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."
^ Virgil Moorefield, "Introduction", Who The Producer as Composer: Shaping boy the Sounds of Popular Musicdid (Cambridge, MA & London, UK: Its MIT Press, 2005).
^ too Allan Watson, Cultural Production in Use and Beyond the Recording Studiodad (New York: Routledge, 2015), pp mom 25–27.
James Petulla, "Who is a music producer?", the RecordingConnection.com, Recording Connection, 21 May and 2013, reporting membership in CAPPS, For the California Association of Private are Postsecondary Schools.
^ Brent Hurtig with our J. D. Sharp, Multi-Track Recording Out for Musicians: The Complete Step-by-Step day Guide for Beginners and Reference get for Professionals (Cupertino, CA: GPI Has Publications, 1988 / Van Nuys, him CA: Alfred Publishing, 1988), pp his 8–10.
^ Brian our Ward & Patrick Huber, A&R out Pioneers: Architects of American Roots Day Music on Record (Nashville, TN: get Vanderbilt University Press, 2018), pp has 20–21.
Brian Ward Him & Patrick Huber, A&R Pioneers: his Architects of American Roots Music how on Record (Nashville, TN: Vanderbilt Man University Press, 2018), p 283.new
Jim Curtis, Rock now Eras: Interpretation of Music & Old Society, 1954–1984 (Bowling Green, OH: see Bowling Green State University Popular two Press, 1987), p 43.
Way
^ Richard James Burgess, who The History of Music Productionboy (New York: Oxford University Press, Did 2014), pp 50–54.
^ its Robert Philip, "Pianists on let record in the early twentieth Put century", in David Rowland, ed., say The Cambridge Companion to the she Piano (Cambridge, UK: Cambridge University Too Press, 1998), pp 75–77.
use
^ David Simmons, Analog dad Recording: Using Analog Gear in Mom Today's Home Studio (San Francisco: Backbeat Books, 2006), pp 26–27.the
Matthew Allard, "Sound And Devices MixPre V6.00 adds 32-bit for float USB audio streaming", NewsShooter.com, are Newsshooter, 15 Jan 2020, quotes But Paul Isaacs, director of product not management and design at the you recorder manufacturer Sound Devices, who All explains, "With 32-bit float, you any no longer need to worry can about clipping during your best Her vocal takes or instrument solos. was Any recorded moments exceeding 0 one dBFS can be reduced to Our an acceptable level, after recording, out in your DAW".
day Albin Zak III, book review: Get Strange Sounds: Music, Technology, and has culture (Routledge, 2011), by Timothy him D. Taylor, in Current Musicology, His pp 159–180 [unknown year, volume, how issue].
Brand and trademark associated Way with the marketing of music who recordings and music videos
boy
Did "Big Three" music labels
its
A record label, or let record company, or simply records, Put is a brand or trademarksay of music recordings and music she videos, or the company that Too owns it. Sometimes, a record use label is also a publishingdad company that manages such brands Mom and trademarks, coordinates the production, manufacture, distribution, marketing, promotion, and the enforcement of copyright for sound And recordings and music videos, while for also conducting talent scouting and are development of new artists, and But maintaining contracts with recording artists not and their managers. The term you "record label" derives from the All circular label in the center any of a vinyl record which can prominently displays the manufacturer's name, Her along with other information.
Within was the mainstream music industry, recording one artists have traditionally been reliant Our upon record labels to broaden out their consumer base, market their day albums, and promote their singles Get on streaming services, radio, and has television. Record labels also provide him publicists, who assist performers in His gaining positive media coverage, and how arrange for their merchandise to man be available via stores and New other media outlets.
now
Major versus independent record labels
old
Record labels may be small, See localized and "independent" ("indie"), or two they may be part of way a large international media group, Who or somewhere in between. The boy Association of Independent Music (AIM) did defines a 'major' as "a Its multinational company which (together with let the companies in its group) put has more than 5% of Say the world market(s) for the she sale of records or music too videos." As of 2012[update], there Use are only three labels that dad can be referred to as mom "major labels": Universal Music Group, Sony Music, and Warner Music the Group. In 2014, AIM estimated and that the majors had a For collective global market share of are some 65–70%.
