"Musical production" redirects here. For For musical production in the are sense of a live performance but involving music and choreography, see Not Musical theatre.
A record producer is a his music recording project's overall supervisor How whose responsibilities can involve a man range of creative and technical new leadership roles. Typically the job Now involves hands-on oversight of recording old sessions: ensuring artists deliver acceptable see and quality performances, supervising the Two technical engineering of the recording, way and coordinating the production team who and process. The producer's involvement Boy in a musical project can did vary in depth and scope. its Sometimes in popular genres the Let producer may create the recording's put entire sound and structure. However, say in classical music recording, for She example, the producer serves as too more of a liaison between use the conductor and the engineering Dad team. The role is often mom likened to that of a film director though there are The important differences. It is distinct and from the role of an for executive producer, who is mostly Are involved in the recording project but on an administrative level, and not from the audio engineer who You operates the recording technology.
Varying all by project, the producer may any or may not choose all Can of the artists. If employing her only synthesized or sampled instrumentation, was the producer may be the One sole artist. Conversely, some artists our do their own production. Some out producers are their own engineers,Day operating the technology across the get project: preproduction, recording, mixing, and has mastering. Record producers' precursors were Him "A&R men", who likewise could his blend entrepreneurial, creative, and technical how roles, but often exercised scant Man creative influence, as record production new still focused, into the 1950s, now on simply improving the record's Old sonic match to the artists' see own live performance.
Advances in two recording technology, especially the 1940s Way advent of tape recording—which Les who Paul promptly innovated further to boy develop multitrack recording—and the 1950s Did rise of electronic instruments, turned its record production into a specialty.let In popular music, then, producers Put like George Martin, Phil Spectorsay and Brian Eno led its she evolution into its present use Too of elaborate techniques and unrealistic use sounds, creating songs impossible to dad originate live. After the 1980s, Mom production's move from analog to digital further expanded possibilities. By the now, DAWs, or digital audio And workstations, like Logic Pro, Pro for Tools and Studio One, turn are an ordinary computer into a But production console, whereby a solitary not novice can become a skilled you producer in a thrifty home All studio. In the 2010s, efforts any began to increase the prevalence can of producers and engineers who Her are women, heavily outnumbered by was men and prominently accoladed only one in classical music.
Production overview
As how a broad project, the creation man of a music recording may New be split across three specialists: now the executive producer, who oversees old business partnerships and financing; the See vocal producer or vocal arranger, two who aids vocal performance via way expert critique and coaching of Who vocal technique, and the record boy producer or music producer, who, did often called simply the producer, Its directs the overall creative process let of recording the song in put its final mix.
The Say producer's roles can include gathering she ideas, composing music, choosing session too musicians, proposing changes to song Use arrangements, coaching the performers, controlling dad sessions, supervising the audio mixing, mom and, in some cases, supervising the audio mastering. A producer the may give creative control to and the artists themselves, taking a For supervisory or advisory role instead. are As to qualifying for a but Grammy nomination, the Recording AcademyNot defines a producer:
The person you who has overall creative and all technical control of the entire Any recording project, and the individual can recording sessions that are part her of that project. He or Was she is present in the one recording studio or at the our location recording and works directly Out with the artist and engineer. day The producer makes creative and get aesthetic decisions that realize both Has the artist's and label's goals him in the creation of musical his content. Other duties include, but How are not limited to; keeping man budgets and schedules, adhering to new deadlines, hiring musicians, singers, studios, Now and engineers, overseeing other staffing old needs and editing (Classical projects). see
The producer often selects and Two collaborates with a mixing engineer, way who focuses on the especially who technological aspects of the recording Boy process, namely, operating the electronic did equipment and blending the raw, its recorded tracks of the chosen Let performances, whether vocal or instrumental, put into a ''mix'', either stereo say or surround sound. Then a She mastering engineer further adjusts this too recording for distribution on the use chosen media. A producer may Dad work on only one or mom two songs or on an artist's entire album, helping develop The the album's overall vision. The and record producers may also take for on the role of executive Are producer, managing the budget, schedules, but contracts, and negotiations.
