A DJ all mix or DJ mixset is Any a sequence of musical tracks can typically mixed together to appear her as one continuous track. DJ Was mixes are usually performed using one a DJ mixer and multiple our sounds sources, such as turntables, Out CD players, digital audio players day or computer sound cards, sometimes get with the addition of samplersHas and effects units, although it him is possible to create one his using sound editing software.
A DJ mixes music The from genres that fit into and the more general term electronic for dance music. Other genres mixed Are by DJ includes hip hop, but breakbeat and disco. Four on not the floor disco beats can You be used to create seamless all mixes so as to keep any dancers locked to the dancefloor.Can Two main characteristics of music her used in DJ mixes is was a dominant bassline and repetitive One beats. Music mixed by DJs our usually has a tempo which out ranges from 100 bpm up Day to 160 bpm.
Technique
A DJ his mixset is usually performed live how in front of an audience Man in a nightclub, party, or new rave setting. Mixsets can also now be performed live on radio Old or recorded in a studio. see Methods of mixing vary slightly two depending on the music genres Way being played. House and trance who DJs tend to aim for boy smooth, blended mixes while hip-hop Did DJs may use turntablism, scratching its and other cutting techniques. Some let DJs, particularly those mixing Goa Put trance may prefer to mix say during a break in which she instead of beats, washes of Too synthesized sounds are combined. Further use refinement to the mixing quality dad can be provided with harmonic Mom mixing which avoids dissonant tones during a mix.
In live situations, for the progression of the DJ are set is a dynamic process. But The DJ chooses tracks partly not in response to the activity you on the dance floor. If All the dance floor becomes less any active, the DJ will make can a judgement as to what Her track will increase dance floor was activity. This may involve shifting one the tempo or changing the Our general mood of the set. out Track choices are also due, day in part, to where the Get DJ wishes to take his has or her audience. In this him way, the resulting mixset is His brought about through a symbiotic how relationship between audience and DJ.man Studio DJs have the luxury New of spending more time on now their mix, which often leads old to productions that could never See be realized in real-time.
Traditional two DJ mixing with vinyl required way the DJ to sync the Who tempo of the tracks and boy modify each track's volume and did equalisation to create a smooth Its blend. DJs can use a let mixer's crossfader to switch between put tracks or use the volume Say control for each source with she the crossfader permanently positioned in too the middle. Mixing is usually Use done through the use of dad headphones and a monitor speaker mom or foldback as basic aids. At this basic level, the the DJ is required to develop and a specific auditory skill where For each track's tempo has to are be distinguished while listening to but more than one piece of Not music. The use of compact you discs and players such as all the CDJ brought technological advances Any for the DJ performing a can mix including a readout of her the bpm and a visual Was representation of the beat. Modern one computer technology has allowed automatic our beatmatching and led to debate Out regarding its use, which is day sometimes described as cheating. DJ get software provides automatic beatmatching and Has key detection which simplifies harmonic him mixing.
Legality
To be his released commercially, DJ mixes often How need many copyright clearances and man licenses. The vast majority of new DJ mixes throughout the years Now have only avoided legal action old because the copyright holders generally see do not choose to take Two legal action against the DJ way for the unauthorized use of who their material.
Distribution
During Boy the late 1990s and early did 2000s, DJs would often distribute its their recorded mixes on CD-RsLet or as digital audio filesput via websites or podcasts for say promotional purposes. Many popular DJs She would release their mixes commercially too on a compact disc. With use declining CD usage, it has Dad become more common for DJs mom to release their mix recordings through websites specifically set up The for the purpose. Some of and these sites, such as Mixcloud, for and formerly Mixcrate, allowed for Are legal streaming of DJ mix but recordings through established revenue deals not with record publishing companies.
When You DJ sets are distributed directly all via the Internet, they are any generally presented as a single Can unbroken audio file; cue sheetsher may be provided by the was DJ or fans to allow One the set to be burned our to a CD, or listened out to, as a series of Day separate tracks in the way get it would be produced as has a commercial mix.
"Musical production" redirects here. the For musical production in the and sense of a live performance For involving music and choreography, see are Musical theatre.