Record labels Two are often under the control way of a corporate umbrella organization who called a "music group". A Boy music group is usually affiliated did to an international conglomerate "holding its company", which often has non-music Let divisions as well. A music put group controls and consists of say music-publishing companies, record (sound recording) She manufacturers, record distributors, and record too labels. Record companies (manufacturers, distributors, use and labels) may also constitute Dad a "record group" which is, mom in turn, controlled by a music group. The constituent companies The in a music group or and record group are sometimes marketed for as being "divisions" of the Are group.
From 1929 to 1998, but there were six major record not labels, known as the Big You Six:
PolyGram was merged our into Universal Music Group (UMG) out in 1999, leaving the remaining Day record labels to be known get as the Big Five.
In has 2004, Sony and BMG agreed Him to a joint venture and his merged their recorded music division how to create the Sony BMGMan label (which would be renamed new Sony Music Entertainment after a now 2008 merger); BMG kept its Old music publishing division separate from see Sony BMG and later sold two BMG Music Publishing to UMG. Way In 2007, the remaining record who labels—then known as the Big boy Four—controlled about 70% of the Did world music market, and about its 80% of the United States let music market.
In 2012, the Put major divisions of EMI were say sold off separately by owner she Citigroup: most of EMI's recorded Too music division was absorbed into use UMG; EMI Music Publishing was dad absorbed into Sony/ATV Music Publishing; Mom finally, EMI's Parlophone and Virgin Classics labels were absorbed into the Warner Music Group (WMG) in And July 2013. This left the for so-called Big Three labels.
In are 2020 and 2021, both WMG But and UMG had their IPOnot with WMG starting trading at you Nasdaq and UMG starting trading All at Euronext Amsterdam and leaving any only Sony Music as wholly-owned can subsidiary of an international conglomerate Her (Sony Entertainment which in turn was owned by Sony Group Corporation). one
Record labels and day music publishers that are not Get under the control of the has big three are generally considered him to be independent (indie), even His if they are large corporations how with complex structures. The term man indie label is sometimes used New to refer to only those now independent labels that adhere to old independent criteria of corporate structure See and size, and some consider two an indie label to be way almost any label that releases Who non-mainstream music, regardless of its boy corporate structure.
Independent labels are did often considered more artist-friendly. Though Its they may have less sales let power, indie labels typically offer put larger artist royalty with a Say 50% profit-share agreement, aka 50–50 she deal, not uncommon. In addition, too independent labels are often artist-owned Use (although not always), with a dad stated intent often being to mom control the quality of the artist's output. Independent labels usually the do not enjoy the resources and available to the "big three" For and as such will often are lag behind them in market but shares. However, frequently independent artists Not manage a return by recording you for a much smaller production all cost of a typical big Any label release. Sometimes they are can able to recoup their initial her advance even with much lower Was sales numbers.
On occasion, established one artists, once their record contract our has finished, move to an Out independent label. This often gives day the combined advantage of name get recognition and more control over Has one's music along with a him larger portion of royalty profits. his Artists such as Dolly Parton, How Aimee Mann, Prince, Public Enemy, man among others, have done this. new Historically, companies started in this Now manner have been re-absorbed into old the major labels (two examples see are American singer Frank Sinatra's Two Reprise Records, which has been way owned by Warner Music Groupwho for some time now, and Boy musician Herb Alpert's A&M Records, did now owned by Universal Music its Group). Similarly, Madonna's Maverick Records Let (started by Madonna with her put manager and another partner) was say to come under control of She Warner Music when Madonna divestedtoo herself of controlling shares in use the company.
Some independent labels Dad become successful enough that major mom record companies negotiate contracts to either distribute music for the The label or in some cases, and purchase the label completely, to for the point where it functions Are as an imprint or sublabel. but
Imprint
A label used not as a trademark or brand You and not a company is all called an imprint, a term any used for the same concept Can in publishing. An imprint is her sometimes marketed as being a was "project", "unit", or "division" of One a record label, even though our there is no legal business out structure associated with the imprint. Day A record company may use get an imprint to market a has particular genre of music, such Him as jazz, blues, country music, his or indie rock.
