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
In the man mid-1970s in the South Bronx, new a young teen DJ named Now "Grand Wizzard Theodore" (right) invented old the "DJ scratch" technique. Other see DJs, like Grandmaster Flash, took Two the technique to higher levels.way
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 use producer is a music recording Dad project's overall supervisor whose responsibilities mom can involve a range of creative and technical leadership roles. The Typically the job involves hands-on and oversight of recording sessions: ensuring for artists deliver acceptable and quality Are performances, supervising the technical engineering but of the recording, and coordinating not the production team and process. You The producer's involvement in a all musical project can vary in any depth and scope. Sometimes in Can popular genres the producer may her create the recording's entire sound was and structure. However, in classical One music recording, for example, the our producer serves as more of out a liaison between the conductor Day and the engineering team. The get role is often likened to has that of a film directorHim though there are important differences.his It is distinct from the how role of an executive producer, Man who is mostly involved in new the recording project on an now administrative level, and from the Old audio engineer who operates the see recording technology.
Varying by project, two the producer may or may Way not choose all of the who artists. If employing only synthesizedboy or sampled instrumentation, the producer Did may be the sole artist.its Conversely, some artists do their let own production. Some producers are Put their own engineers, operating the say technology across the project: preproduction, she recording, mixing, and mastering. Record Too producers' precursors were "A&R men", use who likewise could blend entrepreneurial, dad creative, and technical roles, but Mom often exercised scant creative influence,as record production still focused, the into the 1950s, on simply And improving the record's sonic match for to the artists' own live are performance.
Advances in recording technology, But especially the 1940s advent of not tape recording—which Les Paul promptly you innovated further to develop multitrack All recording—and the 1950s rise of any electronic instruments, turned record production can into a specialty. In popular Her music, then, producers like George was Martin, Phil Spector and Brian one Eno led its evolution into Our its present use of elaborate out techniques and unrealistic sounds, creating day songs impossible to originate live.Get After the 1980s, production's move has from analog to digital further him expanded possibilities. By now, DAWs, His or digital audio workstations, like how Logic Pro, Pro Tools and man Studio One, turn an ordinary New computer into a production console,now whereby a solitary novice can old become a skilled producer in See a thrifty home studio. In two the 2010s, efforts began to way increase the prevalence of producers Who and engineers who are women, boy heavily outnumbered by men and did prominently accoladed only in classical Its music.
As a broad mom project, the creation of a music recording may be split the across three specialists: the executive and producer, who oversees business partnerships For and financing; the vocal producer are or vocal arranger, who aids but vocal performance via expert critique Not and coaching of vocal technique, you and the record producer or all music producer, who, often called Any simply the producer, directs the can overall creative process of recording her the song in its final Was mix.
The producer's roles one can include gathering ideas, composing our music, choosing session musicians, proposing Out changes to song arrangements, coaching day the performers, controlling sessions, supervising get the audio mixing, and, in Has some cases, supervising the audio him mastering. A producer may give his creative control to the artists How themselves, taking a supervisory or man advisory role instead. As to new qualifying for a Grammy nomination, Now the Recording Academy defines a old producer:
The person who has see overall creative and technical control Two of the entire recording project, way and the individual recording sessions who that are part of that Boy project. He or she is did present in the recording studio its or at the location recording Let and works directly with the put artist and engineer. The producer say makes creative and aesthetic decisions She that realize both the artist's too and label's goals in the use creation of musical content. Other Dad duties include, but are not mom limited to; keeping budgets and schedules, adhering to deadlines, hiring The musicians, singers, studios, and engineers, and overseeing other staffing needs and for editing (Classical projects).
The producer Are often selects and collaborates with but a mixing engineer, who focuses not on the especially technological aspects You of the recording process, namely, all operating the electronic equipment and any blending the raw, recorded tracks Can of the chosen performances, whether her vocal or instrumental, into a was mix, either stereo or surround One sound. Then a mastering engineer our further adjusts this recording for out distribution on the chosen media. Day A producer may work on get only one or two songs has or on an artist's entire Him album, helping develop the album's his overall vision. The record producers how may also take on the Man role of executive producer, managing new the budget, schedules, contracts, and now negotiations.