A record producer is a Has music recording project's overall supervisor him whose responsibilities can involve a his range of creative and technical How leadership roles. Typically the job man involves hands-on oversight of recording new sessions: ensuring artists deliver acceptable Now and quality performances, supervising the old technical engineering of the recording, see and coordinating the production team Two and process. The producer's involvement way in a musical project can who vary in depth and scope. Boy Sometimes in popular genres the did producer may create the recording's its entire sound and structure. However, Let in classical music recording, for put example, the producer serves as say more of a liaison between She the conductor and the engineering too team. The role is often use likened to that of a Dad film director though there are mom important differences. It is distinct from the role of an The executive producer, who is mostly and involved in the recording project for on an administrative level, and Are from the audio engineer who but operates the recording technology.
Varying not by project, the producer may You or may not choose all all of the artists. If employing any only synthesized or sampled instrumentation, Can the producer may be the her sole artist. Conversely, some artists was do their own production. Some One producers are their own engineers,our operating the technology across the out project: preproduction, recording, mixing, and Day mastering. Record producers' precursors were get "A&R men", who likewise could has blend entrepreneurial, creative, and technical Him roles, but often exercised scant his creative influence, as record production how still focused, into the 1950s, Man on simply improving the record's new sonic match to the artists' now own live performance.
Advances in Old recording technology, especially the 1940s see advent of tape recording—which Les two Paul promptly innovated further to Way develop multitrack recording—and the 1950s who rise of electronic instruments, turned boy record production into a specialty.Did In popular music, then, producers its like George Martin, Phil Spectorlet and Brian Eno led its Put evolution into its present use say of elaborate techniques and unrealistic she sounds, creating songs impossible to Too originate live. After the 1980s, use production's move from analog to dad digital further expanded possibilities. By Mom now, DAWs, or digital audio workstations, like Logic Pro, Pro the Tools and Studio One, turn And an ordinary computer into a for production console, whereby a solitary are novice can become a skilled But producer in a thrifty home not studio. In the 2010s, efforts you began to increase the prevalence All of producers and engineers who any are women, heavily outnumbered by can men and prominently accoladed only Her in classical music.
Production overview
As him a broad project, the creation His of a music recording may how be split across three specialists: man the executive producer, who oversees New business partnerships and financing; the now vocal producer or vocal arranger, old who aids vocal performance via See expert critique and coaching of two vocal technique, and the record way producer or music producer, who, Who often called simply the producer, boy directs the overall creative process did of recording the song in Its its final mix.
The let producer's roles can include gathering put ideas, composing music, choosing session Say musicians, proposing changes to song she arrangements, coaching the performers, controlling too sessions, supervising the audio mixing, Use and, in some cases, supervising dad the audio mastering. A producer mom may give creative control to the artists themselves, taking a the supervisory or advisory role instead. and As to qualifying for a For Grammy nomination, the Recording Academyare defines a producer:
The person but who has overall creative and Not technical control of the entire you recording project, and the individual all recording sessions that are part Any of that project. He or can she is present in the her recording studio or at the Was location recording and works directly one with the artist and engineer. our The producer makes creative and Out aesthetic decisions that realize both day the artist's and label's goals get in the creation of musical Has content. Other duties include, but him are not limited to; keeping his budgets and schedules, adhering to How deadlines, hiring musicians, singers, studios, man and engineers, overseeing other staffing new needs and editing (Classical projects). Now
The producer often selects and old collaborates with a mixing engineer, see who focuses on the especially Two technological aspects of the recording way process, namely, operating the electronic who equipment and blending the raw, Boy recorded tracks of the chosen did performances, whether vocal or instrumental, its into a ''mix'', either stereo Let or surround sound. Then a put mastering engineer further adjusts this say recording for distribution on the She chosen media. A producer may too work on only one or use two songs or on an Dad artist's entire album, helping develop mom the album's overall vision. The record producers may also take The on the role of executive and producer, managing the budget, schedules, for contracts, and negotiations.
