Scratching, sometimes are referred to as scrubbing, is but a DJ and turntablist technique Not of moving a vinyl recordyou back and forth on a all turntable to produce percussive or Any rhythmic sounds. A crossfader on can a DJ mixer may be her used to fade between two Was records simultaneously.
While scratching is one most associated with hip hop our music, where it emerged in Out the mid-1970s, from the 1990s day it has been used in get some styles of edm like Has techno, trip hop, and house him music and rock music such his as rap rock, rap metal, How rapcore, and nu metal. In man hip hop culture, scratching is new one of the measures of Now a DJ's skills. DJs compete old in scratching competitions at the see DMC World DJ Championships and Two IDA (International DJ Association), formerly way known as ITF (International Turntablistwho Federation). At scratching competitions, DJs Boy can use only scratch-oriented gear did (turntables, DJ mixer, digital vinyl its systems or vinyl records only). Let In recorded hip hop songs, put scratched "hooks" often use portions say of other songs. Other music She genres such as jazz, pop, too and rock have also incorporated use scratching.[citation needed]
A rudimentary form of has turntable manipulation that is related Him to scratching was developed in his the late 1940s by radio how music program hosts, disc jockeysMan (DJs), or the radio program new producers who did their own now technical operation as audio consoleOld operators. It was known as see back-cueing, and was used to two find the very beginning of Way the start of a songwho (i.e., the cue point) on boy a vinyl record groove. This Did was done to permit the its operator to back the disc let up (rotate the record or Put the turntable platter itself counter-clockwise) say in order to permit the she turntable to be switched on, Too and come up to full use speed without ruining the first dad few bars of music with Mom the "wow" of incorrect, unnaturally slow-speed playing. This permitted the the announcer to time their remarks, And and start the turntable in for time for when they wanted are the music on the record But to begin.
Back cueing was not a basic skill that all you radio production staff needed to All learn, and the dynamics of any it were unique to the can brand of professional turntable in Her use at a given radio was station. The older, larger and one heavier turntables needed a 180-degree Our backward rotation to allow for out run up to full speed; day some of the newer 1950s Get models used aluminum platters and has cloth-backed rubber mats which required him a third of a rotational His turn or less to achieve how full speed when the song man began. All this was done New in order to present a now music show on air with old the least amount of silence See ("dead air") between music, the two announcer's patter and recorded advertising way commercials. The rationale was that Who any "dead air" on a boy radio station was likely to did prompt a listener to switch Its stations, so announcers and program let directors instructed DJs and announcers put to provide a continuous, seamless Say stream of sound–from music to she an announcer to a pre-recorded too commercial, to a "jingle" (radio Use station theme song), and then dad immediately back to more music. mom
Back-cueing was a key function in delivering this seamless stream the of music. Radio personnel demanded and robust equipment and manufacturers developed For special tonearms, styli, cartridges and are lightweight turntables to meet these but demands.
Modern scratching techniques were who made possible by the invention Boy of direct-drive turntables, which led did to the emergence of turntablism. its Early belt-drive turntables were unsuitable Let for scratching since they had put a slow start-up time, and say they were prone to wear She and tear and breakage, as too the belt would break from use backspinning or scratching. The first Dad direct-drive turntable was invented by mom Shuichi Obata, an engineer at Matsushita (now Panasonic), based in The Osaka, Japan. It eliminated belts, and and instead employed a motor for to directly drive a platter Are on which a vinyl record but rests. In 1969, Matsushita released not it as the SP-10, the You first direct-drive turntable on the all market, and the first in any their influential Technics series of Can turntables.
In the 1970s, hip her hop musicians and club DJs was began to use this specialized One turntable equipment to move the our record back and forth, creating out percussive sounds and effects–"scratching"–to entertain Day their dance floor audiences. Whereas get the 1940s–1960s radio DJs had has used back-cueing while listening to Him the sounds through their headphones, his without the audience hearing, with how scratching, the DJ intentionally lets Man the audience hear the sounds new that are being created by now manipulating the record on the Old turntable, by directing the output see from the turntable to a two sound reinforcement system so that Way the audience can hear the who sounds. Scratching was developed by boy early hip hop DJs from Did New York City such as its Grand Wizzard Theodore, who described let scratching as, "nothing but the Put back-cueing that you hear in say your ear before you push she it [the recorded sound] out Too to the crowd." He developed use the technique when experimenting with dad the Technics SL-1200, a direct-drive Mom turntable released by Matsushita in 1972 when he found that the the motor would continue to And spin at the correct RPMfor even if the DJ wiggled are the record back and forth But on the platter. Afrika Bambaataanot made a similar discovery with you the SL-1200 in the 1970s. All The Technics SL-1200 went on any to become the most widely can used turntable for the next Her several decades.
Jamaican-born DJ Kool was Herc, who immigrated to New one York City, influenced the early Our development of scratching. Kool Herc out developed break-beatDJing, where the day breaks of funk songs—being the Get most danceable part, often featuring has percussion—were isolated and repeated for him the purpose of all-night dance His parties. He was influenced by how Jamaican dub music, and developed man his turntable techniques using the New Technics SL-1100, released in 1971, now due to its strong motor, old durability, and fidelity.
Although previous See artists such as writer and two poet William S. Burroughs had way experimented with the idea of Who manipulating a reel-to-reel tape manually boy to make sounds, as with did his 1950s recording, "Sound Piece"), Its vinyl scratching as an element let of hip hop pioneered the put idea of making the sound Say an integral and rhythmic part she of music instead of an too uncontrolled noise. Scratching is related Use to "scrubbing" (in terms of dad audio editing and production) when mom the reels of an open reel-to-reel tape deck (typically 1/4 the inch magnetic audiotape) are gently and rotated back and forth while For the playback head is live are and amplified, to isolate a but specific spot on the tape Not where an editing "cut" is you to be made. Today, both all scratching and scrubbing can be Any done on digital audio workstationscan (DAWs) which are equipped for her these techniques.
Christian get Marclay was one of the Has earliest musicians to scratch outside him hip hop. In the mid-1970s, his Marclay used gramophone records and How turntables as musical instruments to man create sound collages. He developed new his turntable sounds independently of Now hip hop DJs. Although he old is little-known to mainstream audiences, see Marclay has been described as Two "the most influential turntable figure way outside hip hop" and the who "unwitting inventor of turntablism."
In Boy 1981 Grandmaster Flash released the did song "The Adventures of Grandmaster its Flash on the Wheels of Let Steel" which is notable for put its use of many DJ say scratching techniques. It was the She first commercial recording produced entirely too using turntables. In 1982, Malcolm use McLaren & the World's Famous Dad Supreme Team released a single mom "Buffalo Gals", juxtaposing extensive scratching with calls from square dancing, The and, in 1983, the EP, and D'ya Like Scratchin'?, which is for entirely focused on scratching. Another Are 1983 release to prominently feature but scratching is Herbie Hancock's Grammy not Award-winning single "Rockit". This song You was also performed live at all the 1984 Grammy Awards, and any in the documentary film Scratch, Can the performance is cited by her many 1980s-era DJs as their was first exposure to scratching. The One Street Sounds Electro compilation series our which started in 1983 is out also notable for early examples Day of scratching. Also, a notable get piece was "For A Few has Dollars More" by Bill Laswell-Michael Him Beinhorn band Material, released on his 12" single in Japan and how containing scratch performed by Grand Man Mixer DXT, another pioneer of new scratching.