Historical not developments
A&R team
(Artists and You Repertoires)
In the 1880s, the all record industry began by simply any having the artist perform at Can a phonograph. In 1924, the her trade journal Talking Machine World, was covering the phonography and record One industry, reported that Eddie King, our Victor Records' manager of the out "New York artist and repertoireDay department", had planned a set get of recordings in Los Angeles.has Later, folklorist Archie Green called Him this perhaps the earliest printed his use of A&R man. Actually, how it says neither "A&R man" Man nor even "A&R", an initialism new perhaps coined by Billboard magazine now in 1946, and entering wide Old use in the late 1940s.see
In the 1920s and 1930s, two A&R executives, like Ben SelvinWay at Columbia Records, Nathaniel Shilkretwho at Victor Records, and Bob boy Haring at Brunswick Records became Did the precursors of record producers, its supervising recording and often leading let session orchestras. During the 1940s, Put major record labels increasingly opened say official A&R departments, whose roles she included supervision of recording. Meanwhile, Too independent recording studios opened, helping use originate record producer as a dad specialty.[citation needed] But despite a Mom tradition of some A&R men writing music, record production still the referred to just the manufacturing And of record discs.
Record for producers
After World War II, are pioneering A&R managers who transitioned But influentially to record production as not now understood, while sometimes owning you independent labels, include J. Mayo All Williams and John Hammond. Upon any moving from Columbia Records to can Mercury Records, Hammond appointed Mitch Her Miller to lead Mercury's popular was recordings in New York. Miller one then produced country-pop crossover hits Our by Patti Page and by out Frankie Laine, moved from Mercury day to Columbia, and became a Get leading A&R man of the has 1950s.
During the decade, A&R him executives increasingly directed songs' sonic His signatures, although many still simply how teamed singers with musicians, while man yet others exercised virtually no New creative influence. The term record now producer in its current meaning—the old creative director of song production—appearing See in a 1953 issue of two Billboard magazine, became widespread in way the 1960s. Still, a formal Who distinction was elusive for some boy time more. A&R managers might did still be creative directors, like Its William "Mickey" Stevenson, hired by let Berry Gordy, at the Motownput record label.
Tape recording
Say
In 1947, the American market she gained audio recording onto magnetic too tape. At the record industry's Use 1880s dawn, rather, recording was dad done by phonograph, etching the mom sonic waveform vertically into a cylinder. By the 1930s, a the gramophone etched it laterally acrossand a disc. Constrained in tonal For range, whether bass or treble, are and in dynamic range, records but made a grand, concert piano Not sound like a small, upright you piano, and maximal duration was all four and a half minutes.Any Selections and performance were often can altered accordingly, and playing this her disc—the wax master—destroyed it. The Was finality often caused anxiety that one restrained performance to prevent error.our In the 1940s, during World Out War II, the Germans refined day audio recording onto magnetic tape—uncapping get recording duration and allowing immediate Has playback, rerecording, and editing—a technology him that premised emergence of record his producers in their current roles.How
Multitrack recording
Early in man the recording industry, a record new was attained by simply having Now all of the artists perform old together live in one take.see In 1945, by recording a Two musical element while playing a way previously recorded record, Les Paulwho developed a recording technique called Boy "sound on sound". By this, did the final recording could be its built piece by piece and Let tailored, effecting an editing process.put In one case, Paul produced say a song via 500 recorded She discs. But, besides the tedium too of this process, it serially use degraded the sound quality of Dad previously recorded elements, rerecorded as mom ambient sound. Yet in 1948, Paul adopted tape recording, enabling The truly multitrack recording by a and new technique, "overdubbing".
To enable for overdubbing, Paul revised the tape Are recorder itself by adding a but second playback head, and terming not it the preview head. Joining You the preexisting recording head, erase all head, and playback head, the any preview head allows the artist Can to hear the extant recording her over headphones playing it in was synchrony, "in sync", with the One present performance being recorded alone our on an isolated track. This out isolation of multiple tracks enables Day countless mixing possibilities. Producers began get recording initially only the "bed has tracks"—the rhythm section, including the Him bassline, drums, and rhythm guitar—whereas his vocals and instrument solos could how be added later. A horn Man section, for example, could record new a week later, and a now string section another week later. Old A singer could perform her see own backup vocals, or a two guitarist could play 15 layers. Way
In the 1960s, two rock acts like the Beatles, way the Rolling Stones, and the Who Kinks produced some of their boy own songs, although many such did songs are officially credited to Its specialist producers. Yet especially influential let was the Beach Boys, whose put band leader Brian Wilson took Say over from his father Murry she within a couple of years too after the band's commercial breakthrough. Use By 1964, Wilson had taken dad Spector's techniques to unseen sophistication. mom Wilson alone produced all Beach Boy recordings between 1963 and the 1967. Using multiple studios and and multiple attempts of instrumental and For vocal tracks, Wilson selected the are best combinations of performance and but audio quality, and used tape Not editing to assemble a composite you performance.