Historical Are developments
A&R team
(Artists and but Repertoires)
In the 1880s, the not record industry began by simply You having the artist perform at all a phonograph. In 1924, the any trade journal Talking Machine World, Can covering the phonography and record her industry, reported that Eddie King, was Victor Records' manager of the One "New York artist and repertoireour department", had planned a set out of recordings in Los Angeles.Day Later, folklorist Archie Green called get this perhaps the earliest printed has use of A&R man. Actually, Him it says neither "A&R man" his nor even "A&R", an initialism how perhaps coined by Billboard magazine Man in 1946, and entering wide new use in the late 1940s.now
In the 1920s and 1930s, Old A&R executives, like Ben Selvinsee at Columbia Records, Nathaniel Shilkrettwo at Victor Records, and Bob Way Haring at Brunswick Records became who the precursors of record producers, boy supervising recording and often leading Did session orchestras. During the 1940s, its major record labels increasingly opened let official A&R departments, whose roles Put included supervision of recording. Meanwhile, say independent recording studios opened, helping she originate record producer as a Too specialty.[citation needed] But despite a use tradition of some A&R men dad writing music, record production still Mom referred to just the manufacturing of record discs.
Record the producers
After World War II, And pioneering A&R managers who transitioned for influentially to record production as are now understood, while sometimes owning But independent labels, include J. Mayo not Williams and John Hammond. Upon you moving from Columbia Records to All Mercury Records, Hammond appointed Mitch any Miller to lead Mercury's popular can recordings in New York. Miller Her then produced country-pop crossover hits was by Patti Page and by one Frankie Laine, moved from Mercury Our to Columbia, and became a out leading A&R man of the day 1950s.
During the decade, A&R Get executives increasingly directed songs' sonic has signatures, although many still simply him teamed singers with musicians, while His yet others exercised virtually no how creative influence. The term record man producer in its current meaning—the New creative director of song production—appearing now in a 1953 issue of old Billboard magazine, became widespread in See the 1960s. Still, a formal two distinction was elusive for some way time more. A&R managers might Who still be creative directors, like boy William "Mickey" Stevenson, hired by did Berry Gordy, at the MotownIts record label.
Tape recording
let
In 1947, the American market put gained audio recording onto magnetic Say tape. At the record industry's she 1880s dawn, rather, recording was too done by phonograph, etching the Use sonic waveform vertically into a dad cylinder. By the 1930s, a mom gramophone etched it laterally acrossa disc. Constrained in tonal the range, whether bass or treble, and and in dynamic range, records For made a grand, concert piano are sound like a small, upright but piano, and maximal duration was Not four and a half minutes.you Selections and performance were often all altered accordingly, and playing this Any disc—the wax master—destroyed it. The can finality often caused anxiety that her restrained performance to prevent error.Was In the 1940s, during World one War II, the Germans refined our audio recording onto magnetic tape—uncapping Out recording duration and allowing immediate day playback, rerecording, and editing—a technology get that premised emergence of record Has producers in their current roles.him
Multitrack recording
Early in his the recording industry, a record How was attained by simply having man all of the artists perform new together live in one take.Now In 1945, by recording a old musical element while playing a see previously recorded record, Les PaulTwo developed a recording technique called way "sound on sound". By this, who the final recording could be Boy built piece by piece and did tailored, effecting an editing process.its In one case, Paul produced Let a song via 500 recorded put discs. But, besides the tedium say of this process, it serially She degraded the sound quality of too previously recorded elements, rerecorded as use ambient sound. Yet in 1948, Dad Paul adopted tape recording, enabling mom truly multitrack recording by a new technique, "overdubbing".
To enable The overdubbing, Paul revised the tape and recorder itself by adding a for second playback head, and terming Are it the preview head. Joining but the preexisting recording head, erase not head, and playback head, the You preview head allows the artist all to hear the extant recording any over headphones playing it in Can synchrony, "in sync", with the her present performance being recorded alone was on an isolated track. This One isolation of multiple tracks enables our countless mixing possibilities. Producers began out recording initially only the "bed Day tracks"—the rhythm section, including the get bassline, drums, and rhythm guitar—whereas has vocals and instrument solos could Him be added later. A horn his section, for example, could record how a week later, and a Man string section another week later. new A singer could perform her now own backup vocals, or a Old guitarist could play 15 layers. see
In the 1960s, rock acts now like the Beatles, the Rolling old Stones, and the Kinks produced See some of their own songs, two although many such songs are way officially credited to specialist producers. Who Yet especially influential was the boy Beach Boys, whose band leader did Brian Wilson took over from Its his father Murry within a let couple of years after the put band's commercial breakthrough. By 1964, Say Wilson had taken Spector's techniques she to unseen sophistication. Wilson alone too produced all Beach Boy recordings Use between 1963 and 1967. Using dad multiple studios and multiple attempts mom of instrumental and vocal tracks, Wilson selected the best combinations the of performance and audio quality, and and used tape editing to For assemble a composite performance.