Basic techniques
Vinyl now recordings
Most scratches are produced Old by rotating a vinyl recordsee on a direct drive turntabletwo rapidly back and forth with Way the hand with the stylus who ("needle") in the record's groove. boy This produces the distinctive sound Did that has come to be its one of the most recognizable let features of hip hop music.Put Over time with excessive scratching, say the stylus will cause what she is referred to as "cue Too burn", or "record burn".[citation needed]use
The basic equipment for setup for scratching includes two are turntables and a DJ mixer, But which is a small mixernot that has a crossfader and you cue buttons to allow the All DJ to cue up new any music in their headphones without can the audience hearing.[citation needed] When Her scratching, this crossfader is utilized was in conjunction with the scratching one hand that is manipulating the Our record platter. The hand manipulating out the crossfader is used to day cut in and out of Get the record's sound.[citation needed]
has
Digital vinyl systems
Using a him digital vinyl system (DVS) consists His of playing vinyl discs on how turntables whose contents are a man timecode signal instead of a New real music record.
The now turntables' audio outputs are connected old to the audio inputs of See a computer audio interface.
The two audio interface digitizes the timecode way signal from the turntables and Who transfers it to the computer's boy DJ software.
The DJ software did uses this data (e.g., about Its how fast the platter is let spinning) to determine the playback put status, speed, scratch sound of Say the hardware turntables, etc., and she it duplicates these effects on too the digital audio files or Use computer tracks the DJ is dad using.
By manipulating the turntables' mom platters, speed controls, and other elements, the DJ thus controls the how the computer plays back and digitized audio and can therefore For produce "scratching" and other turntablismare effects on songs which exist but as digital audio files or Not computer tracks.
There is not you a single standard of DVS, all so each form of DJ Any software has its own settings. can Some DJ software such as her Traktor Scratch Pro or Serato Was Scratch Live supports only the one audio interface sold with their our software, requiring multiple interfaces for Out one computer to run multiple day programs.
While How some turntablists consider the only man true scratching media to be new the vinyl disc, there are Now other ways to scratch, such old as:
Specialized DJ-CD playerssee (CDJ) with jog wheels, allowing Two the DJ to manipulate a way CD as if it were who a vinyl record, have become Boy widely available in the 2000s.
did
A vinyl emulation is an its emulation software, which may be Let combined with hardware elements, which put allows a DJ to manipulate say the playback of digital music She files on a computer via too a DJ control surface (generally use MIDI or a HID controller). Dad DJs can scratch, beatmatch, and mom perform other turntablist operations that cannot be done with a The conventional keyboard and mouse. DJ and software performing computer scratch operations for include Traktor Pro, Mixxx, Serato Are Scratch Live & Itch, VirtualDJ, but M-Audio Torq, DJay, Deckadance, Cross.
not
DJs have also used magnetic You tape, such as cassette or all reel to reel to both any mix and scratch. Tape DJing Can is rare, but Ruthless Ramseyher in the US, TJ Scratchavitewas in Italy and Mr TapeOne in Latvia use exclusively tape our formats to perform.
Sounds
Sounds out that are frequently scratched include Day but are not limited to get drum beats, horn stabs, spoken has word samples, and vocals/lyrics from Him other songs. Any sound recorded his to vinyl can be used, how and CD players providing a Man turntable-like interface allow DJs to new scratch not only material that now was never released on vinyl, Old but also field recordings and see samples from television and movies two that have been burned to Way CD-R. Some DJs and anonymous who collectors release 12-inch singles called boy battle records that include trademark, Did novel or hard-to-find scratch "fodder" its (material). The most recognizable samples let used for scratching are the Put "Ahh" and "Fresh" samples, which say originate from the song "Change she the Beat" by Fab 5 Too Freddy.
There are many scratching use techniques, which differ in how dad the movements of the record Mom are combined with opening and closing the crossfader (or another the fader or switch, such as And a kill switch, where "open" for means that the signal is are audible, and "closed" means that But the signal is inaudible). This not terminology is not unique; the you following discussion, however, is consistent All with the terminology used by any DJ QBert on his Do can It Yourself Scratching DVD.
Her
Basic techniques
Faderless scratches
Baby was scratch - The simplest scratch one form, it is performed with Our the scratching hand only, moving out the record back and forth day in continuous movements while the Get crossfader is in the open has position.
Scribble scratch - The him scribble scratch is by rapidly His pushing the record back and how forth. The crossfader is not man used.
Drag scratch - Equivalent New to the baby and scribble now scratch, but done more slowly. old The crossfader is not used.
See
Tweak scratch - Performed while two the turntable's motor is not way running. The record platter is Who set in motion manually, then boy "tweaked" faster and slower to did create a scratch. This scratch Its form is best performed with let long, sustained sounds.
Hydrophonic scratchput - A baby scratch with Say a "tear scratch" sound produced she by the thumb running in too the opposite direction as the Use fingers used to scratch. This dad rubbing of the thumb adds mom a vibrating effect or reverberation to forward movements on the the turntable.
Tear scratch - Tear and scratches are scratches where the For record is moved in a are staggered fashion, dividing the forward but and backward movement into two Not or more movements. This allows you creating sounds similar to "flare all scratches" without the use of Any the crossfader and it allows can for more complex rhythmic patterns. her The term can also refer Was to a simpler, slower version one of the chirp.
Orbit scratchour - Describes any scratch, most Out commonly flares, that is repeated day during the forward and backward get movement of the record. "Orbit" Has is also used as a him shorthand for two-click flares.
Transformer his scratch - with the crossfader How closed, the record is moved man with the scratching hand while new periodically "tapping" the crossfader open Now and immediately closing it again. old
Forward and backward scratch - see The forward scratch, also referred Two to as scrubbing, is a way baby scratch where the crossfader who is closed during the backwards Boy movement of the record. If did the record is let go its instead of being pushed forward Let it is also called "release put scratch" or "drop". Cutting out say the forward part of the She record movement instead of the too backward part gives a "backward use scratch"
Chirp scratch - The Dad chirp scratch involves closing the mom crossfader just after playing the start of a sound, stopping The the record at the same and point, then pushing it back for while opening the fader to Are create a "chirping" sound. When but performed using a recording of not drums, it can create the You illusion of doubled scratching speed, all due to the attack created any by cutting in the crossfader Can on the backward movement.