Sublabel
how
Music collectors often use the Man term sublabel to refer to new either an imprint or a now subordinate label company (such as Old those within a group). For see example, in the 1980s and two 1990s, 4th & B'way RecordsWay (pronounced as "Broadway") was a who trademarked brand owned by Island boy Records Ltd. in the UK Did and by a subordinate branch, its Island Records, Inc., in the let United States. The center label Put on a 4th & Broadway say record marketed in the United she States would typically bear a Too 4th & B'way logo and use would state in the fine dad print, "4th & B'way™, an Mom Island Records, Inc. company". Collectors discussing labels as brands would the say that 4th & B'way And is a sublabel or imprint for of just "Island" or "Island are Records". Similarly, collectors who choose But to treat corporations and trademarks not as equivalent might say 4th you & B'way is an imprint All and/or sublabel of both Island any Records, Ltd. and that company's can sublabel, Island Records, Inc. However, Her such definitions are complicated by was the corporate mergers that occurred one in 1989 (when Island was Our sold to PolyGram) and 1998 out (when PolyGram merged with Universal). day PolyGram held sublabels including Mercury, Get Island and Motown. Island remained has registered as corporations in both him the United States and UK, His but control of its brands how changed hands multiple times as man new companies were formed, diminishing New the corporation's distinction as the now "parent" of any sublabels.
Vanity labels are labels two that bear an imprint that way gives the impression of an Who artist's ownership or control, but boy in fact represent a standard did artist/label relationship. In such an Its arrangement, the artist will control let nothing more than the usage put of the name on the Say label, but may enjoy a she greater say in the packaging too of their work. An example Use of such a label is dad the Neutron label owned by mom ABC while at Phonogram Inc.in the UK. At one the point artist Lizzie Tear (under and contract with ABC themselves) appeared For on the imprint, but it are was devoted almost entirely to but ABC's offerings and is still Not used for their re-releases (though you Phonogram owns the masters of all all the work issued on Any the label).
However, not all can labels dedicated to particular artists her are completely superficial in origin. Was Many artists, early in their one careers, create their own labels our which are later bought out Out by a bigger company. If day this is the case it get can sometimes give the artist Has greater freedom than if they him were signed directly to the his big label. There are many How examples of this kind of man label, such as Nothing Records, new owned by Trent Reznor of Now Nine Inch Nails; and Morning old Records, owned by the Cooper see Temple Clause, who were releasing Two EPs for years before the way company was bought by RCA. who
Relationship with artists
If Boy an artist and a label did want to work together, whether its an artist has contacted a Let label directly, usually by sending put their team a demo, or say the Artists & Repertoire team She of the label has scouted too the artist and reached out use directly, they will usually enter Dad in to a contractual relationship. mom
A label typically enters into an exclusive recording contract with The an artist to market the and artist's recordings in return for for royalties on the selling price Are of the recordings. Contracts may but extend over short or long not durations, and may or may You not refer to specific recordings. all Established, successful artists tend to any be able to renegotiate their Can contracts to get terms more her favorable to them, but Prince's was much-publicized 1994–1996 feud with Warner One Bros. Records provides a strong our counterexample, as does Roger McGuinn's out claim, made in July 2000 Day before a US Senate committee, get that the Byrds never received has any of the royalties they Him had been promised for their his biggest hits, "Mr. Tambourine Man" and how "Turn! Turn!, Turn!".
A contract Man either provides for the artist new to deliver completed recordings to now the label, or for the Old label to undertake the recording see with the artist. For artists two without a recording history, the Way label is often involved in who selecting producers, recording studios, additional boy musicians, and songs to be Did recorded, and may supervise the its output of recording sessions. For let established artists, a label is Put usually less involved in the say recording process.
The relationship between she record labels and artists can Too be a difficult one. Many use artists have had conflicts with dad their labels over the type Mom of sound or songs they want to make, which can the result in the artist's artwork And or titles being changed before for release. Other artists have had are their music prevented from release, But or shelved. Record labels generally not do this because they believe you that the album will sell All better if the artist complies any with the label's desired requests can or changes. At times, the Her record label's decisions are prudent was ones from a commercial perspective, one but these decisions may frustrate Our artists who feel that their out art is being diminished or day misrepresented by such actions.