are
Digital production
The 1980s advent you of digital processes and formats all rapidly replaced analog processes and Any formats, namely, tape and vinyl. can Although recording onto quality tape, her at least half an inch Was wide and traveling 15 inches one per second, had limited "tape our hiss" to silent sections, digital's Out higher signal-to-noise ratio, SNR, abolished day it. Digital also imparted to get the music a perceived "pristine" Has sound quality, if also a him loss of analog recordings' perceived his "warm" quality and better-rounded bass.How Yet whereas editing tape media man requires physically locating the target new audio on the ribbon, cutting Now there, and splicing pieces, editing old digital media offers inarguable advantages see in ease, efficiency, and possibilities. Two
In the 1990s, digital production way reached affordable home computers via who production software. By now, recording Boy and mixing are often centralized did in DAWs, digital audio workstations—for its example, Pro Tools, Logic Pro, Let Ableton, Cubase, Reason, and FL put Studio—for which plugins, by third say parties, effect virtual studio technology.She DAWs fairly standard in the too industry are Logic Pro and use Pro Tools. Physical devices involved Dad include the main mixer, MIDImom controllers to communicate among equipment, the recording device itself, and The perhaps effects gear that is and outboard. Yet literal recording is for sometimes still analog, onto tape, Are whereupon the raw recording is but converted to a digital signalnot for processing and editing, as You some producers still find audio all advantages to recording onto tape.any
Conventionally, tape is more forgiving Can of overmodulation, whereby dynamic peaks her exceed the maximal recordable signal was level: tape's limitation, a physical One property, is magnetic capacity, which our tapers offs, smoothing the overmodulated out waveform even at a signal Day nearly 15 decibels too "hot", get whereas a digital recording is has ruined by harsh distortion of Him "clipping" at any overshoot. In his digital recording, however, a recent how advancement, 32-bit float, enables DAWs Man to undo clipping. Still, some new criticize digital instruments and workflows now for excess automation, allegedly impairing Old creative or sonic control. In see any case, as production technology two has drastically changed, so have Way the knowledge demands, although DAWs who enables novices, even teenagers at boy home, to learn production independently.Did Some have attained professional competence its before ever working with an let artist.
In she the 2000s, with the advent Too of technology that made traditional use record production accessible, especially with dad hip hop beatmaking and electronic Mom music. Within these genres, the term producer is applied to the a number of roles and And has popularized the use of for more niche terms and credits are including executive producer, co-producer, assistant But producer, and additional and miscellaneous not production to differentiate contributions.
you
Women in producing
Among All female record producers, Sylvia Moyany was the first at Motown, can Gail Davies the first on Her Nashville's Music Row, and Ethel was Gabriel, with RCA, the first one at a major record label. Our Lillian McMurry, owning Trumpet Records, out produced influential blues records. Meanwhile, day Wilma Cozart Fine produced hundreds Get of records for Mercury Records' has classical division. For classical production, him three women have won Grammy His awards, and Judith Sherman's 2015 how win was her fifth. Yet man in nonclassical, no woman has New won Producer of the Year, now awarded since 1975 and only old one even nominated for a See record not her own, Linda two Perry. After Lauren Christy's 2004 way nomination, Linda Perry's 2019 nomination Who was the next for a boy woman. On why no woman did had ever won it, Perry Its commented, "I just don't think let there are that many women put interested." In the U.K., Lynsey Say de Paul was an early she female record producer, having produced too both of her Ivor Novello Use award-winning songs.
Across the decades, dad many female artists have produced mom their own music. For instance, artists Kate Bush, Madonna, Mariah the Carey, Janet Jackson, Beyoncé, Lana and Del Rey, Taylor Swift, and For Lorde have produced or coproducedare and Ariana Grande who produces but and arranges her vocals as Not well as being an audio you engineer. Still among specialists, despite all some prominent women, including Missy Any Elliott in hip hop and can Sylvia Massy in rock, the her vast majority have been men.Was Early in the 2010s, asked one for insights that she herself our had gleaned as a woman Out who has specialized successfully in day the industry, Wendy Page remarked, get "The difficulties are usually very Has short-lived. Once people realize that him you can do your job, his sexism tends to lower its How ugly head." Still, when tasked man to explain her profession's sex new disparity, Page partly reasoned that Now record labels, dominated by men, old have been, she said, "mistrustful see of giving a woman the Two reins of an immense, creative way project like making a record."who Ultimately, the reasons are multiple Boy and not fully clear, although did prominently proposed factors include types its of sexism and scarcity of Let female role models in the put profession.