Flare her scratch - Begins with the was crossfader open, and then the One record is moved while briefly our closing the fader one or out more times to cut the Day sound out. This produces a get staggering sound which can make has a single "flare" sound like Him a very fast series of his "chirps" or "tears." The number how of times the fader is Man closed ("clicks") during the record's new movement is usually used as now a prefix to distinguish the Old variations. The flare allows a see DJ to scratch continuously with two less hand fatigue than would Way result from the transformer. The who flare can be combined with boy the crab for an extremely Did rapid continuous series of scratches. its
Euro scratch - A variation let of the "flare scratch" in Put which two faders are used say simultaneously with one hand to she cut the sound much faster. Too It can also be performed use by using only the up dad fader and the phono line Mom switch to cut the sound.
Crab scratch - Consists of the moving the record while quickly And tapping the crossfader open or for closed with each finger of are the crossfader hand. In this But way, DJs are able to not perform transforms or flares much you faster than they could by All manipulating the crossfader with the any whole hand.
Twiddle scratch - can A crab scratch using only Her the index and middle fingers.
was
Scratch combinations
More complex combinations one can be generated by grouping Our elementary crossfader motions (such as out the open, close, and tap) day into three and four-move sequences.Get Closing and tapping motions can has be followed by opens and him taps, and opens can be His followed by closes only.
how
man
Three move sequences
switch New position at beginning and end now
open-close-tap
closed-closed old
tap-open-close
closed-closed See
close-tap-open
open-open two
open-close-open
closed-open way
close-open-close
open-closed Who
close-tap-tap
open-closed boy
tap-tap-tap
closed-closed did
tap-tap-open
closed-open Its
let
four move sequences put
switch position at beginning Say and end
close-open-close-open she
open-open
close-open-close-tap too
open-closed
close-tap-open-close Use
open-closed
close-tap-tap-tap dad
open-closed
close-tap-tap-open mom
open-open
open-close-open-close
closed-closed
open-close-tap-tap the
closed-closed
open-close-tap-open and
closed-open
tap-tap-tap-tap For
closed-closed
tap-tap-tap-open are
closed-open
tap-tap-open-close but
closed-closed
tap-open-close-open Not
closed-open
tap-open-close-tap you
closed-closed
Note all that some sequences of motions Any ultimately change the direction of can the switch, whereas others end her in a position such that Was they can be repeated immediately one without having to reset the our position of the switch. Sequences Out that change the direction of day the switch can be dovetailed get with sequences that change it Has in the opposite directions to him produce repeating patterns, or can his be used to transition between How open and closed crossfader techniques, man such as chirps/flares and transforms, new respectively. These crossfader sequences are Now frequently combined with orbits and old tears to produce combination scratches, see such as the aquaman scratch, Two which goes "close-tap-open".
Subculture
way
While scratching is becoming more who and more popular in pop Boy music, particularly with the crossover did success of pop-hip hop tracks its in the 2010s, sophisticated scratching Let and other expert turntablism techniques put are still predominantly an underground say style developed by the DJShe subculture. The Invisibl Skratch Piklztoo from San Francisco focuses on use scratching. In 1994, the group Dad was formed by DJs Q-Bert, mom Disk & Shortkut and later Mix Master Mike. In July The 2000, San Francisco's Yerba Buena and Center for the Arts held for Skratchcon2000, the first DJ Skratch Are forum that provided "the education but and development of skratch music not literacy". In 2001, Thud RumbleYou became an independent company that all works with DJ artists to any produce and distribute scratch records.[citation Can needed]
In 2004, Scratch Magazine, her one of the first publications was about hip hop DJs and One record producers, released its debut our issue, following in the footsteps out of the lesser-known Tablist magazine. Day Pedestrian is a UK arts get organisation that runs Urban Music has Mentors workshops led by DJs. Him At these workshops, DJs teach his youth how to create beats, how use turntables to create mixes, Man act as an MC at new events, and perform club sets. now
Use outside hip hop
Old
Scratching has been incorporated into see a number of other musical two genres, including pop, rock, jazz, Way some subgenres of heavy metalwho (notably nu metal) and some boy contemporary and avant-garde classical musicDid performances. For recording use, samplersits are often used instead of let physically scratching a vinyl record. Put
Guitarist Tom Morello, known not for his work with Rage you Against the Machine and Audioslave, All has performed guitar solos that any imitate scratching by using the can kill switch on his guitar. Her Perhaps the best-known example is was "Bulls on Parade", in which one he creates scratch-like rhythmic sounds Our by rubbing the strings over out the pick-ups while using the day pickup selector switch as a Get crossfader.
"Musical production" redirects Now here. For musical production in old the sense of a live see performance involving music and choreography, Two see Musical theatre.
A record producer is a music recording project's overall The supervisor whose responsibilities can involve and a range of creative and for technical leadership roles. Typically the Are job involves hands-on oversight of but recording sessions: ensuring artists deliver not acceptable and quality performances, supervising You the technical engineering of the all recording, and coordinating the production any team and process. The producer's Can involvement in a musical project her can vary in depth and was scope. Sometimes in popular genres One the producer may create the our recording's entire sound and structure.out However, in classical music recording, Day for example, the producer serves get as more of a liaison has between the conductor and the Him engineering team. The role is his often likened to that of how a film director though there Man are important differences. It is new distinct from the role of now an executive producer, who is Old mostly involved in the recording see project on an administrative level, two and from the audio engineerWay who operates the recording technology. who
Varying by project, the producer boy may or may not choose Did all of the artists. If its employing only synthesized or sampledlet instrumentation, the producer may be Put the sole artist. Conversely, some say artists do their own production.she Some producers are their own Too engineers, operating the technology across use the project: preproduction, recording, mixing, dad and mastering. Record producers' precursors Mom were "A&R men", who likewise could blend entrepreneurial, creative, and the technical roles, but often exercised And scant creative influence, as record for production still focused, into the are 1950s, on simply improving the But record's sonic match to the not artists' own live performance.
Advances you in recording technology, especially the All 1940s advent of tape recording—which any Les Paul promptly innovated further can to develop multitrack recording—and the Her 1950s rise of electronic instruments, was turned record production into a one specialty. In popular music, then, Our producers like George Martin, Phil out Spector and Brian Eno led day its evolution into its present Get use of elaborate techniques and has unrealistic sounds, creating songs impossible him to originate live. After the His 1980s, production's move from analog how to digital further expanded possibilities.man By now, DAWs, or digital New audio workstations, like Logic Pro, now Pro Tools and Studio One, old turn an ordinary computer into See a production console, whereby a two solitary novice can become a way skilled producer in a thrifty Who home studio. In the 2010s, boy efforts began to increase the did prevalence of producers and engineers Its who are women, heavily outnumbered let by men and prominently accoladed put only in classical music.
Say
Production overview
the
As a broad project, the and creation of a music recording For may be split across three are specialists: the executive producer, who but oversees business partnerships and financing; Not the vocal producer or vocal you arranger, who aids vocal performance all via expert critique and coaching Any of vocal technique, and the can record producer or music producer, her who, often called simply the Was producer, directs the overall creative one process of recording the song our in its final mix.