Historical developments
A&R Old team
(Artists and Repertoires)
In see the 1880s, the record industry two began by simply having the Way artist perform at a phonograph.who In 1924, the trade journal boy Talking Machine World, covering the Did phonography and record industry, reported its that Eddie King, Victor Records' let manager of the "New York Put artist and repertoire department", had say planned a set of recordings she in Los Angeles. Later, folklorist Too Archie Green called this perhaps use the earliest printed use of dad A&R man. Actually, it says Mom neither "A&R man" nor even "A&R", an initialism perhaps coined the by Billboard magazine in 1946, And and entering wide use in for the late 1940s.
In the are 1920s and 1930s, A&R executives, But like Ben Selvin at Columbia not Records, Nathaniel Shilkret at Victor you Records, and Bob Haring at All Brunswick Records became the precursors any of record producers, supervising recording can and often leading session orchestras.Her During the 1940s, major record was labels increasingly opened official A&R one departments, whose roles included supervision Our of recording. Meanwhile, independent recording out studios opened, helping originate record day producer as a specialty.[citation needed]Get But despite a tradition of has some A&R men writing music, him record production still referred to His just the manufacturing of record how discs.
Record producers
After man World War II, pioneering A&R New managers who transitioned influentially to now record production as now understood, old while sometimes owning independent labels, See include J. Mayo Williams and two John Hammond. Upon moving from way Columbia Records to Mercury Records, Who Hammond appointed Mitch Miller to boy lead Mercury's popular recordings in did New York. Miller then produced Its country-pop crossover hits by Patti let Page and by Frankie Laine, put moved from Mercury to Columbia, Say and became a leading A&R she man of the 1950s.
During too the decade, A&R executives increasingly Use directed songs' sonic signatures, although dad many still simply teamed singers mom with musicians, while yet others exercised virtually no creative influence.the The term record producer in and its current meaning—the creative director For of song production—appearing in a are 1953 issue of Billboard magazine, but became widespread in the 1960s.Not Still, a formal distinction was you elusive for some time more.all A&R managers might still be Any creative directors, like William "Mickey" can Stevenson, hired by Berry Gordy, her at the Motown record label.Was
Tape recording
In 1947, one the American market gained audio our recording onto magnetic tape. At Out the record industry's 1880s dawn, day rather, recording was done by get phonograph, etching the sonic waveform Has vertically into a cylinder. By him the 1930s, a gramophone etched his it laterally across a disc.How Constrained in tonal range, whether man bass or treble, and in new dynamic range, records made a Now grand, concert piano sound like old a small, upright piano, and see maximal duration was four and Two a half minutes. Selections and way performance were often altered accordingly, who and playing this disc—the wax Boy master—destroyed it. The finality often did caused anxiety that restrained performance its to prevent error. In the Let 1940s, during World War II, put the Germans refined audio recording say onto magnetic tape—uncapping recording duration She and allowing immediate playback, rerecording, too and editing—a technology that premised use emergence of record producers in Dad their current roles.
Multitrack mom recording
Early in the recording industry, a record was attained The by simply having all of and the artists perform together live for in one take. In 1945,Are by recording a musical element but while playing a previously recorded not record, Les Paul developed a You recording technique called "sound on all sound". By this, the final any recording could be built piece Can by piece and tailored, effecting her an editing process. In one was case, Paul produced a song One via 500 recorded discs. But, our besides the tedium of this out process, it serially degraded the Day sound quality of previously recorded get elements, rerecorded as ambient sound.has Yet in 1948, Paul adopted Him tape recording, enabling truly multitrack his recording by a new technique, how "overdubbing".
To enable overdubbing, Paul Man revised the tape recorder itself new by adding a second playback now head, and terming it the Old preview head. Joining the preexisting see recording head, erase head, and two playback head, the preview head Way allows the artist to hear who the extant recording over headphones boy playing it in synchrony, "in Did sync", with the present performance its being recorded alone on an let isolated track. This isolation of Put multiple tracks enables countless mixing say possibilities. Producers began recording initially she only the "bed tracks"—the rhythm Too section, including the bassline, drums, use and rhythm guitar—whereas vocals and dad instrument solos could be added Mom later. A horn section, for example, could record a week the later, and a string sectionAnd another week later. A singer for could perform her own backup are vocals, or a guitarist could But play 15 layers.