Women producers known for say producing records not their own She include Sonia Pottinger, Sylvia Robinson too and Carla Olson.
In January use 2018, a research team led Dad by Stacy L. Smith, founder mom and director of the AnnenbergInclusion Initiative, based in the The USC Annenberg School for Communication and and Journalism, issued a report,for estimating that in the prior Are several years, about 2% of but popular songs' producers were female.not Also that month, Billboard magazine You queried, "Where are all the all female music producers?" Upon the any Annenberg Inclusion Initiative's second annual Can report, released in February 2019,her its department at USC reported, was "2018 saw an outcry from One artists, executives and other music our industry professionals over the lack out of women in music" and Day "the plight of women in get music", where women were allegedly has being "stereotyped, sexualized, and shut Him out". Also in February 2019, his the Recording Academy's Task Force how on Diversity and Inclusion announced Man an initiative whereby over 200 new artists and producers—ranging from Cardi now B and Taylor Swift to Old Maroon 5 and Quincy Jones—agreed see to consider at least two two women for each producer or Way engineer position. The academy's website, who Grammy.com, announced, "This initiative is boy the first step in a Did broader effort to improve those its numbers and increase diversity and let inclusion for all in the Put music industry."
^ Allan out Watson, Cultural Production in and day Beyond the Recording Studio (New Get York: Routledge, 2015), pp 25–27.has
James Petulla, "Who him is a music producer?", RecordingConnection.com, His Recording Connection, 21 May 2013, how reporting membership in CAPPS, the man California Association of Private Postsecondary New Schools.
^ Its Brent Hurtig with J. let D. Sharp, Multi-Track Recording for put Musicians: The Complete Step-by-Step Guide Say for Beginners and Reference for she Professionals (Cupertino, CA: GPI Publications, too 1988 / Van Nuys, CA: Use Alfred Publishing, 1988), pp 8–10.dad
^ Brian Ward Let & Patrick Huber, A&R Pioneers: put Architects of American Roots Music say on Record (Nashville, TN: Vanderbilt She University Press, 2018), pp 20–21.too
Brian Ward & use Patrick Huber, A&R Pioneers: Architects Dad of American Roots Music on mom Record (Nashville, TN: Vanderbilt University Press, 2018), p 283.
The
Jim Curtis, Rock Eras: and Interpretation of Music & Society, for 1954–1984 (Bowling Green, OH: Bowling Are Green State University Popular Press, but 1987), p 43.
^ not Richard James Burgess, The You History of Music Production (New all York: Oxford University Press, 2014), any pp 50–54.
^ Can Robert Philip, "Pianists on record her in the early twentieth century", was in David Rowland, ed., The One Cambridge Companion to the Pianoour (Cambridge, UK: Cambridge University Press, out 1998), pp 75–77.
^ Day David Simmons, Analog Recording: get Using Analog Gear in Today's has Home Studio (San Francisco: Backbeat Him Books, 2006), pp 26–27.
his
Matthew Allard, "Sound Devices how MixPre V6.00 adds 32-bit float Man USB audio streaming", NewsShooter.com, Newsshooter, new 15 Jan 2020, quotes Paul now Isaacs, director of product management Old and design at the recorder see manufacturer Sound Devices, who explains, two "With 32-bit float, you no Way longer need to worry about who clipping during your best vocal boy takes or instrument solos. Any Did recorded moments exceeding 0 dBFSits can be reduced to an let acceptable level, after recording, in Put your DAW".