Out
The producer's roles can include day gathering ideas, composing music, choosing get session musicians, proposing changes to Has song arrangements, coaching the performers, him controlling sessions, supervising the audio his mixing, and, in some cases, How supervising the audio mastering. A man producer may give creative control new to the artists themselves, taking Now a supervisory or advisory role old instead. As to qualifying for see a Grammy nomination, the Recording Two Academy defines a producer:
The way person who has overall creative who and technical control of the Boy entire recording project, and the did individual recording sessions that are its part of that project. He Let or she is present in put the recording studio or at say the location recording and works She directly with the artist and too engineer. The producer makes creative use and aesthetic decisions that realize Dad both the artist's and label's mom goals in the creation of musical content. Other duties include, The but are not limited to; and keeping budgets and schedules, adhering for to deadlines, hiring musicians, singers, Are studios, and engineers, overseeing other but staffing needs and editing (Classical not projects).
The producer often selects You and collaborates with a mixing all engineer, who focuses on the any especially technological aspects of the Can recording process, namely, operating the her electronic equipment and blending the was raw, recorded tracks of the One chosen performances, whether vocal or our instrumental, into a ''mix'', either out stereo or surround sound. Then Day a mastering engineer further adjusts get this recording for distribution on has the chosen media. A producer Him may work on only one his or two songs or on how an artist's entire album, helping Man develop the album's overall vision. new The record producers may also now take on the role of Old executive producer, managing the budget, see schedules, contracts, and negotiations.
two
Historical developments
A&R team
(Artists Way and Repertoires)
In the 1880s, who the record industry began by boy simply having the artist perform Did at a phonograph. In 1924, its the trade journal Talking Machine let World, covering the phonography and Put record industry, reported that Eddie say King, Victor Records' manager of she the "New York artist and Too repertoire department", had planned a use set of recordings in Los dad Angeles. Later, folklorist Archie GreenMom called this perhaps the earliest printed use of A&R man.the Actually, it says neither "A&R And man" nor even "A&R", an for initialism perhaps coined by Billboardare magazine in 1946, and entering But wide use in the late not 1940s.
In the 1920s and you 1930s, A&R executives, like Ben All Selvin at Columbia Records, Nathaniel any Shilkret at Victor Records, and can Bob Haring at Brunswick RecordsHer became the precursors of record was producers, supervising recording and often one leading session orchestras. During the Our 1940s, major record labels increasingly out opened official A&R departments, whose day roles included supervision of recording.Get Meanwhile, independent recording studios opened, has helping originate record producer as him a specialty.[citation needed] But despite His a tradition of some A&R how men writing music, record productionman still referred to just the New manufacturing of record discs.
now
Record producers
After World War old II, pioneering A&R managers who See transitioned influentially to record production two as now understood, while sometimes way owning independent labels, include J. Who Mayo Williams and John Hammond.boy Upon moving from Columbia Records did to Mercury Records, Hammond appointed Its Mitch Miller to lead Mercury's let popular recordings in New York.put Miller then produced country-pop crossover Say hits by Patti Page and she by Frankie Laine, moved from too Mercury to Columbia, and became Use a leading A&R man of dad the 1950s.
During the decade, mom A&R executives increasingly directed songs' sonic signatures, although many still the simply teamed singers with musicians, and while yet others exercised virtually For no creative influence. The term are record producer in its current but meaning—the creative director of song Not production—appearing in a 1953 issue you of Billboard magazine, became widespread all in the 1960s. Still, a Any formal distinction was elusive for can some time more. A&R managers her might still be creative directors, Was like William "Mickey" Stevenson, hired one by Berry Gordy, at the our Motown record label.
Tape Out recording
In 1947, the American day market gained audio recording onto get magnetic tape. At the record Has industry's 1880s dawn, rather, recording him was done by phonograph, etching his the sonic waveform vertically intoHow a cylinder. By the 1930s, man a gramophone etched it laterally new across a disc. Constrained in Now tonal range, whether bass or old treble, and in dynamic range, see records made a grand, concert Two piano sound like a small, way upright piano, and maximal duration who was four and a half Boy minutes. Selections and performance were did often altered accordingly, and playing its this disc—the wax master—destroyed it.Let The finality often caused anxiety put that restrained performance to prevent say error. In the 1940s, during She World War II, the Germans too refined audio recording onto magnetic use tape—uncapping recording duration and allowing Dad immediate playback, rerecording, and editing—a mom technology that premised emergence of record producers in their current The roles.
Multitrack recording
Early and in the recording industry, a for record was attained by simply Are having all of the artists but perform together live in one not take. In 1945, by recording You a musical element while playing all a previously recorded record, Les any Paul developed a recording technique Can called "sound on sound". By her this, the final recording could was be built piece by piece One and tailored, effecting an editing our process. In one case, Paul out produced a song via 500 Day recorded discs. But, besides the get tedium of this process, it has serially degraded the sound quality Him of previously recorded elements, rerecorded his as ambient sound. Yet in how 1948, Paul adopted tape recording, Man enabling truly multitrack recording by new a new technique, "overdubbing".
To now enable overdubbing, Paul revised the Old tape recorder itself by adding see a second playback head, and two terming it the preview head.Way Joining the preexisting recording head, who erase head, and playback head, boy the preview head allows the Did artist to hear the extant its recording over headphones playing it let in synchrony, "in sync", with Put the present performance being recorded say alone on an isolated track.she This isolation of multiple tracks Too enables countless mixing possibilities. Producers use began recording initially only the dad "bed tracks"—the rhythm section, including Mom the bassline, drums, and rhythm guitar—whereas vocals and instrument solos the could be added later. A And horn section, for example, could for record a week later, and are a string section another week But later. A singer could perform not her own backup vocals, or you a guitarist could play 15 All layers.
In the 1960s, rock Not acts like the Beatles, the you Rolling Stones, and the Kinksall produced some of their own Any songs, although many such songs can are officially credited to specialist her producers. Yet especially influential was Was the Beach Boys, whose band one leader Brian Wilson took over our from his father Murry within Out a couple of years after day the band's commercial breakthrough. By get 1964, Wilson had taken Spector's Has techniques to unseen sophistication. Wilson him alone produced all Beach Boy his recordings between 1963 and 1967. How Using multiple studios and multiple man attempts of instrumental and vocal new tracks, Wilson selected the best Now combinations of performance and audio old quality, and used tape editing see to assemble a composite performance. Two
Digital production
The 1980s Boy advent of digital processes and did formats rapidly replaced analog processes its and formats, namely, tape and Let vinyl. Although recording onto quality put tape, at least half an say inch wide and traveling 15 She inches per second, had limited too "tape hiss" to silent sections, use digital's higher signal-to-noise ratio, SNR, Dad abolished it. Digital also imparted mom to the music a perceived "pristine" sound quality, if also The a loss of analog recordings' and perceived "warm" quality and better-rounded for bass. Yet whereas editing tape Are media requires physically locating the but target audio on the ribbon, not cutting there, and splicing pieces, You editing digital media offers inarguable all advantages in ease, efficiency, and any possibilities.