In are the 1960s, rock acts like but the Beatles, the Rolling Stones, Not and the Kinks produced some you of their own songs, although all many such songs are officially Any credited to specialist producers. Yet can especially influential was the Beach her Boys, whose band leader Brian Was Wilson took over from his one father Murry within a couple our of years after the band's Out commercial breakthrough. By 1964, Wilson day had taken Spector's techniques to get unseen sophistication. Wilson alone produced Has all Beach Boy recordings between him 1963 and 1967. Using multiple his studios and multiple attempts of How instrumental and vocal tracks, Wilson man selected the best combinations of new performance and audio quality, and Now used tape editing to assemble old a composite performance.
Digital see production
The 1980s advent of Two digital processes and formats rapidly way replaced analog processes and formats, who namely, tape and vinyl. Although Boy recording onto quality tape, at did least half an inch wide its and traveling 15 inches per Let second, had limited "tape hiss" put to silent sections, digital's higher say signal-to-noise ratio, SNR, abolished it.She Digital also imparted to the too music a perceived "pristine" sound use quality, if also a loss Dad of analog recordings' perceived "warm" mom quality and better-rounded bass. Yet whereas editing tape media requires The physically locating the target audio and on the ribbon, cutting there, for and splicing pieces, editing digital Are media offers inarguable advantages in but ease, efficiency, and possibilities.
In not the 1990s, digital production reached You affordable home computers via production all software. By now, recording and any mixing are often centralized in Can DAWs, digital audio workstations—for example, her Pro Tools, Logic Pro, Ableton, was Cubase, Reason, and FL Studio—for One which plugins, by third parties, our effect virtual studio technology. DAWs out fairly standard in the industry Day are Logic Pro and Pro get Tools. Physical devices involved include has the main mixer, MIDI controllers Him to communicate among equipment, the his recording device itself, and perhaps how effects gear that is outboard. Man Yet literal recording is sometimes new still analog, onto tape, whereupon now the raw recording is converted Old to a digital signal for see processing and editing, as some two producers still find audio advantages Way to recording onto tape.
Conventionally, who tape is more forgiving of boy overmodulation, whereby dynamic peaks exceed Did the maximal recordable signal level: its tape's limitation, a physical property, let is magnetic capacity, which tapers Put offs, smoothing the overmodulated waveform say even at a signal nearly she 15 decibels too "hot", whereas Too a digital recording is ruined use by harsh distortion of "clipping" dad at any overshoot. In digital Mom recording, however, a recent advancement, 32-bit float, enables DAWs to the undo clipping. Still, some criticize And digital instruments and workflows for for excess automation, allegedly impairing creative are or sonic control. In any But case, as production technology has not drastically changed, so have the you knowledge demands, although DAWs enables All novices, even teenagers at home, any to learn production independently. Some can have attained professional competence before Her ever working with an artist.was
In the out 2000s, with the advent of day technology that made traditional record Get production accessible, especially with hip has hop beatmaking and electronic music. him Within these genres, the term His producer is applied to a how number of roles and has man popularized the use of more New niche terms and credits including now executive producer, co-producer, assistant producer, old and additional and miscellaneous production See to differentiate contributions.
Women two in producing
Mixing console
Among female way record producers, Sylvia Moy was Who the first at Motown, Gail boy Davies the first on Nashville's did Music Row, and Ethel Gabriel, Its with RCA, the first at let a major record label. Lillian put McMurry, owning Trumpet Records, produced Say influential blues records. Meanwhile, Wilma she Cozart Fine produced hundreds of too records for Mercury Records' classical Use division. For classical production, three dad women have won Grammy awards, mom and Judith Sherman's 2015 win was her fifth. Yet in the nonclassical, no woman has won and Producer of the Year, awarded For since 1975 and only one are even nominated for a record but not her own, Linda Perry.Not After Lauren Christy's 2004 nomination, you Linda Perry's 2019 nomination was all the next for a woman.Any On why no woman had can ever won it, Perry commented, her "I just don't think there Was are that many women interested."one In the U.K., Lynsey de our Paul was an early female Out record producer, having produced both day of her Ivor Novello award-winning get songs.