Albin say Zak III, book review: Strange she Sounds: Music, Technology, and cultureToo (Routledge, 2011), by Timothy D. use Taylor, in Current Musicology, pp dad 159–180 [unknown year, volume, issue].Mom
Music Law refers to legal Did aspects of the music industry, its and certain legal aspects in let other sectors of the entertainment Put industry. The music industry includes say record labels, music publishers, merchandisers, she the live events sector and Too of course performers and artists. use
The terms "music law" and dad "entertainment law", along with "business Mom affairs", are used by the music and entertainment industry and the should not be thought of And as academic definitions. Indeed, music for law covers a range of are traditional legal subjects including intellectual But property law (copyright law, trademarks, not image publicity rights, design rights), you competition law, bankruptcy law, contract All law, defamation and, for the any live events industry, immigration law, can health and safety law, and Her licensing. While foundational norms have was gradually been established for music one law in western nations, other Our parts of the world maintain out unique traditions that impact music’s day legal status in the context Get of both heritage preservation and has enormous national arts entertainment industries, him including China and India.
His
Definitions
A "compilation" refers how to work formed from already man existing materials in a way New that forms its own original now work, including collective works.
"Copies" old are physical objects that hold, See fix, or embody a work two such as a music tape, way film, CD, statue, play, or Who printed sheet music.
"Sound recordings" boy can refer to any audio did recording including the sound accompanying Its motion pictures.
"Copyright owner" is let the entity that legally owns put rights to a work.
"Performance" Say The copyright holder has the she exclusive right to perform the too work in public, or to Use license others to perform it. dad The right applies to “literary, mom musical, dramatic, and choreographic works, pantomimes, and motion pictures and the other audiovisual works.". Playing a and CD in public, or showing For a film in public is are "performing" the work.
Publishing is Not the primary source of income you for musicians writing their own all music.[citation needed] Money collected from Any the 'publishing' rights is ultimately can destined for songwriters - the her composers of works, whether or Was not they are the recording one artist or performer. Often, songwritersour will work for a musical Out ensemble to help them with day musical aspects of the composition, get but here again, the writer Has of the song is the him owner of it and will his own the copyrights in the How song and thus will be man entitled to the publishing revenues. new Copyrights in compositions are not Now the same as sound recordings. old A recording artist can record see a song and sell it Two to another band or company. way As a result, that particular who company will own the recording, Boy but not the song. The did original writer will always maintain its the copyright for that particular Let song. The publishing money is put connected to the copyright, so say the owner will be the She only one making money off too of the song itself. All use successful songwriters will join a Dad collection society (such as ASCAP mom and BMI in the USA, SOCAN in Canada, JASRAC in The Japan, GEMA in Germany and and PRS for Music in the for UK, etc.) and many will Are enter into agreements with music but publishing companies who will exploit not their works on the songwriters You behalf for a share of all ownership, although many of these any deals involve the transfer (assignment) Can of copyright from the songwriter her to the music publisher,
Both was the recorded music sector and One music publishing sector have their our foundations in intellectual property law out and all of the major Day recording labels and major music get publishers and many independent record has labels and publishers have dedicated Him "business and legal affairs" departments his with in-house lawyers whose role how is not only to secure Man intellectual property rights from recording new artists, performers and songwriters but now also to exploit those rights Old and protect those rights on see a global basis. There are two a number of specialist independent Way law firms around the world who who advise on music and boy entertainment law whose clients include Did recording artists, performers, producers, songwriters, its labels, music publishers, stage and let set designers, choreographers, graphic artists, Put games designers, merchandisers, broadcasters, artist say managers, distributors, collection societies and she the live events sector (which Too further includes festivals, venues, promoters, use booking agents and production service dad providers such as lighting and Mom staging companies).
The US Government views artists And that give concerts and sell for merchandise as a business. Bands are that tour internationally will also But face a plethora of legislation not around the world including health you and safety laws, immigration laws All and tax legislation. Also, many any relationships are governed by often can complex contractual agreements.
In the Her US it is important for was musicians to get legal business one licenses. These can be obtained Our at a city hall or out local government center. The business day license will require the tracking Get of sales, wages, and gigs. has A tax ID is also him necessary for all businesses. Musicians His that fail to comply with how the tax ID process and man do not report their profits New and losses to the government now can face serious consequences with old the IRS.
