Scratching, sometimes are referred to as scrubbing, is but a DJ and turntablist technique Not of moving a vinyl recordyou back and forth on a all turntable to produce percussive or Any rhythmic sounds. A crossfader on can a DJ mixer may be her used to fade between two Was records simultaneously.
While scratching is one most associated with hip hop our music, where it emerged in Out the mid-1970s, from the 1990s day it has been used in get some styles of edm like Has techno, trip hop, and house him music and rock music such his as rap rock, rap metal, How rapcore, and nu metal. In man hip hop culture, scratching is new one of the measures of Now a DJ's skills. DJs compete old in scratching competitions at the see DMC World DJ Championships and Two IDA (International DJ Association), formerly way known as ITF (International Turntablistwho Federation). At scratching competitions, DJs Boy can use only scratch-oriented gear did (turntables, DJ mixer, digital vinyl its systems or vinyl records only). Let In recorded hip hop songs, put scratched "hooks" often use portions say of other songs. Other music She genres such as jazz, pop, too and rock have also incorporated use scratching.[citation needed]
A rudimentary form of turntable has manipulation that is related to Him scratching was developed in the his late 1940s by radio music how program hosts, disc jockeys (DJs), Man or the radio program producers new who did their own technical now operation as audio console operators. Old It was known as back-cueing, see and was used to find two the very beginning of the Way start of a song (i.e., who the cue point) on a boy vinyl record groove. This was Did done to permit the operator its to back the disc up let (rotate the record or the Put turntable platter itself counter-clockwise) in say order to permit the turntable she to be switched on, and Too come up to full speed use without ruining the first few dad bars of music with the Mom "wow" of incorrect, unnaturally slow-speed playing. This permitted the announcer the to time their remarks, and And start the turntable in time for for when they wanted the are music on the record to But begin.
Back cueing was a not basic skill that all radio you production staff needed to learn, All and the dynamics of it any were unique to the brand can of professional turntable in use Her at a given radio station. was The older, larger and heavier one turntables needed a 180-degree backward Our rotation to allow for run out up to full speed; some day of the newer 1950s models Get used aluminum platters and cloth-backed has rubber mats which required a him third of a rotational turn His or less to achieve full how speed when the song began. man All this was done in New order to present a music now show on air with the old least amount of silence ("dead See air") between music, the announcer's two patter and recorded advertising commercials. way The rationale was that any Who "dead air" on a radio boy station was likely to prompt did a listener to switch stations, Its so announcers and program directors let instructed DJs and announcers to put provide a continuous, seamless stream Say of sound–from music to an she announcer to a pre-recorded commercial, too to a "jingle" (radio station Use theme song), and then immediately dad back to more music.
Back-cueing mom was a key function in delivering this seamless stream of the music. Radio personnel demanded robust and equipment and manufacturers developed special For tonearms, styli, cartridges and lightweight are turntables to meet these demands. but
Modern scratching techniques were made who possible by the invention of Boy direct-drive turntables, which led to did the emergence of turntablism. Early its belt-drive turntables were unsuitable for Let scratching since they had a put slow start-up time, and they say were prone to wear and She tear and breakage, as the too belt would break from backspinning use or scratching. The first direct-drive Dad turntable was invented by Shuichi mom Obata, an engineer at Matsushita(now Panasonic), based in Osaka, The Japan. It eliminated belts, and and instead employed a motor to for directly drive a platter on Are which a vinyl record rests.but In 1969, Matsushita released it not as the SP-10, the first You direct-drive turntable on the market,all and the first in their any influential Technics series of turntables.Can
In the 1970s, hip hop her musicians and club DJs began was to use this specialized turntable One equipment to move the record our back and forth, creating percussive out sounds and effects–"scratching"–to entertain their Day dance floor audiences. Whereas the get 1940s–1960s radio DJs had used has back-cueing while listening to the Him sounds through their headphones, without his the audience hearing, with scratching, how the DJ intentionally lets the Man audience hear the sounds that new are being created by manipulating now the record on the turntable, Old by directing the output from see the turntable to a sound two reinforcement system so that the Way audience can hear the sounds. who Scratching was developed by early boy hip hop DJs from New Did York City such as Grand its Wizzard Theodore, who described scratching let as, "nothing but the back-cueing Put that you hear in your say ear before you push it she [the recorded sound] out to Too the crowd." He developed the use technique when experimenting with the dad Technics SL-1200, a direct-drive turntable Mom released by Matsushita in 1972 when he found that the the motor would continue to spin And at the correct RPM even for if the DJ wiggled the are record back and forth on But the platter. Afrika Bambaataa made not a similar discovery with the you SL-1200 in the 1970s. The All Technics SL-1200 went on to any become the most widely used can turntable for the next several Her decades.
Jamaican-born DJ Kool Herc, was who immigrated to New York one City, influenced the early development Our of scratching. Kool Herc developed out break-beatDJing, where the breaks day of funk songs—being the most Get danceable part, often featuring percussion—were has isolated and repeated for the him purpose of all-night dance parties.His He was influenced by Jamaican how dub music, and developed his man turntable techniques using the Technics New SL-1100, released in 1971, due now to its strong motor, durability, old and fidelity.