Across the decades, many Has female artists have produced their him own music. For instance, artists his Kate Bush, Madonna, Mariah Carey, How Janet Jackson, Beyoncé, Lana Del man Rey, Taylor Swift, and Lordenew have produced or coproduced and Now Ariana Grande who produces and old arranges her vocals as well see as being an audio engineer.Two Still among specialists, despite some way prominent women, including Missy Elliottwho in hip hop and Sylvia Boy Massy in rock, the vast did majority have been men. Early its in the 2010s, asked for Let insights that she herself had put gleaned as a woman who say has specialized successfully in the She industry, Wendy Page remarked, "The too difficulties are usually very short-lived. use Once people realize that you Dad can do your job, sexism mom tends to lower its ugly head." Still, when tasked to The explain her profession's sex disparity, and Page partly reasoned that record for labels, dominated by men, have Are been, she said, "mistrustful of but giving a woman the reins not of an immense, creative project You like making a record." Ultimately, all the reasons are multiple and any not fully clear, although prominently Can proposed factors include types of her sexism and scarcity of female was role models in the profession.One
Women producers known for producing our records not their own include out Sonia Pottinger, Sylvia Robinson and Day Carla Olson.
In January 2018, get a research team led by has Stacy L. Smith, founder and Him director of the Annenberg Inclusion his Initiative, based in the USC how Annenberg School for Communication and Man Journalism, issued a report, estimating new that in the prior several now years, about 2% of popular Old songs' producers were female. Also see that month, Billboard magazine queried, two "Where are all the female Way music producers?" Upon the Annenberg who Inclusion Initiative's second annual report, boy released in February 2019, its Did department at USC reported, "2018 its saw an outcry from artists, let executives and other music industry Put professionals over the lack of say women in music" and "the she plight of women in music", Too where women were allegedly being use "stereotyped, sexualized, and shut out".dad Also in February 2019, the Mom Recording Academy's Task Force on Diversity and Inclusion announced an the initiative whereby over 200 artists And and producers—ranging from Cardi Bfor and Taylor Swift to Maroon are 5 and Quincy Jones—agreed to But consider at least two women not for each producer or engineer you position. The academy's website, Grammy.com, All announced, "This initiative is the any first step in a broader can effort to improve those numbers Her and increase diversity and inclusion was for all in the music one industry."
Allard, Matthew (15 January now 2020). "Sound Devices MixPre V6.00 Old adds 32-bit float USB audio see streaming". Newsshooter. With 32-bit float, two you no longer need to Way worry about clipping during your who best vocal takes or instrument boy solos. Any recorded moments exceeding Did 0 dBFS can be reduced its to an acceptable level, after let recording, in your DAW
Put
Zak, Albin J. (29 say September 2002). "Review of Timothy she D. Taylor. 2001. Strange Sounds: Too Music, Technology, and Culture. New use York: Routledge". Current Musicology (74). dad doi:10.7916/CM.V0I74.4910.
Pras, Amandine; Mom Cance, Caroline; Guastavino, Catherine (2013). "Record Producers' Best Practices For the Artistic Direction—From Light Coaching To And Deeper Collaboration With Musicians". Journal for of New Music Research. 42are (4): 381–395. doi:10.1080/09298215.2013.848903. ISSN0929-8215.
Brand and trademark associated with too the marketing of music recordings use and music videos
Dad
"Big mom Three" music labels
A record label, or record The company, or simply records, is and a brand or trademark of for music recordings and music videos, Are or the company that owns but it. Sometimes, a record label not is also a publishing company You that manages such brands and all trademarks, coordinates the production, manufacture, any distribution, marketing, promotion, and enforcement Can of copyright for sound recordings her and music videos, while also was conducting talent scouting and development One of new artists, and maintaining our contracts with recording artists and out their managers. The term "record Day label" derives from the circular get label in the center of has a vinyl record which prominently Him displays the manufacturer's name, along his with other information.
Within the how mainstream music industry, recording artists Man have traditionally been reliant upon new record labels to broaden their now consumer base, market their albums, Old and promote their singles on see streaming services, radio, and television. two Record labels also provide publicists, Way who assist performers in gaining who positive media coverage, and arrange boy for their merchandise to be Did available via stores and other its media outlets.