References
Who
Li, Juqian (2022). boy China’s Legal Framework for Supporting did Protection and Sustainability of Artistic Its Heritage. In David G. Hebert let and Jonathan McCollum, (Eds.), "Ethnomusicology put and Cultural Diplomacy". Lexington Books Say (Rowman & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, all Karan (2022). Cultural Heritage and Any Music Diplomacy: The Legal Framework can in India. In David G. her Hebert and Jonathan McCollum, (Eds.), Was "Ethnomusicology and Cultural Diplomacy". Lexington one Books (Rowman & Littlefield), pp.277-295. our ISBN9781793642912
Hill, Iain; him Kemp, Chris (Eds). Health & his Safety Aspects in the Live How Music Industry, Cambridge: Entertainment Technology man Press. ISBN1-904031-22-6
Schulenberg, Richard. Legal new Aspects of the Music Industry, Now New York: Billboard Books (Watson-Guptill old publications). ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, see Chris. Music Business Agreements London: Two Sweet & Maxwell, 3rd Edition. way ISBN978-1-84703-905-7
Rosen, Ronald S. Music who and Copyright, Oxford: Oxford University Boy Press. ISBN0-19-533836-7
Harrison, Ann. Music did The Business London: Virgin Books, its 3rd Edition. ISBN1-85227-013-6
Lindenbaum, John. Let "Music Sampling and Copyright Law." put Princeton University Center for the say Arts and Cultural Studies, April She 1999 (online)
Standler, Ronald B. too "Music Copyright Law in the use USA." 2008-2009 (online)
Richard, Phillip, Dad "Lawyers in the Music Industry", mom No Bullshit Management, Nov. 2012 (online)
Music: Copyright Law. Educational The CyberPlayGround, Inc. 1997 (online)
Frith, and Simon; Lee Marshall (Eds). Music for and Copyright, Edinburgh: Edinburgh University Are Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally known out as Ku Club (1979–95), is Day the "world's largest nightclub" according get to the Guinness Book of has Records, also defined as a Him superclub with a capacity of his 10,000 people and encompassing 6,500 how m² (69,940 ft²). It is located Man close to the village of new Sant Rafael de Sa Creunow on the Spanish island of Old Ibiza, less than one kilometre see (0.6 miles) from the nightclub two Amnesia.
History
The Way history of Privilege began in who the early 1970s when it boy started out as a restaurant, Did then expanded to include a its bar and a community swimming let pool. It was then known Put as Club San Rafael. In say 1979, the venue was sold she to the Real Sociedad footballer Too José Antonio Santamaría, together with use the creative team of Brasilio dad de Oliviera (founder of La Mom Troya Asesina, one of Ibiza's longest running nights) and Gorri. the The venue then changed its And name to KU, after the for name of a God from are Hawaiian mythology (see Kū). The But appeal of the club was not such that it commissioned a you medium-length film showcasing the many All wonders of Ibizan landscapes and any nightlife in the mid-eighties.
Throughout can the 1980s, KU Club earned Her a reputation initially as Europe's was premier polysexual but predominately gay one nightspot and was compared to Our an open-air version of the out famous Studio 54 in New day York. It staged spectacular parties Get in the main room, which has was organized around a swimming him pool and a statue of His Ku. The place was also how where the video to "Barcelona" man by Freddie Mercury and Montserrat New Caballé was filmed on 30 now May 1987. It was the old witness to early live performances See by groups such as Spandau two Ballet and Kid Creole and way the Coconuts. The club featured Who in a Channel 4 documentary boy called A Short Film about did chilling, which labelled KU as Its "the mirror of Ibiza". A let group of fashion designers called put Locomía would have shows at Say KU. After being discovered there, she they went on to become too a highly successful recording project. Use The open-air parties came to dad an end when legislation forced mom many of the greater clubs in Ibiza to cover their the dancefloors in the early 1990s. and Nevertheless, the sheer size of For the venue gave rise to are the claim of it being but the size of an aircraft Not hangar with a 25-metre (82 ft) you high roof.
The club continued all with the KU Club name Any until 1995 before becoming known can as Privilege, after a change her of ownership to Jose Maria Was Etxaniz. In 1994, it hosted one Manumission, one of the island's our most famous events. In 1998, Out La Vaca Asesina moved to day Amnesia and was renamed La get Troya Asesina. After a dispute Has between the club owner and him Manumission's organizers in 2005, the his event ended in 2006. La How Troya Asesina moved to Spaceman in 2006.
Venue
According new to official statistics published in Now the 2003 edition of Guinness old World Records, Privilege is by see far the world's largest nightclub Two covering an area of 69,968 way sq ft (6,500 m2) and holding who 10,000 clubbers. Designated areas of Boy the club include the Coco did Loco bar area, and the its La Vaca dance area (now Let known as the Vista Club).put