Although previous artists See such as writer and poet two William S. Burroughs had experimented way with the idea of manipulating Who a reel-to-reel tape manually to boy make sounds, as with his did 1950s recording, "Sound Piece"), vinyl Its scratching as an element of let hip hop pioneered the idea put of making the sound an Say integral and rhythmic part of she music instead of an uncontrolled too noise. Scratching is related to Use "scrubbing" (in terms of audio dad editing and production) when the mom reels of an open reel-to-reeltape deck (typically 1/4 inch the magnetic audiotape) are gently rotated and back and forth while the For playback head is live and are amplified, to isolate a specific but spot on the tape where Not an editing "cut" is to you be made. Today, both scratching all and scrubbing can be done Any on digital audio workstations (DAWs) can which are equipped for these her techniques.
Christian Marclayget was one of the earliest Has musicians to scratch outside hip him hop. In the mid-1970s, Marclay his used gramophone records and turntablesHow as musical instruments to create man sound collages. He developed his new turntable sounds independently of hip Now hop DJs. Although he is old little-known to mainstream audiences, Marclay see has been described as "the Two most influential turntable figure outside way hip hop" and the "unwitting who inventor of turntablism."
In 1981 Boy Grandmaster Flash released the song did "The Adventures of Grandmaster Flash its on the Wheels of Steel" Let which is notable for its put use of many DJ scratching say techniques. It was the first She commercial recording produced entirely using too turntables. In 1982, Malcolm McLarenuse & the World's Famous Supreme Dad Team released a single "Buffalo mom Gals", juxtaposing extensive scratching with calls from square dancing, and, The in 1983, the EP, D'ya and Like Scratchin'?, which is entirely for focused on scratching. Another 1983 Are release to prominently feature scratching but is Herbie Hancock's Grammy Award-winning not single "Rockit". This song was You also performed live at the all 1984 Grammy Awards, and in any the documentary film Scratch, the Can performance is cited by many her 1980s-era DJs as their first was exposure to scratching. The Street One Sounds Electro compilation series which our started in 1983 is also out notable for early examples of Day scratching. Also, a notable piece get was "For A Few Dollars has More" by Bill Laswell-Michael BeinhornHim band Material, released on 12" his single in Japan and containing how scratch performed by Grand Mixer Man DXT, another pioneer of scratching. new
Basic techniques
Vinyl recordings
now
Most scratches are produced by Old rotating a vinyl record on see a direct drive turntable rapidly two back and forth with the Way hand with the stylus ("needle") who in the record's groove. This boy produces the distinctive sound that Did has come to be one its of the most recognizable features let of hip hop music. Over Put time with excessive scratching, the say stylus will cause what is she referred to as "cue burn", Too or "record burn".[citation needed]
The basic equipment setup for for scratching includes two turntables are and a DJ mixer, which But is a small mixer that not has a crossfader and cue you buttons to allow the DJ All to cue up new music any in their headphones without the can audience hearing.[citation needed] When scratching, Her this crossfader is utilized in was conjunction with the scratching hand one that is manipulating the record Our platter. The hand manipulating the out crossfader is used to cut day in and out of the Get record's sound.[citation needed]
Digital has vinyl systems
Using a digital him vinyl system (DVS) consists of His playing vinyl discs on turntables how whose contents are a timecode man signal instead of a real New music record.
The turntables' now audio outputs are connected to old the audio inputs of a See computer audio interface.
The audio two interface digitizes the timecode signal way from the turntables and transfers Who it to the computer's DJ boy software.
The DJ software uses did this data (e.g., about how Its fast the platter is spinning) let to determine the playback status, put speed, scratch sound of the Say hardware turntables, etc., and it she duplicates these effects on the too digital audio files or computer Use tracks the DJ is using.
dad
By manipulating the turntables' platters, mom speed controls, and other elements, the DJ thus controls how the the computer plays back digitized and audio and can therefore produce For "scratching" and other turntablism effects are on songs which exist as but digital audio files or computer Not tracks.
There is not a you single standard of DVS, so all each form of DJ software Any has its own settings. Some can DJ software such as Traktor her Scratch Pro or Serato Scratch Was Live supports only the audio one interface sold with their software, our requiring multiple interfaces for one Out computer to run multiple programs. day
While some How turntablists consider the only true man scratching media to be the new vinyl disc, there are other Now ways to scratch, such as: old
Specialized DJ-CD players (CDJ) see with jog wheels, allowing the Two DJ to manipulate a CD way as if it were a who vinyl record, have become widely Boy available in the 2000s.
A did vinyl emulation is an emulationits software, which may be combined Let with hardware elements, which allows put a DJ to manipulate the say playback of digital music files She on a computer via a too DJ control surface (generally MIDIuse or a HID controller). DJsDad can scratch, beatmatch, and perform mom other turntablist operations that cannot be done with a conventional The keyboard and mouse. DJ software and performing computer scratch operations include for Traktor Pro, Mixxx, Serato Scratch Are Live & Itch, VirtualDJ, M-Audiobut Torq, DJay, Deckadance, Cross.