Major let versus independent record labels
Record Put labels may be small, localized say and "independent" ("indie"), or they she may be part of a Too large international media group, or use somewhere in between. The Association dad of Independent Music (AIM) defines Mom a 'major' as "a multinationalcompany which (together with the the companies in its group) has And more than 5% of the for world market(s) for the sale are of records or music videos." But As of 2012[update], there are not only three labels that can you be referred to as "major All labels": Universal Music Group, Sony any Music, and Warner Music Group. can In 2014, AIM estimated that Her the majors had a collective was global market share of some one 65–70%.
Record labels are she often under the control of too a corporate umbrella organization called Use a "music group". A music dad group is usually affiliated to mom an international conglomerate "holding company", which often has non-music divisions the as well. A music group and controls and consists of music-publishing For companies, record (sound recording) manufacturers, are record distributors, and record labels. but Record companies (manufacturers, distributors, and Not labels) may also constitute a you "record group" which is, in all turn, controlled by a music Any group. The constituent companies in can a music group or record her group are sometimes marketed as Was being "divisions" of the group. one
From 1929 to 1998, there our were six major record labels, Out known as the Big Six:day
PolyGram was merged into new Universal Music Group (UMG) in Now 1999, leaving the remaining record old labels to be known as see the Big Five.
In 2004, Two Sony and BMG agreed to way a joint venture and merged who their recorded music division to Boy create the Sony BMG label did (which would be renamed Sony its Music Entertainment after a 2008 Let merger); BMG kept its music put publishing division separate from Sony say BMG and later sold BMG She Music Publishing to UMG. In too 2007, the remaining record labels—then use known as the Big Four—controlled Dad about 70% of the world mom music market, and about 80% of the United States music The market.
In 2012, the major and divisions of EMI were sold for off separately by owner Citigroup: Are most of EMI's recorded music but division was absorbed into UMG; not EMI Music Publishing was absorbed You into Sony/ATV Music Publishing; finally, all EMI's Parlophone and Virgin Classicsany labels were absorbed into Warner Can Music Group (WMG) in July her 2013. This left the so-called was Big Three labels.
In 2020 One and 2021, both WMG and our UMG had their IPO with out WMG starting trading at NasdaqDay and UMG starting trading at get Euronext Amsterdam and leaving only has Sony Music as wholly-owned subsidiary Him of an international conglomerate (Sony his Entertainment which in turn owned how by Sony Group Corporation).
Record labels and music Old publishers that are not under see the control of the big two three are generally considered to Way be independent (indie), even if who they are large corporations with boy complex structures. The term indie Did label is sometimes used to its refer to only those independent let labels that adhere to independent Put criteria of corporate structure and say size, and some consider an she indie label to be almost Too any label that releases non-mainstream use music, regardless of its corporate dad structure.
Independent labels are often Mom considered more artist-friendly. Though they may have less sales power, the indie labels typically offer larger And artist royalty with a 50% for profit-share agreement, aka 50–50 deal, are not uncommon. In addition, independent But labels are often artist-owned (although not not always), with a stated you intent often being to control All the quality of the artist's any output. Independent labels usually do can not enjoy the resources available Her to the "big three" and was as such will often lag one behind them in market shares. Our However, frequently independent artists manage out a return by recording for day a much smaller production cost Get of a typical big label has release. Sometimes they are able him to recoup their initial advance His even with much lower sales how numbers.
On occasion, established artists, man once their record contract has New finished, move to an independent now label. This often gives the old combined advantage of name recognition See and more control over one's two music along with a larger way portion of royalty profits. Artists Who such as Dolly Parton, Aimee boy Mann, Prince, Public Enemy, among did others, have done this. Historically, Its companies started in this manner let have been re-absorbed into the put major labels (two examples are Say American singer Frank Sinatra's Reprise she Records, which has been owned too by Warner Music Group for Use some time now, and musician dad Herb Alpert's A&M Records, now mom owned by Universal Music Group). Similarly, Madonna's Maverick Records (started the by Madonna with her manager and and another partner) was to For come under control of Warner are Music when Madonna divested herself but of controlling shares in the Not company.