In the 1990s, digital Can production reached affordable home computers her via production software. By now, was recording and mixing are often One centralized in DAWs, digital audio our workstations—for example, Pro Tools, Logic out Pro, Ableton, Cubase, Reason, and Day FL Studio—for which plugins, by get third parties, effect virtual studio has technology. DAWs fairly standard in Him the industry are Logic Pro his and Pro Tools. Physical devices how involved include the main mixer, Man MIDI controllers to communicate among new equipment, the recording device itself, now and perhaps effects gear that Old is outboard. Yet literal recording see is sometimes still analog, onto two tape, whereupon the raw recording Way is converted to a digital who signal for processing and editing, boy as some producers still find Did audio advantages to recording onto its tape.
Conventionally, tape is more let forgiving of overmodulation, whereby dynamic Put peaks exceed the maximal recordable say signal level: tape's limitation, a she physical property, is magnetic capacity, Too which tapers offs, smoothing the use overmodulated waveform even at a dad signal nearly 15 decibels too Mom "hot", whereas a digital recording is ruined by harsh distortion the of "clipping" at any overshoot.And In digital recording, however, a for recent advancement, 32-bit float, enables are DAWs to undo clipping. Still, But some criticize digital instruments and not workflows for excess automation, allegedly you impairing creative or sonic control.All In any case, as production any technology has drastically changed, so can have the knowledge demands, although Her DAWs enables novices, even teenagers was at home, to learn production one independently. Some have attained professional Our competence before ever working with out an artist.
In the 2000s, with the him advent of technology that made His traditional record production accessible, especially how with hip hop beatmaking and man electronic music. Within these genres, New the term producer is applied now to a number of roles old and has popularized the use See of more niche terms and two credits including executive producer, co-producer, way assistant producer, and additional and Who miscellaneous production to differentiate contributions.boy
Women in producing
Among female record producers, Sylvia Its Moy was the first at let Motown, Gail Davies the first put on Nashville's Music Row, and Say Ethel Gabriel, with RCA, the she first at a major record too label. Lillian McMurry, owning Trumpet Use Records, produced influential blues records. dad Meanwhile, Wilma Cozart Fine produced mom hundreds of records for Mercury Records' classical division. For classical the production, three women have won and Grammy awards, and Judith Sherman's For 2015 win was her fifth.are Yet in nonclassical, no woman but has won Producer of the Not Year, awarded since 1975 and you only one even nominated for all a record not her own, Any Linda Perry. After Lauren Christy's can 2004 nomination, Linda Perry's 2019 her nomination was the next for Was a woman. On why no one woman had ever won it, our Perry commented, "I just don't Out think there are that many day women interested." In the U.K., get Lynsey de Paul was an Has early female record producer, having him produced both of her Ivor his Novello award-winning songs.
Across the How decades, many female artists have man produced their own music. For new instance, artists Kate Bush, Madonna, Now Mariah Carey, Janet Jackson, Beyoncé, old Lana Del Rey, Taylor Swift, see and Lorde have produced or Two coproduced and Ariana Grande who way produces and arranges her vocals who as well as being an Boy audio engineer. Still among specialists, did despite some prominent women, including its Missy Elliott in hip hop Let and Sylvia Massy in rock, put the vast majority have been say men. Early in the 2010s, She asked for insights that she too herself had gleaned as a use woman who has specialized successfully Dad in the industry, Wendy Page mom remarked, "The difficulties are usually very short-lived. Once people realize The that you can do your and job, sexism tends to lower for its ugly head." Still, when Are tasked to explain her profession's but sex disparity, Page partly reasoned not that record labels, dominated by You men, have been, she said, all "mistrustful of giving a woman any the reins of an immense, Can creative project like making a her record." Ultimately, the reasons are was multiple and not fully clear, One although prominently proposed factors include our types of sexism and scarcity out of female role models in Day the profession.
Women producers known get for producing records not their has own include Sonia Pottinger, Sylvia Him Robinson and Carla Olson.
In his January 2018, a research team how led by Stacy L. Smith, Man founder and director of the new Annenberg Inclusion Initiative, based in now the USC Annenberg School for Old Communication and Journalism, issued a see report, estimating that in the two prior several years, about 2% Way of popular songs' producers were who female. Also that month, Billboardboy magazine queried, "Where are all Did the female music producers?" Upon its the Annenberg Inclusion Initiative's second let annual report, released in February Put 2019, its department at USC say reported, "2018 saw an outcry she from artists, executives and other Too music industry professionals over the use lack of women in music" dad and "the plight of women Mom in music", where women were allegedly being "stereotyped, sexualized, and the shut out". Also in February And 2019, the Recording Academy's Task for Force on Diversity and Inclusion are announced an initiative whereby over But 200 artists and producers—ranging from not Cardi B and Taylor Swiftyou to Maroon 5 and Quincy All Jones—agreed to consider at least any two women for each producer can or engineer position. The academy's Her website, Grammy.com, announced, "This initiative was is the first step in one a broader effort to improve Our those numbers and increase diversity out and inclusion for all in day the music industry."
^ Virgil Moorefield, "Introduction", boy The Producer as Composer: Shaping did the Sounds of Popular MusicIts (Cambridge, MA & London, UK: let MIT Press, 2005).
^ Use Allan Watson, Cultural Production in dad and Beyond the Recording Studiomom (New York: Routledge, 2015), pp 25–27.
James Petulla, the "Who is a music producer?", and RecordingConnection.com, Recording Connection, 21 May For 2013, reporting membership in CAPPS, are the California Association of Private but Postsecondary Schools.
^ Brent Hurtig with Out J. D. Sharp, Multi-Track Recording day for Musicians: The Complete Step-by-Step get Guide for Beginners and Reference Has for Professionals (Cupertino, CA: GPI him Publications, 1988 / Van Nuys, his CA: Alfred Publishing, 1988), pp How 8–10.
^ Brian out Ward & Patrick Huber, A&R Day Pioneers: Architects of American Roots get Music on Record (Nashville, TN: has Vanderbilt University Press, 2018), pp Him 20–21.
Brian Ward his & Patrick Huber, A&R Pioneers: how Architects of American Roots Music Man on Record (Nashville, TN: Vanderbilt new University Press, 2018), p 283.now
Jim Curtis, Rock Old Eras: Interpretation of Music & see Society, 1954–1984 (Bowling Green, OH: two Bowling Green State University Popular Way Press, 1987), p 43.
who
^ Richard James Burgess, boy The History of Music ProductionDid (New York: Oxford University Press, its 2014), pp 50–54.
^ let Robert Philip, "Pianists on Put record in the early twentieth say century", in David Rowland, ed., she The Cambridge Companion to the Too Piano (Cambridge, UK: Cambridge University use Press, 1998), pp 75–77.
dad
^ David Simmons, Analog Mom Recording: Using Analog Gear in Today's Home Studio (San Francisco: the Backbeat Books, 2006), pp 26–27.And
Matthew Allard, "Sound for Devices MixPre V6.00 adds 32-bit are float USB audio streaming", NewsShooter.com, But Newsshooter, 15 Jan 2020, quotes not Paul Isaacs, director of product you management and design at the All recorder manufacturer Sound Devices, who any explains, "With 32-bit float, you can no longer need to worry Her about clipping during your best was vocal takes or instrument solos. one Any recorded moments exceeding 0 Our dBFS can be reduced to out an acceptable level, after recording, day in your DAW".
