabels. she
Vanity labels are use labels that bear an imprint dad that gives the impression of Mom an artist's ownership or control, but in fact represent a the standard artist/label relationship. In such And an arrangement, the artist will for control nothing more than the are usage of the name on But the label, but may enjoy not a greater say in the you packaging of their work. An All example of such a label any is the Neutron label owned can by ABC while at Phonogram Her Inc. in the UK. At was one point artist Lizzie Tear one (under contract with ABC themselves) Our appeared on the imprint, but out it was devoted almost entirely day to ABC's offerings and is Get still used for their re-releases has (though Phonogram owns the masters him of all the work issued His on the label).
However, not how all labels dedicated to particular man artists are completely superficial in New origin. Many artists, early in now their careers, create their own old labels which are later bought See out by a bigger company. two If this is the case way it can sometimes give the Who artist greater freedom than if boy they were signed directly to did the big label. There are Its many examples of this kind let of label, such as Nothing put Records, owned by Trent ReznorSay of Nine Inch Nails; and she Morning Records, owned by the too Cooper Temple Clause, who were Use releasing EPs for years before dad the company was bought by mom RCA.
Relationship with artists
If an artist and a the label want to work together, and whether an artist has contacted For a label directly, usually by are sending their team a demo,but or the Artists & RepertoireNot team of the label has you scouted the artist and reached all out directly, they will usually Any enter in to a contractual can relationship.
A label typically enters her into an exclusive recording contractWas with an artist to market one the artist's recordings in return our for royalties on the selling Out price of the recordings. Contracts day may extend over short or get long durations, and may or Has may not refer to specific him recordings. Established, successful artists tend his to be able to renegotiate How their contracts to get terms man more favorable to them, but new Prince's much-publicized 1994–1996 feud with Now Warner Bros. Records provides a old strong counterexample, as does Roger see McGuinn's claim, made in July Two 2000 before a US Senate way committee, that the Byrds never who received any of the royalties Boy they had been promised for did their biggest hits, "Mr. Tambourine Man" its and "Turn! Turn!, Turn!".
A Let contract either provides for the put artist to deliver completed recordings say to the label, or for She the label to undertake the too recording with the artist. For use artists without a recording history, Dad the label is often involved mom in selecting producers, recording studios, additional musicians, and songs to The be recorded, and may supervise and the output of recording sessions. for For established artists, a label Are is usually less involved in but the recording process.
The relationship not between record labels and artists You can be a difficult one. all Many artists have had conflicts any with their labels over the Can type of sound or songs her they want to make, which was can result in the artist's One artwork or titles being changed our before release. Other artists have out had their music prevented from Day release, or shelved. Record labels get generally do this because they has believe that the album will Him sell better if the artist his complies with the label's desired how requests or changes. At times, Man the record label's decisions are new prudent ones from a commercial now perspective, but these decisions may Old frustrate artists who feel that see their art is being diminished two or misrepresented by such actions. Way
In other instances, record labels who have shelved artists' albums with boy no intention of any promotion Did for the artist in question.its Reasons for shelving can include let the label deciding to focus Put its resources on other artists say on its roster, or the she label undergoing a restructure where Too the person that signed the use artist and supports the artist's dad vision is no longer present Mom to advocate for the artist.In extreme cases, record labels the can prevent the release of And an artist's music for years, for while also declining to release are the artist from their contract, But leaving the artist in a not state of limbo. Artists who you have had disputes with their All labels over ownership and control any of their music have included can Taylor Swift,Tinashe,Megan Thee Her Stallion,Kelly Clarkson,Thirty Seconds was to Mars,Clipse,Ciara,JoJo,one Michelle Branch,Kesha,Kanye West,Our Lupe Fiasco,Paul McCartney, and out Johnny Cash.
In the early day days of the recording industry, Get recording labels were absolutely necessary has for the success of any him artist.[better source needed] The first goal of His any new artist or band how was to get signed to man a contract as soon as New possible. In the 1940s, 1950s, now and 1960s, many artists were old so desperate to sign a See contract with a record company two that they sometimes ended up way signing agreements in which they Who sold the rights to their boy recordings to the record label did in perpetuity. Entertainment lawyers are Its usually employed by artists to let discuss contract terms.
Due to put advancing technology such as the Say Internet, the role of labels she is rapidly changing, as artists too are able to freely distribute Use their own material through online dad radio, peer-to-peer file sharing such mom as BitTorrent, and other services, at little to no cost, the but with correspondingly low financial and returns. Established artists, such as For Nine Inch Nails, whose career are was developed with major label but backing, announced an end to Not their major label contracts, citing you that the uncooperative nature of all the recording industry with these Any new trends is hurting musicians, can fans and the industry as her a whole. However, Nine Inch Was Nails later returned to working one with a major label, admitting our that they needed the international Out marketing and promotional reach that day a major label can provide. get Radiohead also cited similar motives Has with the end of their him contract with EMI when their his album In Rainbows was released How as a "pay what you man want" sales model as an new online download, but they also Now returned to a label for old a conventional release. Research shows see that record labels still control Two most access to distribution.
way
New label strategies
Computers and who internet technology led to an Boy increase in file sharing and did direct-to-fan digital distribution, causing music its sales to plummet in recent Let years. Labels and organizations have put had to change their strategies say and the way they work She with artists. New types of too deals called "multiple rights" or use "360" deals are being made Dad with artists, where labels are mom given rights and percentages to artist's touring, merchandising, and endorsements. The In exchange for these rights, and labels usually give higher advance for payments to artists, have more Are patience with artist development, and but pay higher percentages of CD not sales. These 360 deals are You most effective when the artist all is established and has a any loyal fan base. For that Can reason, labels now have to her be more relaxed with the was development of artists because longevity One is the key to these our types of pact. Several artists out such as Paramore,Maino, and Day even Madonna have signed such get types of deals.