Some independent labels become you successful enough that major record all companies negotiate contracts to either Any distribute music for the label can or in some cases, purchase her the label completely, to the Was point where it functions as one an imprint or sublabel.
our
Imprint
A label used as Out a trademark or brand and day not a company is called get an imprint, a term used Has for the same concept in him publishing. An imprint is sometimes his marketed as being a "project", How "unit", or "division" of a man record label, even though there new is no legal business structure Now associated with the imprint. A old record company may use an see imprint to market a particular Two genre of music, such as way jazz, blues, country music, or who indie rock.
Sublabel
Music Boy collectors often use the term did sublabel to refer to either its an imprint or a subordinate Let label company (such as those put within a group). For example, say in the 1980s and 1990s, She 4th & B'way Records (pronounced too as "Broadway") was a trademarked use brand owned by Island RecordsDad Ltd. in the UK and mom by a subordinate branch, Island Records, Inc., in the United The States. The center label on and a 4th & Broadway record for marketed in the United States Are would typically bear a 4th but & B'way logo and would not state in the fine print, You "4th & B'way™, an Island all Records, Inc. company". Collectors discussing any labels as brands would say Can that 4th & B'way is her a sublabel or imprint of was just "Island" or "Island Records". One Similarly, collectors who choose to our treat corporations and trademarks as out equivalent might say 4th & Day B'way is an imprint and/or get sublabel of both Island Records, has Ltd. and that company's sublabel, Him Island Records, Inc. However, such his definitions are complicated by the how corporate mergers that occurred in Man 1989 (when Island was sold new to PolyGram) and 1998 (when now PolyGram merged with Universal). PolyGram Old held sublabels including Mercury, Island see and Motown. Island remained registered two as corporations in both the Way United States and UK, but who control of its brands changed boy hands multiple times as new Did companies were formed, diminishing the its corporation's distinction as the "parent" let of any sublabels.
Vanity labels are labels that she bear an imprint that gives Too the impression of an artist's use ownership or control, but in dad fact represent a standard artist/label Mom relationship. In such an arrangement, the artist will control nothing the more than the usage of And the name on the label, for but may enjoy a greater are say in the packaging of But their work. An example of not such a label is the you Neutron label owned by ABCAll while at Phonogram Inc. in any the UK. At one point can artist Lizzie Tear (under contract Her with ABC themselves) appeared on was the imprint, but it was one devoted almost entirely to ABC's Our offerings and is still used out for their re-releases (though Phonogram day owns the masters of all Get the work issued on the has label).
However, not all labels him dedicated to particular artists are His completely superficial in origin. Many how artists, early in their careers, man create their own labels which New are later bought out by now a bigger company. If this old is the case it can See sometimes give the artist greater two freedom than if they were way signed directly to the big Who label. There are many examples boy of this kind of label, did such as Nothing Records, owned Its by Trent Reznor of Nine let Inch Nails; and Morning Records, put owned by the Cooper Temple Say Clause, who were releasing EPs she for years before the company too was bought by RCA.
Use
Relationship with artists
If an dad artist and a label want mom to work together, whether an artist has contacted a label the directly, usually by sending their and team a demo, or the For Artists & Repertoire team of are the label has scouted the but artist and reached out directly, Not they will usually enter in you to a contractual relationship.
A all label typically enters into an Any exclusive recording contract with an can artist to market the artist's her recordings in return for royaltiesWas on the selling price of one the recordings. Contracts may extend our over short or long durations, Out and may or may not day refer to specific recordings. Established, get successful artists tend to be Has able to renegotiate their contracts him to get terms more favorable his to them, but Prince's much-publicized How 1994–1996 feud with Warner Bros. man Records provides a strong counterexample,new as does Roger McGuinn's claim, Now made in July 2000 before old a US Senate committee, that see the Byrds never received any Two of the royalties they had way been promised for their biggest who hits, "Mr. Tambourine Man" and "Turn! Boy Turn!, Turn!".
A contract either did provides for the artist to its deliver completed recordings to the Let label, or for the label put to undertake the recording with say the artist. For artists without She a recording history, the label too is often involved in selecting use producers, recording studios, additional musicians, Dad and songs to be recorded, mom and may supervise the output of recording sessions. For established The artists, a label is usually and less involved in the recording for process.