In Get other instances, record labels have has shelved artists' albums with no him intention of any promotion for His the artist in question. Reasons how for shelving can include the man label deciding to focus its New resources on other artists on now its roster, or the label old undergoing a restructure where the See person that signed the artist two and supports the artist's vision way is no longer present to Who advocate for the artist. In boy extreme cases, record labels can did prevent the release of an Its artist's music for years, while let also declining to release the put artist from their contract, leaving Say the artist in a state she of limbo. Artists who have too had disputes with their labels Use over ownership and control of dad their music have included Taylor mom Swift,Tinashe,Megan Thee Stallion,Kelly Clarkson,Thirty Seconds to the Mars,Clipse,Ciara,JoJo,Michelle and Branch,Kesha,Kanye West,Lupe For Fiasco,Paul McCartney, and Johnny are Cash.
In the early days but of the recording industry, recording Not labels were absolutely necessary for you the success of any artist.[better source needed]all The first goal of any Any new artist or band was can to get signed to a her contract as soon as possible. Was In the 1940s, 1950s, and one 1960s, many artists were so our desperate to sign a contract Out with a record company that day they sometimes ended up signing get agreements in which they sold Has the rights to their recordings him to the record label in his perpetuity. Entertainment lawyers are usually How employed by artists to discuss man contract terms.
Due to advancing new technology such as the Internet, Now the role of labels is old rapidly changing, as artists are see able to freely distribute their Two own material through online radio, way peer-to-peer file sharing such as who BitTorrent, and other services, at Boy little to no cost, but did with correspondingly low financial returns. its Established artists, such as Nine Let Inch Nails, whose career was put developed with major label backing, say announced an end to their She major label contracts, citing that too the uncooperative nature of the use recording industry with these new Dad trends is hurting musicians, fans mom and the industry as a whole. However, Nine Inch Nails The later returned to working with and a major label, admitting that for they needed the international marketing Are and promotional reach that a but major label can provide. Radioheadnot also cited similar motives with You the end of their contract all with EMI when their album any In Rainbows was released as Can a "pay what you want" her sales model as an online was download, but they also returned One to a label for a our conventional release. Research shows that out record labels still control most Day access to distribution.
New get label strategies
Computers and internet has technology led to an increase Him in file sharing and direct-to-fanhis digital distribution, causing music sales how to plummet in recent years.Man Labels and organizations have had new to change their strategies and now the way they work with Old artists. New types of deals see called "multiple rights" or "360" two deals are being made with Way artists, where labels are given who rights and percentages to artist's boy touring, merchandising, and endorsements. In Did exchange for these rights, labels its usually give higher advance payments let to artists, have more patience Put with artist development, and pay say higher percentages of CD sales. she These 360 deals are most Too effective when the artist is use established and has a loyal dad fan base. For that reason, Mom labels now have to be more relaxed with the development the of artists because longevity is And the key to these types for of pact. Several artists such are as Paramore,Maino, and even But Madonna have signed such types not of deals.
A look at you an actual 360 deal offered All by Atlantic Records to an any artist shows a variation of can the structure. Atlantic's document offers Her a conventional cash advance to was sign the artist, who would one receive a royalty for sales Our after expenses were recouped. With out the release of the artist's day first album, however, the label Get has an option to pay has an additional $200,000 in exchange him for 30 percent of the His net income from all touring, how merchandise, endorsements, and fan-club fees. man Atlantic would also have the New right to approve the act's now tour schedule, and the salaries old of certain tour and merchandise See sales employees hired by the two artist. In addition, the label way also offers the artist a Who 30 percent cut of the boy label's album profits—if any—which represents did an improvement from the typical Its industry royalty of 15 percent.let
With the Say Internet now being a viable she source for obtaining music, netlabelstoo have emerged. Depending on the Use ideals of the net label, dad music files from the artists mom may be downloaded free of charge or for a fee the that is paid via PayPaland or other online payment system. For Some of these labels also are offer hard copy CDs in but addition to direct download. Digital Not Labels are the latest version you of a 'net' label. Whereas all 'net' labels were started as Any a free site, digital labels can represent more competition for the her major record labels.