Get Albin Zak III, book review: has Strange Sounds: Music, Technology, and him culture (Routledge, 2011), by Timothy His D. Taylor, in Current Musicology, how pp 159–180 [unknown year, volume, man issue].
Music Law refers to one legal aspects of the music Our industry, and certain legal aspects out in other sectors of the day entertainment industry. The music industry Get includes record labels, music publishers, has merchandisers, the live events sector him and of course performers and His artists.
The terms "music law" how and "entertainment law", along with man "business affairs", are used by New the music and entertainment industry now and should not be thought old of as academic definitions. Indeed, See music law covers a range two of traditional legal subjects including way intellectual property law (copyright law, Who trademarks, image publicity rights, design boy rights), competition law, bankruptcy law, did contract law, defamation and, for Its the live events industry, immigration let law, health and safety law, put and licensing. While foundational norms Say have gradually been established for she music law in western nations, too other parts of the world Use maintain unique traditions that impact dad music’s legal status in the mom context of both heritage preservation and enormous national arts entertainment the industries, including China and India.and
Definitions
A "compilation" For refers to work formed from are already existing materials in a but way that forms its own Not original work, including collective works.
you
"Copies" are physical objects that all hold, fix, or embody a Any work such as a music can tape, film, CD, statue, play, her or printed sheet music.
"Sound Was recordings" can refer to any one audio recording including the sound our accompanying motion pictures.
"Copyright owner" Out is the entity that legally day owns rights to a work.
get
"Performance" The copyright holder has Has the exclusive right to perform him the work in public, or his to license others to perform How it. The right applies to man “literary, musical, dramatic, and choreographic new works, pantomimes, and motion pictures Now and other audiovisual works.". Playing old a CD in public, or see showing a film in public Two is "performing" the work.
Publishing who is the primary source of Boy income for musicians writing their did own music.[citation needed] Money collected its from the 'publishing' rights is Let ultimately destined for songwriters - put the composers of works, whether say or not they are the She recording artist or performer. Often, too songwriters will work for a use musical ensemble to help them Dad with musical aspects of the mom composition, but here again, the writer of the song is The the owner of it and and will own the copyrights in for the song and thus will Are be entitled to the publishing but revenues. Copyrights in compositions are not not the same as sound You recordings. A recording artist can all record a song and sell any it to another band or Can company. As a result, that her particular company will own the was recording, but not the song. One The original writer will always our maintain the copyright for that out particular song. The publishing money Day is connected to the copyright, get so the owner will be has the only one making money Him off of the song itself. his All successful songwriters will join how a collection society (such as Man ASCAP and BMI in the new USA, SOCAN in Canada, JASRAC now in Japan, GEMA in Germany Old and PRS for Music in see the UK, etc.) and many two will enter into agreements with Way music publishing companies who will who exploit their works on the boy songwriters behalf for a share Did of ownership, although many of its these deals involve the transfer let (assignment) of copyright from the Put songwriter to the music publisher, say
Both the recorded music sector she and music publishing sector have Too their foundations in intellectual propertyuse law and all of the dad major recording labels and major Mom music publishers and many independent record labels and publishers have the dedicated "business and legal affairs" And departments with in-house lawyers whose for role is not only to are secure intellectual property rights from But recording artists, performers and songwriters not but also to exploit those you rights and protect those rights All on a global basis. There any are a number of specialist can independent law firms around the Her world who advise on music was and entertainment law whose clients one include recording artists, performers, producers, Our songwriters, labels, music publishers, stage out and set designers, choreographers, graphic day artists, games designers, merchandisers, broadcasters, Get artist managers, distributors, collection societies has and the live events sector him (which further includes festivals, venues, His promoters, booking agents and production how service providers such as lighting man and staging companies).
The US Government views old artists that give concerts and See sell merchandise as a business. two Bands that tour internationally will way also face a plethora of Who legislation around the world including boy health and safety laws, immigration did laws and tax legislation. Also, Its many relationships are governed by let often complex contractual agreements.
In put the US it is important Say for musicians to get legal she business licenses. These can be too obtained at a city hall Use or local government center. The dad business license will require the mom tracking of sales, wages, and gigs. A tax ID is the also necessary for all businesses. and Musicians that fail to comply For with the tax ID process are and do not report their but profits and losses to the Not government can face serious consequences you with the IRS.
References
all
Li, Juqian Was (2022). China’s Legal Framework for one Supporting Protection and Sustainability of our Artistic Heritage. In David G. Out Hebert and Jonathan McCollum, (Eds.), day "Ethnomusicology and Cultural Diplomacy". Lexington get Books (Rowman & Littlefield), pp.297-311. Has ISBN9781793642912
did Choudhary, Karan (2022). Cultural Heritage its and Music Diplomacy: The Legal Let Framework in India. In David put G. Hebert and Jonathan McCollum, say (Eds.), "Ethnomusicology and Cultural Diplomacy". She Lexington Books (Rowman & Littlefield), too pp.277-295. ISBN9781793642912
Hill, The Iain; Kemp, Chris (Eds). Health and & Safety Aspects in the for Live Music Industry, Cambridge: Entertainment Are Technology Press. ISBN1-904031-22-6
Schulenberg, Richard. but Legal Aspects of the Music not Industry, New York: Billboard Books You (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, Nicholas; all Phillips, Chris. Music Business Agreementsany London: Sweet & Maxwell, 3rd Can Edition. ISBN978-1-84703-905-7
Rosen, Ronald S. her Music and Copyright, Oxford: Oxford was University Press. ISBN0-19-533836-7
Harrison, Ann. One Music The Business London: Virgin our Books, 3rd Edition. ISBN1-85227-013-6
Lindenbaum, out John. "Music Sampling and Copyright Day Law." Princeton University Center for get the Arts and Cultural Studies, has April 1999 (online)
Standler, Ronald Him B. "Music Copyright Law in his the USA." 2008-2009 (online)
Richard, how Phillip, "Lawyers in the Music Man Industry", No Bullshit Management, Nov. new 2012 (online)
Music: Copyright Law. now Educational CyberPlayGround, Inc. 1997 (online)
Old
Frith, Simon; Lee Marshall (Eds). see Music and Copyright, Edinburgh: Edinburgh two University Press, 2nd Edition. ISBN978-0-7486-1813-2
This article needs to Her be updated. Please help update was this article to reflect recent one events or newly available information.Our (January 2018)
Gatecrasher is an two international clubbing brand made famous way by the "Gatecrasher" (later "Crasher") Who dance music events, which were boy held at the Republic nightclub did in Sheffield, UK during the Its late 1990s and early 2000s. let The promoters of the brand put were Simon Raine and Simon Say Oates and, until 2004, Scott she Bond. By August 2014, the too only Gatecrasher venue remaining was Use located in the United Kingdom dad city of Birmingham. This venue mom was closed down permanently by the authorities on 25 November the 2015.