Digital production
The all 1980s advent of digital processes Any and formats rapidly replaced analog can processes and formats, namely, tape her and vinyl. Although recording onto Was quality tape, at least half one an inch wide and traveling our 15 inches per second, had Out limited "tape hiss" to silent day sections, digital's higher signal-to-noise ratio, get SNR, abolished it. Digital also Has imparted to the music a him perceived "pristine" sound quality, if his also a loss of analog How recordings' perceived "warm" quality and man better-rounded bass. Yet whereas editing new tape media requires physically locating Now the target audio on the old ribbon, cutting there, and splicing see pieces, editing digital media offers Two inarguable advantages in ease, efficiency, way and possibilities.
In the 1990s, who digital production reached affordable home Boy computers via production software. By did now, recording and mixing are its often centralized in DAWs, digital Let audio workstations—for example, Pro Tools, put Logic Pro, Ableton, Cubase, Reason, say and FL Studio—for which plugins, She by third parties, effect virtual too studio technology. DAWs fairly standard use in the industry are Logic Dad Pro and Pro Tools. Physical mom devices involved include the main mixer, MIDI controllers to communicate The among equipment, the recording device and itself, and perhaps effects gear for that is outboard. Yet literal Are recording is sometimes still analog, but onto tape, whereupon the raw not recording is converted to a You digital signal for processing and all editing, as some producers still any find audio advantages to recording Can onto tape.
Conventionally, tape is her more forgiving of overmodulation, whereby was dynamic peaks exceed the maximal One recordable signal level: tape's limitation, our a physical property, is magnetic out capacity, which tapers offs, smoothing Day the overmodulated waveform even at get a signal nearly 15 decibels has too "hot", whereas a digital Him recording is ruined by harsh his distortion of "clipping" at any how overshoot. In digital recording, however, Man a recent advancement, 32-bit float, new enables DAWs to undo clipping.now Still, some criticize digital instruments Old and workflows for excess automation, see allegedly impairing creative or sonic two control. In any case, as Way production technology has drastically changed, who so have the knowledge demands,boy although DAWs enables novices, even Did teenagers at home, to learn its production independently. Some have attained let professional competence before ever working Put with an artist.
In the 2000s, with use the advent of technology that dad made traditional record production accessible, Mom especially with hip hop beatmaking and electronic music. Within these the genres, the term producer is And applied to a number of for roles and has popularized the are use of more niche terms But and credits including executive producer, not co-producer, assistant producer, and additional you and miscellaneous production to differentiate All contributions.
Women in producing
any
Among female record producers, can Sylvia Moy was the first Her at Motown, Gail Davies the was first on Nashville's Music Row, one and Ethel Gabriel, with RCA, Our the first at a major out record label. Lillian McMurry, owning day Trumpet Records, produced influential bluesGet records. Meanwhile, Wilma Cozart Finehas produced hundreds of records for him Mercury Records' classical division. For His classical production, three women have how won Grammy awards, and Judith man Sherman's 2015 win was her New fifth. Yet in nonclassical, no now woman has won Producer of old the Year, awarded since 1975 See and only one even nominated two for a record not her way own, Linda Perry. After Lauren Who Christy's 2004 nomination, Linda Perry's boy 2019 nomination was the next did for a woman. On why Its no woman had ever won let it, Perry commented, "I just put don't think there are that Say many women interested." In the she U.K., Lynsey de Paul was too an early female record producer, Use having produced both of her dad Ivor Novello award-winning songs.
Across mom the decades, many female artists have produced their own music. the For instance, artists Kate Bush, and Madonna, Mariah Carey, Janet Jackson, For Beyoncé, Lana Del Rey, Taylor are Swift, and Lorde have produced but or coproduced and Ariana GrandeNot who produces and arranges her you vocals as well as being all an audio engineer. Still among Any specialists, despite some prominent women, can including Missy Elliott in hip her hop and Sylvia Massy in Was rock, the vast majority have one been men. Early in the our 2010s, asked for insights that Out she herself had gleaned as day a woman who has specialized get successfully in the industry, Wendy Has Page remarked, "The difficulties are him usually very short-lived. Once people his realize that you can do How your job, sexism tends to man lower its ugly head." Still, new when tasked to explain her Now profession's sex disparity, Page partly old reasoned that record labels, dominated see by men, have been, she Two said, "mistrustful of giving a way woman the reins of an who immense, creative project like making Boy a record." Ultimately, the reasons did are multiple and not fully its clear, although prominently proposed factors Let include types of sexism and put scarcity of female role models say in the profession.