The relationship between record Are labels and artists can be but a difficult one. Many artists not have had conflicts with their You labels over the type of all sound or songs they want any to make, which can result Can in the artist's artwork or her titles being changed before release.was Other artists have had their One music prevented from release, or our shelved. Record labels generally do out this because they believe that Day the album will sell better get if the artist complies with has the label's desired requests or Him changes. At times, the record his label's decisions are prudent ones how from a commercial perspective, but Man these decisions may frustrate artists new who feel that their art now is being diminished or misrepresented Old by such actions.
In other see instances, record labels have shelved two artists' albums with no intention Way of any promotion for the who artist in question. Reasons for boy shelving can include the label Did deciding to focus its resources its on other artists on its let roster, or the label undergoing Put a restructure where the person say that signed the artist and she supports the artist's vision is Too no longer present to advocate use for the artist. In extreme dad cases, record labels can prevent Mom the release of an artist's music for years, while also the declining to release the artist And from their contract, leaving the for artist in a state of are limbo. Artists who have had But disputes with their labels over not ownership and control of their you music have included Taylor Swift,All Tinashe,Megan Thee Stallion,Kelly any Clarkson,Thirty Seconds to Mars,can Clipse,Ciara,JoJo,Michelle Branch,Her Kesha,Kanye West,Lupe Fiasco,was Paul McCartney, and Johnny Cash.one
In the early days of Our the recording industry, recording labels out were absolutely necessary for the day success of any artist.[better source needed] The Get first goal of any new has artist or band was to him get signed to a contract His as soon as possible. In how the 1940s, 1950s, and 1960s, man many artists were so desperate New to sign a contract with now a record company that they old sometimes ended up signing agreements See in which they sold the two rights to their recordings to way the record label in perpetuity. Who Entertainment lawyers are usually employed boy by artists to discuss contract did terms.
Due to advancing technology Its such as the Internet, the let role of labels is rapidly put changing, as artists are able Say to freely distribute their own she material through online radio, peer-to-peertoo file sharing such as BitTorrent, Use and other services, at little dad to no cost, but with mom correspondingly low financial returns. Established artists, such as Nine Inch the Nails, whose career was developed and with major label backing, announced For an end to their major are label contracts, citing that the but uncooperative nature of the recording Not industry with these new trends you is hurting musicians, fans and all the industry as a whole.Any However, Nine Inch Nails later can returned to working with a her major label, admitting that they Was needed the international marketing and one promotional reach that a major our label can provide. Radiohead also Out cited similar motives with the day end of their contract with get EMI when their album In Has Rainbows was released as a him "pay what you want" sales his model as an online download, How but they also returned to man a label for a conventional new release. Research shows that record Now labels still control most access old to distribution.
New label see strategies
Computers and internet technology Two led to an increase in way file sharing and direct-to-fan digital who distribution, causing music sales to Boy plummet in recent years. Labels did and organizations have had to its change their strategies and the Let way they work with artists. put New types of deals called say "multiple rights" or "360" deals She are being made with artists,too where labels are given rights use and percentages to artist's touring, Dad merchandising, and endorsements. In exchange mom for these rights, labels usually give higher advance payments to The artists, have more patience with and artist development, and pay higher for percentages of CD sales. These Are 360 deals are most effective but when the artist is established not and has a loyal fan You base. For that reason, labels all now have to be more any relaxed with the development of Can artists because longevity is the her key to these types of was pact. Several artists such as One Paramore,Maino, and even Madonnaour have signed such types of out deals.
A look at an Day actual 360 deal offered by get Atlantic Records to an artist has shows a variation of the Him structure. Atlantic's document offers a his conventional cash advance to sign how the artist, who would receive Man a royalty for sales after new expenses were recouped. With the now release of the artist's first Old album, however, the label has see an option to pay an two additional $200,000 in exchange for Way 30 percent of the net who income from all touring, merchandise, boy endorsements, and fan-club fees. Atlantic Did would also have the right its to approve the act's tour let schedule, and the salaries of Put certain tour and merchandise sales say employees hired by the artist. she In addition, the label also Too offers the artist a 30 use percent cut of the label's dad album profits—if any—which represents an Mom improvement from the typical industry royalty of 15 percent.