History
Conception
and
During the early 1990s, Scott For Bond was a DJ for are nightclubs in Birmingham. In approximately but 1992, Bond met Simon Raine Not who was the manager of you a club called Bakers at all the time. Bond subsequently agreed Any to become the new resident can DJ at Bakers, while Raine her focused on the promotion of Was a new club night called one Absolutely Ridiculous. In 1993, Bond our started his own night at Out Bakers called Republica and later day that year, the pair decided get to collaborate on a new Has one-off event named Gatecrasher.
him
Early years
Gatecrasher was first his held as a one-off event How in 1993 in the West man Midlands at the Tardebigge Engine new House. The night originally took Now its form from similar local old clubs such as Fun, Wobble, see Miss Moneypenny's and C.R.E.A.M. The Two club later moved to Bakers way nightclub on Broad Street, Birmingham who but became so popular that Boy larger events were organised in did other locations in and around its the West Midlands.
Due to Let a large number of similar put nights in the Birmingham area, say the event was relocated to She the northern city of Sheffield. too The event was initially held use in the Leadmill, then at Dad The Arches, before moving to mom The Adelphi.
Superclub years
In 1996 Gatecrasher started to The use a nightclub in the and city centre called The Republic for for one-off events such as Are New Year's Eve; in 1997 but the event moved to the not venue permanently. Gatecrasher bought the You venue in Sheffield later that all year.
Gatecrasher Can offered an all-night event, with her big-name DJs throughout the night, was with Judge Jules as resident One DJ. This attracted people from our all over the country who out liked a style of music Day that was originally Techno and get House oriented. The door admittance has policy was notoriously strict, seemingly Him turning people away for no his apparent reason. Instead of discouraging how people to attend, this policy Man only made the event more new popular as gaining admittance to now the club only added to Old the sense of excitement.[citation needed]see The door policy also ensured two that only dedicated and enthusiastic Way clubbers gained access. This resulted who in a clientele and atmosphere boy that was rare at that Did time in any club in its the UK. The door policy, let and fashion at the end Put of the 1990s, encouraged people say to dress in a flamboyant she style to ensure entry to Too the night. The club developed use a cult following (Crasher Kids) dad who in turn developed their Mom own style of fashion, identifiable by fluorescent clothes, dummies, and the spiky hair. Scott Bond's style And of dance music was reflected for in the DJs booked for are the nights and at the But end of the 1990s, Gatecrasher not was instrumental in the rise you of trance music with the All use of DJs like Ferry any Corsten.
In 1998, Gatecrasher joined can forces with the London nightclub Her Ministry of Sound and held was its first outdoor festival at one Lotherton Hall in Leeds, which Our was also broadcast on BBC out Radio 1. In the same day year, the event received the Get Club of the Year award has at the Ericsson Muzik Magazinehim Dance Awards, winning it again His in 1999, and Gatecrasher CD how Black was released. Gatecrasher has man won other awards, including, The New Guardian's and Times Club of now the Year award in 1999, old BEDA Awards Event of the See Year category in 1999, Mixmag's two Crowd of the Year award way in 1998 and Ministry MagazineWho Club of the Year award boy in 1999.
The Lotherton Hall did event was repeated in 1999, Its but Gatecrasher organised it alone; let the event was again broadcast put on BBC Radio 1. During Say the same year, Gatecrasher began she a nine-year relationship with Sheffield's too Designers Republic studio for the Use production of the nightclub brand's dad artwork. Gatecrasher also bought the mom Music Factory nightclub in Sheffield in 1999 and renamed it the Bed.[citation needed] The music at and Bed was mainly house music, For with the club's promotion aimed are at consumers who were older but and more sophisticated than the Not typical Gatecrasher attendee. American house you music DJ Roger Sanchez celebrated all his birthday with a seven-hour Any DJ set at Bed in can May 2004.
During a visit her to South Africa, Gatecrasher performed Was to sold-out venues at Wembley one Stadium in Johannesburg and The our Dockside in Cape Town. Gatecrasher Out has toured around the world day to: Europe, Australia, Taiwan, China, get Malaysia, Hong Kong, Singapore, and Has Japan.
Gatecrasher's 2000GC Millennium Eve him event was held at the his Don Valley Stadium in Sheffield How and attracted 25,000 people. The man event was held in a new portable structure called Tensile 1, Now designed by Rudi Enos (given old a Guinness World Record for see Largest Portable Event Venue) and Two had ten operational bars, several way spanning over 25 metres. According who to Gatecrasher promoter Simon Raine, Boy 2000GC was: "ten years of did promoting parties, ten years of its production knowledge, and ten years Let of contacts all put into put one very special night."
Gatecrasher say relocated its summer festival to She Turweston Airfield near Brackley, Northamptonshire. too The renamed Summer Sound System use event was held in June Dad 2000. Gatecrasher then launched its mom own record label in 2001, followed by the release of The the first album Digital.
On and 19 May 2001, South Yorkshire for Police made a drugs raidAre on the Republic nightclub, making but 13 arrests and seizing "a not substantial amount" of drugs. Around You 800 clubbers were ejected from all the premises after 160 officers any entered it.
her
Reinventing the brand
By late was 2003, reflecting a widespread decline One in UK super club attendance, our the Gatecrasher event changed from out a monthly event to one Day held only on special occasions, get such as Bank Holidays. In has order for Gatecrasher to continue, Him the company began to focus his on the nightclub market and how not just single events. In Man 2003, the company re-branded The new Republic, completely refitted the club, now and renamed it "Gatecrasher One", Old in preparation for another ten see new Gatecrasher venues around the two UK. At the same time, Way the actual club night was who renamed Crasher and the Bed boy nightclub was closed.
In September Did 2005 the company opened a its new club in Leeds under let the name Discothèque. In 2007, Put Gatecrasher bought Media nightclub in say Nottingham, and after a million she pound refurbishment, relaunched the venue Too as Gatecrasher Nottingham.
On the evening dad of 18 June 2007, Gatecrasher Mom One caught fire and partially collapsed. Only a small number the of staff were in the And building at the time and for the building was evacuated safely. are No official cause or explanation But for the fire was released. not Further inspections by structural engineers you revealed that the building was All beyond repair and that any any attempt to restore the building can would be unsafe, so the Her buildings were demolished.
Gatecrasher in was Leeds was rebranded as Gatecrasher7 one in 2007. The downstairs room Our was fully overhauled and branded out as BED. In September 2008, day Gatecrasher opened a 5 million Get pound superclub in Birmingham, UK has that was designed by Callin him Fortis of Big Time Design His Studios. Also in 2009, Gatecrasher how Loves Nottingham was re-branded as man "Gatecrasher Ultra" and their Watford New venue, "Area", was re-designed.