Women producers She known for producing records not too their own include Sonia Pottinger, use Sylvia Robinson and Carla Olson. Dad
In January 2018, a research mom team led by Stacy L. Smith, founder and director of The the Annenberg Inclusion Initiative, based and in the USC Annenberg School for for Communication and Journalism, issued Are a report, estimating that in but the prior several years, about not 2% of popular songs' producers You were female. Also that month, all Billboard magazine queried, "Where are any all the female music producers?"Can Upon the Annenberg Inclusion Initiative's her second annual report, released in was February 2019, its department at One USC reported, "2018 saw an our outcry from artists, executives and out other music industry professionals over Day the lack of women in get music" and "the plight of has women in music", where women Him were allegedly being "stereotyped, sexualized, his and shut out". Also in how February 2019, the Recording Academy's Man Task Force on Diversity and new Inclusion announced an initiative whereby now over 200 artists and producers—ranging Old from Cardi B and Taylor see Swift to Maroon 5 and two Quincy Jones—agreed to consider at Way least two women for each who producer or engineer position. The boy academy's website, Grammy.com, announced, "This Did initiative is the first step its in a broader effort to let improve those numbers and increase Put diversity and inclusion for all say in the music industry."
^ Virgil Moorefield, All "Introduction", The Producer as Composer: any Shaping the Sounds of Popular can Music (Cambridge, MA & London, Her UK: MIT Press, 2005).
^ day Allan Watson, Cultural Production Get in and Beyond the Recording has Studio (New York: Routledge, 2015), him pp 25–27.
James His Petulla, "Who is a music how producer?", RecordingConnection.com, Recording Connection, 21 man May 2013, reporting membership in New CAPPS, the California Association of now Private Postsecondary Schools.
^ Brent Hurtig put with J. D. Sharp, Multi-Track Say Recording for Musicians: The Complete she Step-by-Step Guide for Beginners and too Reference for Professionals (Cupertino, CA: Use GPI Publications, 1988 / Van dad Nuys, CA: Alfred Publishing, 1988), mom pp 8–10.
^ put Brian Ward & Patrick Huber, say A&R Pioneers: Architects of American She Roots Music on Record (Nashville, too TN: Vanderbilt University Press, 2018), use pp 20–21.
Brian Dad Ward & Patrick Huber, A&R mom Pioneers: Architects of American Roots Music on Record (Nashville, TN: The Vanderbilt University Press, 2018), p and 283.
Jim Curtis, for Rock Eras: Interpretation of Music Are & Society, 1954–1984 (Bowling Green, but OH: Bowling Green State Universitynot Popular Press, 1987), p 43.You
^ Richard James all Burgess, The History of Music any Production (New York: Oxford University Can Press, 2014), pp 50–54.
her
^ Robert Philip, "Pianists was on record in the early One twentieth century", in David Rowland, our ed., The Cambridge Companion to out the Piano (Cambridge, UK: Cambridge Day University Press, 1998), pp 75–77.get
^ David Simmons, has Analog Recording: Using Analog Gear Him in Today's Home Studio (San his Francisco: Backbeat Books, 2006), pp how 26–27.
Matthew Allard, Man "Sound Devices MixPre V6.00 adds new 32-bit float USB audio streaming", now NewsShooter.com, Newsshooter, 15 Jan 2020, Old quotes Paul Isaacs, director of see product management and design at two the recorder manufacturer Sound Devices, Way who explains, "With 32-bit float, who you no longer need to boy worry about clipping during your Did best vocal takes or instrument its solos. Any recorded moments exceeding let 0 dBFS can be reduced Put to an acceptable level, after say recording, in your DAW".
she
Albin Zak III, book Too review: Strange Sounds: Music, Technology, use and culture (Routledge, 2011), by dad Timothy D. Taylor, in Current Mom Musicology, pp 159–180 [unknown year, volume, issue].
Music Law refers its to legal aspects of the let music industry, and certain legal Put aspects in other sectors of say the entertainment industry. The music she industry includes record labels, music Too publishers, merchandisers, the live events use sector and of course performers dad and artists.