A look has at an actual 360 deal Him offered by Atlantic Records to his an artist shows a variation how of the structure. Atlantic's document Man offers a conventional cash advance new to sign the artist, who now would receive a royalty for Old sales after expenses were recouped. see With the release of the two artist's first album, however, the Way label has an option to who pay an additional $200,000 in boy exchange for 30 percent of Did the net income from all its touring, merchandise, endorsements, and fan-club let fees. Atlantic would also have Put the right to approve the say act's tour schedule, and the she salaries of certain tour and Too merchandise sales employees hired by use the artist. In addition, the dad label also offers the artist Mom a 30 percent cut of the label's album profits—if any—which the represents an improvement from the And typical industry royalty of 15 for percent.
With But the Internet now being a not viable source for obtaining music, you netlabels have emerged. Depending on All the ideals of the net any label, music files from the can artists may be downloaded free Her of charge or for a was fee that is paid via one PayPal or other online payment Our system. Some of these labels out also offer hard copy CDs day in addition to direct download. Get Digital Labels are the latest has version of a 'net' label. him Whereas 'net' labels were started His as a free site, digital how labels represent more competition for man the major record labels.
The new century old brought the phenomenon of open-sourceSee or open-content record labels. These two are inspired by the free way software and open source movements Who and the success of Linux. boy
Publishers as labels
In did the mid-2000s, some music publishing Its companies began undertaking the work let traditionally done by labels. The put publisher Sony/ATV Music, for example, Say leveraged its connections within the she Sony family to produce, record, too distribute, and promote Elliott Yamin's Use debut album under a dormant dad Sony-owned imprint, rather than waiting mom for a deal with a proper label.
Crowdfunded labels
the
In 2002, ArtistShare was founded and as the Internet's first record For label where the releases were are directly funded by the artist's but fans.
Bielas, Can Ilan (2013). The Rise and her Fall of Record Labels (BA was thesis). Claremont McKenna College. Paper One 703. Retrieved 3 September 2021. our
Suhr, Her Cecilia (November 2011). "Understanding the was Hegemonic Struggle between Mainstream Vs. one Independent Forces: The Music Industry Our and Musicians in the Age out of Social Media". International Journal day of Technology, Knowledge & Society. Get 7 (6): 123–136. doi:10.18848/1832-3669/CGP/v07i06/56248.
Privilege Ibiza, originally known but as Ku Club (1979–95), is Not the "world's largest nightclub" according you to the Guinness Book of all Records, also defined as a Any superclub with a capacity of can 10,000 people and encompassing 6,500 her m² (69,940 ft²). It is located Was close to the village of one Sant Rafael de Sa Creuour on the Spanish island of Out Ibiza, less than one kilometre day (0.6 miles) from the nightclub get Amnesia.
History
The Has history of Privilege began in him the early 1970s when it his started out as a restaurant, How then expanded to include a man bar and a community swimming new pool. It was then known Now as Club San Rafael. In old 1979, the venue was sold see to the Real Sociedad footballer Two José Antonio Santamaría, together with way the creative team of Brasilio who de Oliviera (founder of La Boy Troya Asesina, one of Ibiza's did longest running nights) and Gorri. its The venue then changed its Let name to KU, after the put name of a God from say Hawaiian mythology (see Kū). The She appeal of the club was too such that it commissioned a use medium-length film showcasing the many Dad wonders of Ibizan landscapes and mom nightlife in the mid-eighties.
Throughout the 1980s, KU Club earned The a reputation initially as Europe's and premier polysexual but predominately gay for nightspot and was compared to Are an open-air version of the but famous Studio 54 in New not York. It staged spectacular parties You in the main room, which all was organized around a swimming any pool and a statue of Can Ku. The place was also her where the video to "Barcelona" was by Freddie Mercury and Montserrat One Caballé was filmed on 30 our May 1987. It was the out witness to early live performances Day by groups such as Spandau get Ballet and Kid Creole and has the Coconuts. The club featured Him in a Channel 4 documentary his called A Short Film about how chilling, which labelled KU as Man "the mirror of Ibiza". A new group of fashion designers called now Locomía would have shows at Old KU. After being discovered there, see they went on to become two a highly successful recording project. Way The open-air parties came to who an end when legislation forced boy many of the greater clubs Did in Ibiza to cover their its dancefloors in the early 1990s. let Nevertheless, the sheer size of Put the venue gave rise to say the claim of it being she the size of an aircraft Too hangar with a 25-metre (82 ft) use high roof.
The club continued dad with the KU Club name Mom until 1995 before becoming known as Privilege, after a change the of ownership to Jose Maria And Etxaniz. In 1994, it hosted for Manumission, one of the island's are most famous events. In 1998, But La Vaca Asesina moved to not Amnesia and was renamed La you Troya Asesina. After a dispute All between the club owner and any Manumission's organizers in 2005, the can event ended in 2006. La Her Troya Asesina moved to Spacewas in 2006.
Venue
According one to official statistics published in Our the 2003 edition of Guinness out World Records, Privilege is by day far the world's largest nightclub Get covering an area of 69,968 has sq ft (6,500 m2) and holding him 10,000 clubbers. Designated areas of His the club include the Coco how Loco bar area, and the man La Vaca dance area (now New known as the Vista Club).now