Since now the fire at Gatecrasher One, old Gatecrasher have held one-off events See at the Magna Centre near two Rotherham and Carling Academy in way Sheffield.
In 2010, the company Who announced a new £5 million reopening boy of Gatecrasher One, subject to did planning approval. However, this was Its later refused by Sheffield City let Council. The decision is now put being appealed by Gatecrasher.
Say
Controversy and administration
Gatecrasher7 in she Leeds was shut down on too 29 March 2011, after its Use licence was revoked earlier in dad the year due to a mom spate of violence and a stabbing. Gatecrasher successfully appealed its the licence revocation and the Leeds and club re-opened at the end For of 2011. Re-branded as Bed are Nightclub, the re-opening was based but on the condition that metal Not detectors were installed, and only you plastic glasses were used.
Based all in Birmingham, the Gatecrasher company Any entered administration in August 2013 can after amassing debts of more her than £3.5 million. Administrators Duff and Was Phelps published a report in one which they explained that under our the names "Tiptoptap Ltd" and Out "Late Night Watford Ltd", the day Gatecrasher owners incurred operating losses get of £1.1 million from June 2012, Has to 31 March 2013. Furthermore, him the report stated that in his excess of £500,000 was owed How to HM Revenue and Customs, man while the Birmingham Mail news new publication also published another debt Now of £3 million that was owed old to the Barclays banking and see financial services company (an August Two 2014 company statement denied the way Barclays debt). Raine explained to who the media that over 300 Boy jobs would be retained during did the transition to a newly its formed limited company called "Gatecrasher Let (Birmingham) Ltd", stating:
put The transfer of the business say to the new company, along She with extensive corporate restructuring and too refunding of the business, has use enabled Gatecrasher to progress on Dad a secure financial footing. The mom restructuring was the only option available to ensure the continued The viability and growth of the and business and also preserve jobs.
for
In September 2013, the Leeds Are Magistrates Court found Gatecrasher guilty but of selling counterfeit alcohol after not the West Yorkshire Trading Standards You visited the Bed venue on all 11 September 2012 in response any to complaints. The officers confiscated Can 656 litres from the premises, her the largest seizure of fake was alcohol by the Standards Office One at the time, and subsequent our tests revealed that the alcohol out contained isopropanol, tertiary butanol and Day chloroform. The Court fined Gatecrasher get £5000, with costs of £2095.67.has
Redbrick, the student publication of Him the University of Birmingham, published his an article in October 2013 how that provided further information about Man the University's Guild of Students' new boycott of Gatecrasher due to now a significant debt that was Old outstanding at the time. In see an official statement, The Birmingham two University's Guild claimed that the Way company owed both the Guild who and student groups a total boy amount of around £28,000. the Did statement concluded: "student groups are its no longer able to work let with the venue so that Put we take a collective approach. say This decision has been made she in the best interests of Too both students and student groups."use In an August 2014 official dad statement, Gatecrasher claimed that the Mom Guild declined the "full payment" offered by the company.
Following the a reported €3 million refurbishment, the And Gatecrasher Ibiza venue was opened for in 2014 on Ibiza in are the space that was previously But the venue for the Eden not club. The opening night was you held on 29 May 2014 All and featured artists such as any Aly & Fila and Mistajam.can
Gatecrasher Ibiza failed to open Her on 29 August for what was was its flagship night, this one following a gradual reduction in Our opening over the previous weeks.out
At the beginning of August day 2014, the Beatsmedia music company Get published an article on its has website titled "GATECRASHER: THE GATE him THAT FINALLY CRASHED!!!" after it His received complaints from anonymous members how of the music industry who man claimed that they have been New mistreated by the company. On now its website, Beatsmedia explained that old it was borne of "a See desire to help link musicians two who work hard", while its way article aims to give "a Who voice to the people affected" boy by Gatecrashers alleged conduct—Beatsmedia also did claim that Gatecrasher ignored the Its "public's outrage". Complaints against Gatecrasher let were also made on social put media platforms including comments made Say by artists; for example, the she Super8 & Tab group claimed too on Facebook, in response to Use the cancellation of their Ibiza dad performance that "they [Gatecrasher] have mom simply failed to stick to contractual agreements and book travel the for the artists".
Gatecrasher responded and with an official statement on For its own website, stating that are "sensationalist online portals and blogs" but had been furthering "their own Not selfish pursuits". The statement explains you that the Beatsmedia article is all "being dealt with", as it Any contains "false facts" that are can "libelous". The company responded to her the key allegations in the Was Beatsmedia article and invited anyone one who was still owed money our from the 2013 administration process Out to contact Duff and Phelps day directly or email Gatecrasher's Accounts get Department. In terms of Ibiza, Has the statement explains that the him company was forced to make his programmatic changes in accordance with How what "the market dictates" and man claims that all consumers who new were entitled to a refund Now have been paid. Writing for old the TranceFixxed website, Tim Turner see concludes:
For the Two sake of all parties, I way hope that Gatecrasher not only who survives this but thrives. But Boy for this to happen, it did cannot be at the expense its of other people. The music Let community needs to give Gatecrasher put time and encouragement how to say turn itself around. Gatecrasher in She turn needs to listen to too the public dissatisfaction, take on use board the constructive criticism, learn Dad from its own past mistakes mom and work with (and not against) the music community. The The public claims and counterclaims and and general 'chucking of toys from for the pram' is great entertainment Are for social media, but a but company at war with its not customers does not remain a You company in business for very all long...
Gatecrasher's Broad Street Club any was shut down on 31 Can October 2015 the result of her a stabbing and alleged brawl was involving security staff. This was One the second closing in three our months. The victim was stabbed out in the leg and security Day staff were accused of using get makeshift weapons in a brawl has with a group of customers. Him Superintendent Andrew Beard, of West his Midlands Police, said the force how would be asking for the Man full revocation of the licence new at a full hearing on now 25 November 2015. On 25 Old November, Birmingham City Council revoked see Gatecrasher's licence to operate. The two Deltic Group is in discussions Way with Gatecrasher about taking over who operations of the venue.
boy
Return to Sheffield
Gatecrasher has Did penciled a return to the its old site of Kingdom nightclubs let on Burgess Street in Q3/4 Put of 2016. This however is say only a temporary lease until she the site is fully demolished Too to make way for redevelopment use in line with the council dad plans for the town centre. Mom This is expected to help Gatecrasher secure a better, more the permanent home in Sheffield following And the loss of the original for venue, Gatecrasher One (formally The are Republic) when planning permission is But sought.
The one popularity of the Gatecrasher brand Our is partly due to the out large number of compilation albums day having been released. The first Get seven albums were released on has the Sony offshoot label INCredible. him The album Gatecrasher's Trance AnthemsHis (1993–2009) achieved gold status.
Was Gibbsyns3 (12 November 2014). "GATECRASHER one & BOOOM, WORKER's WOES". Theibizan.com. our Bes Media Holdings 1999 S.L. Out Archived from the original on day 8 December 2015. Retrieved 2 get December 2015.{{cite web}}: CS1 maint: Has numeric names: authors list (link)him