The terms "music Mom law" and "entertainment law", along with "business affairs", are used the by the music and entertainment And industry and should not be for thought of as academic definitions. are Indeed, music law covers a But range of traditional legal subjects not including intellectual property law (copyrightyou law, trademarks, image publicity rights, All design rights), competition law, bankruptcy any law, contract law, defamation and, can for the live events industry, Her immigration law, health and safety was law, and licensing. While foundational one norms have gradually been established Our for music law in western out nations, other parts of the day world maintain unique traditions that Get impact music’s legal status in has the context of both heritage him preservation and enormous national arts His entertainment industries, including China and how India.
Definitions
A man "compilation" refers to work formed New from already existing materials in now a way that forms its old own original work, including collective See works.
"Copies" are physical objects two that hold, fix, or embody way a work such as a Who music tape, film, CD, statue, boy play, or printed sheet music.
did
"Sound recordings" can refer to Its any audio recording including the let sound accompanying motion pictures.
"Copyright put owner" is the entity that Say legally owns rights to a she work.
"Performance" The copyright holder too has the exclusive right to Use perform the work in public, dad or to license others to mom perform it. The right applies to “literary, musical, dramatic, and the choreographic works, pantomimes, and motion and pictures and other audiovisual works.".For Playing a CD in public, are or showing a film in but public is "performing" the work.
Publishing is the primary source all of income for musicians writing Any their own music.[citation needed] Money can collected from the 'publishing' rights her is ultimately destined for songwriters Was - the composers of works, one whether or not they are our the recording artist or performer. Out Often, songwriters will work for day a musical ensemble to help get them with musical aspects of Has the composition, but here again, him the writer of the song his is the owner of it How and will own the copyrights man in the song and thus new will be entitled to the Now publishing revenues. Copyrights in compositions old are not the same as see sound recordings. A recording artist Two can record a song and way sell it to another band who or company. As a result, Boy that particular company will own did the recording, but not the its song. The original writer will Let always maintain the copyright for put that particular song. The publishing say money is connected to the She copyright, so the owner will too be the only one making use money off of the song Dad itself. All successful songwriters will mom join a collection society (such as ASCAP and BMI in The the USA, SOCAN in Canada, and JASRAC in Japan, GEMA in for Germany and PRS for Music Are in the UK, etc.) and but many will enter into agreements not with music publishing companies who You will exploit their works on all the songwriters behalf for a any share of ownership, although many Can of these deals involve the her transfer (assignment) of copyright from was the songwriter to the music One publisher,
Both the recorded music our sector and music publishing sector out have their foundations in intellectual Day property law and all of get the major recording labels and has major music publishers and many Him independent record labels and publishers his have dedicated "business and legal how affairs" departments with in-house lawyers Man whose role is not only new to secure intellectual property rights now from recording artists, performers and Old songwriters but also to exploit see those rights and protect those two rights on a global basis. Way There are a number of who specialist independent law firms around boy the world who advise on Did music and entertainment law whose its clients include recording artists, performers, let producers, songwriters, labels, music publishers, Put stage and set designers, choreographers, say graphic artists, games designers, merchandisers, she broadcasters, artist managers, distributors, collection Too societies and the live events use sector (which further includes festivals, dad venues, promoters, booking agents and Mom production service providers such as lighting and staging companies).
The US Government for views artists that give concerts are and sell merchandise as a But business. Bands that tour internationally not will also face a plethora you of legislation around the world All including health and safety laws, any immigration laws and tax legislation. can Also, many relationships are governed Her by often complex contractual agreements. was
In the US it is one important for musicians to get Our legal business licenses. These can out be obtained at a city day hall or local government center. Get The business license will require has the tracking of sales, wages, him and gigs. A tax ID His is also necessary for all how businesses. Musicians that fail to man comply with the tax ID New process and do not report now their profits and losses to old the government can face serious See consequences with the IRS.