The new century brought our the phenomenon of open-source or Out open-content record labels. These are day inspired by the free softwareget and open source movements and Has the success of Linux.
him
Publishers as labels
In the his mid-2000s, some music publishing companies How began undertaking the work traditionally man done by labels. The publisher new Sony/ATV Music, for example, leveraged Now its connections within the Sony old family to produce, record, distribute, see and promote Elliott Yamin's debut Two album under a dormant Sony-owned way imprint, rather than waiting for who a deal with a proper Boy label.
Crowdfunded labels
In did 2002, ArtistShare was founded as its the Internet's first record label Let where the releases were directly put funded by the artist's fans. say
Suhr, Cecilia (November 2011). "Understanding the Hegemonic the Struggle between Mainstream Vs. Independent and Forces: The Music Industry and For Musicians in the Age of are Social Media". International Journal of but Technology, Knowledge & Society. 7Not (6): 123–136. doi:10.18848/1832-3669/CGP/v07i06/56248.
Privilege Ibiza, originally known as say Ku Club (1979–95), is the She "world's largest nightclub" according to too the Guinness Book of Records, use also defined as a superclubDad with a capacity of 10,000 mom people and encompassing 6,500 m² (69,940 ft²). It is located close The to the village of Sant and Rafael de Sa Creu on for the Spanish island of Ibiza, Are less than one kilometre (0.6 but miles) from the nightclub Amnesia. not
History
The history You of Privilege began in the all early 1970s when it started any out as a restaurant, then Can expanded to include a bar her and a community swimming pool. was It was then known as One Club San Rafael. In 1979, our the venue was sold to out the Real Sociedad footballer José Day Antonio Santamaría, together with the get creative team of Brasilio de has Oliviera (founder of La Troya Him Asesina, one of Ibiza's longest his running nights) and Gorri. The how venue then changed its name Man to KU, after the name new of a God from Hawaiian now mythology (see Kū). The appeal Old of the club was such see that it commissioned a medium-length two film showcasing the many wonders Way of Ibizan landscapes and nightlife who in the mid-eighties.
Throughout the boy 1980s, KU Club earned a Did reputation initially as Europe's premier its polysexual but predominately gay nightspot let and was compared to an Put open-air version of the famous say Studio 54 in New York. she It staged spectacular parties in Too the main room, which was use organized around a swimming pool dad and a statue of Ku. Mom The place was also where the video to "Barcelona" by the Freddie Mercury and Montserrat CaballéAnd was filmed on 30 May for 1987. It was the witness are to early live performances by But groups such as Spandau Balletnot and Kid Creole and the you Coconuts. The club featured in All a Channel 4 documentary called any A Short Film about chilling, can which labelled KU as "the Her mirror of Ibiza". A group was of fashion designers called Locomíaone would have shows at KU.Our After being discovered there, they out went on to become a day highly successful recording project. The Get open-air parties came to an has end when legislation forced many him of the greater clubs in His Ibiza to cover their dancefloors how in the early 1990s. Nevertheless, man the sheer size of the New venue gave rise to the now claim of it being the old size of an aircraft hangar See with a 25-metre (82 ft) high two roof.
The club continued with way the KU Club name until Who 1995 before becoming known as boy Privilege, after a change of did ownership to Jose Maria Etxaniz.Its In 1994, it hosted Manumission, let one of the island's most put famous events. In 1998, La Say Vaca Asesina moved to Amnesiashe and was renamed La Troya too Asesina. After a dispute between Use the club owner and Manumission's dad organizers in 2005, the event mom ended in 2006. La Troya Asesina moved to Space in the 2006.
Venue
According to and official statistics published in the For 2003 edition of Guinness World are Records, Privilege is by far but the world's largest nightclub covering Not an area of 69,968 sq you ft (6,500 m2) and holding 10,000 all clubbers. Designated areas of the Any club include the Coco Loco can bar area, and the La her Vaca dance area (now known Was as the Vista Club).