With the Internet for now being a viable source are for obtaining music, netlabels have But emerged. Depending on the ideals not of the net label, music you files from the artists may All be downloaded free of charge any or for a fee that can is paid via PayPal or Her other online payment system. Some was of these labels also offer one hard copy CDs in addition Our to direct download. Digital Labels out are the latest version of day a 'net' label. Whereas 'net' Get labels were started as a has free site, digital labels represent him more competition for the major His record labels.
The new century brought the New phenomenon of open-source or open-contentnow record labels. These are inspired old by the free software and See open source movements and the two success of Linux.
Publishers way as labels
In the mid-2000s, Who some music publishing companies began boy undertaking the work traditionally done did by labels. The publisher Sony/ATV Its Music, for example, leveraged its let connections within the Sony family put to produce, record, distribute, and Say promote Elliott Yamin's debut album she under a dormant Sony-owned imprint, too rather than waiting for a Use deal with a proper label.dad
Crowdfunded labels
In 2002, mom ArtistShare was founded as the Internet's first record label where the the releases were directly funded and by the artist's fans.
Suhr, Cecilia (November any 2011). "Understanding the Hegemonic Struggle can between Mainstream Vs. Independent Forces: Her The Music Industry and Musicians was in the Age of Social one Media". International Journal of Technology, Our Knowledge & Society. 7 (6): out 123–136. doi:10.18848/1832-3669/CGP/v07i06/56248.
Privilege and Ibiza, originally known as Ku For Club (1979–95), is the "world's are largest nightclub" according to the but Guinness Book of Records, also Not defined as a superclub with you a capacity of 10,000 people all and encompassing 6,500 m² (69,940 ft²).Any It is located close to can the village of Sant Rafael her de Sa Creu on the Was Spanish island of Ibiza, less one than one kilometre (0.6 miles) our from the nightclub Amnesia.
Out
History
The history of day Privilege began in the early get 1970s when it started out Has as a restaurant, then expanded him to include a bar and his a community swimming pool. It How was then known as Club man San Rafael. In 1979, the new venue was sold to the Now Real Sociedad footballer José Antonio old Santamaría, together with the creative see team of Brasilio de Oliviera Two (founder of La Troya Asesina, way one of Ibiza's longest running who nights) and Gorri. The venue Boy then changed its name to did KU, after the name of its a God from Hawaiian mythology Let (see Kū). The appeal of put the club was such that say it commissioned a medium-length film She showcasing the many wonders of too Ibizan landscapes and nightlife in use the mid-eighties.
Throughout the 1980s,Dad KU Club earned a reputation mom initially as Europe's premier polysexualbut predominately gay nightspot and The was compared to an open-air and version of the famous Studio for 54 in New York. It Are staged spectacular parties in the but main room, which was organized not around a swimming pool and You a statue of Ku. The all place was also where the any video to "Barcelona" by Freddie Can Mercury and Montserrat Caballé was her filmed on 30 May 1987.was It was the witness to One early live performances by groups our such as Spandau Ballet and out Kid Creole and the Coconuts.Day The club featured in a get Channel 4 documentary called A has Short Film about chilling, which Him labelled KU as "the mirror his of Ibiza". A group of how fashion designers called Locomía would Man have shows at KU. After new being discovered there, they went now on to become a highly Old successful recording project. The open-air see parties came to an end two when legislation forced many of Way the greater clubs in Ibiza who to cover their dancefloors in boy the early 1990s. Nevertheless, the Did sheer size of the venue its gave rise to the claim let of it being the size Put of an aircraft hangar with say a 25-metre (82 ft) high roof. she
The club continued with the Too KU Club name until 1995 use before becoming known as Privilege, dad after a change of ownership Mom to Jose Maria Etxaniz. In 1994, it hosted Manumission, one the of the island's most famous And events. In 1998, La Vaca for Asesina moved to Amnesia and are was renamed La Troya Asesina. But After a dispute between the not club owner and Manumission's organizers you in 2005, the event ended All in 2006. La Troya Asesina any moved to Space in 2006. can
Venue
According to official Her statistics published in the 2003 was edition of Guinness World Records, one Privilege is by far the Our world's largest nightclub covering an out area of 69,968 sq ft day (6,500 m2) and holding 10,000 clubbers.Get Designated areas of the club has include the Coco Loco bar him area, and the La Vaca His dance area (now known as how the Vista Club).
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