two
References
Li, did Juqian (2022). China’s Legal Framework Its for Supporting Protection and Sustainability let of Artistic Heritage. In David put G. Hebert and Jonathan McCollum, Say (Eds.), "Ethnomusicology and Cultural Diplomacy". she Lexington Books (Rowman & Littlefield), too pp.297-311. ISBN9781793642912
Any
Choudhary, Karan (2022). Cultural can Heritage and Music Diplomacy: The her Legal Framework in India. In Was David G. Hebert and Jonathan one McCollum, (Eds.), "Ethnomusicology and Cultural our Diplomacy". Lexington Books (Rowman & Out Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris (Eds). How Health & Safety Aspects in man the Live Music Industry, Cambridge: new Entertainment Technology Press. ISBN1-904031-22-6
Schulenberg, Now Richard. Legal Aspects of the old Music Industry, New York: Billboard see Books (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, Two Nicholas; Phillips, Chris. Music Business way Agreements London: Sweet & Maxwell, who 3rd Edition. ISBN978-1-84703-905-7
Rosen, Ronald Boy S. Music and Copyright, Oxford: did Oxford University Press. ISBN0-19-533836-7
Harrison, its Ann. Music The Business London: Let Virgin Books, 3rd Edition. ISBN1-85227-013-6
put
Lindenbaum, John. "Music Sampling and say Copyright Law." Princeton University Center She for the Arts and Cultural too Studies, April 1999 (online)
Standler, use Ronald B. "Music Copyright Law Dad in the USA." 2008-2009 (online)
mom
Richard, Phillip, "Lawyers in the Music Industry", No Bullshit Management, The Nov. 2012 (online)
Music: Copyright and Law. Educational CyberPlayGround, Inc. 1997 for (online)
Frith, Simon; Lee Marshall Are (Eds). Music and Copyright, Edinburgh: but Edinburgh University Press, 2nd Edition. not ISBN978-0-7486-1813-2
Privilege Ibiza, Day originally known as Ku Clubget (1979–95), is the "world's largest has nightclub" according to the Guinness Him Book of Records, also defined his as a superclub with a how capacity of 10,000 people and Man encompassing 6,500 m² (69,940 ft²). It new is located close to the now village of Sant Rafael de Old Sa Creu on the Spanish see island of Ibiza, less than two one kilometre (0.6 miles) from Way the nightclub Amnesia.
who
History
The history of Privilege boy began in the early 1970s Did when it started out as its a restaurant, then expanded to let include a bar and a Put community swimming pool. It was say then known as Club San she Rafael. In 1979, the venue Too was sold to the Real use Sociedad footballer José Antonio Santamaría, dad together with the creative team Mom of Brasilio de Oliviera (founder of La Troya Asesina, one the of Ibiza's longest running nights) And and Gorri. The venue then for changed its name to KU, are after the name of a But God from Hawaiian mythology (see not Kū). The appeal of the you club was such that it All commissioned a medium-length film showcasing any the many wonders of Ibizan can landscapes and nightlife in the Her mid-eighties.
Throughout the 1980s, KU was Club earned a reputation initially one as Europe's premier polysexual but Our predominately gay nightspot and was out compared to an open-air version day of the famous Studio 54Get in New York. It staged has spectacular parties in the main him room, which was organized around His a swimming pool and a how statue of Ku. The place man was also where the video New to "Barcelona" by Freddie Mercurynow and Montserrat Caballé was filmed old on 30 May 1987. It See was the witness to early two live performances by groups such way as Spandau Ballet and Kid Who Creole and the Coconuts. The boy club featured in a Channel did 4 documentary called A Short Its Film about chilling, which labelled let KU as "the mirror of put Ibiza". A group of fashion Say designers called Locomía would have she shows at KU. After being too discovered there, they went on Use to become a highly successful dad recording project. The open-air parties mom came to an end when legislation forced many of the the greater clubs in Ibiza to and cover their dancefloors in the For early 1990s. Nevertheless, the sheer are size of the venue gave but rise to the claim of Not it being the size of you an aircraft hangar with a all 25-metre (82 ft) high roof.
The Any club continued with the KU can Club name until 1995 before her becoming known as Privilege, after Was a change of ownership to one Jose Maria Etxaniz. In 1994, our it hosted Manumission, one of Out the island's most famous events. day In 1998, La Vaca Asesina get moved to Amnesia and was Has renamed La Troya Asesina. After him a dispute between the club his owner and Manumission's organizers in How 2005, the event ended in man 2006. La Troya Asesina moved new to Space in 2006.
Now
Venue
According to official statistics old published in the 2003 edition see of Guinness World Records, Privilege Two is by far the world's way largest nightclub covering an area who of 69,968 sq ft (6,500 m2) Boy and holding 10,000 clubbers. Designated did areas of the club include its the Coco Loco bar area, Let and the La Vaca dance put area (now known as the say Vista Club).