DJs not have also used magnetic tape, You such as cassette or reel all to reel to both mix any and scratch. Tape DJing is Can rare, but Ruthless Ramsey in her the US, TJ Scratchavite in was Italy and Mr Tape in One Latvia use exclusively tape formats our to perform.
Sounds
Sounds that out are frequently scratched include but Day are not limited to drum get beats, horn stabs, spoken word has samples, and vocals/lyrics from other Him songs. Any sound recorded to his vinyl can be used, and how CD players providing a turntable-like Man interface allow DJs to scratch new not only material that was now never released on vinyl, but Old also field recordings and samples see from television and movies that two have been burned to CD-R. Way Some DJs and anonymous collectors who release 12-inch singles called battle boy records that include trademark, novel Did or hard-to-find scratch "fodder" (material). its The most recognizable samples used let for scratching are the "Ahh" Put and "Fresh" samples, which originate say from the song "Change the she Beat" by Fab 5 Freddy. Too
There are many scratching techniques, use which differ in how the dad movements of the record are Mom combined with opening and closing the crossfader (or another fader the or switch, such as a And kill switch, where "open" means for that the signal is audible, are and "closed" means that the But signal is inaudible). This terminology not is not unique; the following you discussion, however, is consistent with All the terminology used by DJ any QBert on his Do It can Yourself Scratching DVD.
Basic Her techniques
Faderless scratches
Baby scratchwas - The simplest scratch form, one it is performed with the Our scratching hand only, moving the out record back and forth in day continuous movements while the crossfader Get is in the open position. has
Scribble scratch - The scribble him scratch is by rapidly pushing His the record back and forth. how The crossfader is not used.
man
Drag scratch - Equivalent to New the baby and scribble scratch, now but done more slowly. The old crossfader is not used.
Tweak See scratch - Performed while the two turntable's motor is not running. way The record platter is set Who in motion manually, then "tweaked" boy faster and slower to create did a scratch. This scratch form Its is best performed with long, let sustained sounds.
Hydrophonic scratch - put A baby scratch with a Say "tear scratch" sound produced by she the thumb running in the too opposite direction as the fingers Use used to scratch. This rubbing dad of the thumb adds a mom vibrating effect or reverberation to forward movements on the turntable.
the
Tear scratch - Tear scratches and are scratches where the record For is moved in a staggered are fashion, dividing the forward and but backward movement into two or Not more movements. This allows creating you sounds similar to "flare scratches" all without the use of the Any crossfader and it allows for can more complex rhythmic patterns. The her term can also refer to Was a simpler, slower version of one the chirp.
Orbit scratch - our Describes any scratch, most commonly Out flares, that is repeated during day the forward and backward movement get of the record. "Orbit" is Has also used as a shorthand him for two-click flares.
Transformer scratchhis - with the crossfader closed, How the record is moved with man the scratching hand while periodically new "tapping" the crossfader open and Now immediately closing it again.
Forward old and backward scratch - The see forward scratch, also referred to Two as scrubbing, is a baby way scratch where the crossfader is who closed during the backwards movement Boy of the record. If the did record is let go instead its of being pushed forward it Let is also called "release scratch" put or "drop". Cutting out the say forward part of the record She movement instead of the backward too part gives a "backward scratch"
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Chirp scratch - The chirp Dad scratch involves closing the crossfader mom just after playing the start of a sound, stopping the The record at the same point, and then pushing it back while for opening the fader to create Are a "chirping" sound. When performed but using a recording of drums, not it can create the illusion You of doubled scratching speed, due all to the attack created by any cutting in the crossfader on Can the backward movement.
Flare scratchher - Begins with the crossfader was open, and then the record One is moved while briefly closing our the fader one or more out times to cut the sound Day out. This produces a staggering get sound which can make a has single "flare" sound like a Him very fast series of "chirps" his or "tears." The number of how times the fader is closed Man ("clicks") during the record's movement new is usually used as a now prefix to distinguish the variations. Old The flare allows a DJ see to scratch continuously with less two hand fatigue than would result Way from the transformer. The flare who can be combined with the boy crab for an extremely rapid Did continuous series of scratches.
Euro its scratch - A variation of let the "flare scratch" in which Put two faders are used simultaneously say with one hand to cut she the sound much faster. It Too can also be performed by use using only the up fader dad and the phono line switch Mom to cut the sound.
Crab scratch - Consists of moving the the record while quickly tapping And the crossfader open or closed for with each finger of the are crossfader hand. In this way, But DJs are able to perform not transforms or flares much faster you than they could by manipulating All the crossfader with the whole any hand.
Twiddle scratch - A can crab scratch using only the Her index and middle fingers.
Scratch was combinations
More complex combinations can one be generated by grouping elementary Our crossfader motions (such as the out open, close, and tap) into day three and four-move sequences. Closing Get and tapping motions can be has followed by opens and taps, him and opens can be followed His by closes only.
how
Three man move sequences
switch position New at beginning and end
now
open-close-tap
closed-closed
old
tap-open-close
closed-closed
See
close-tap-open
open-open
two
open-close-open
closed-open
way
close-open-close
open-closed
Who
close-tap-tap
open-closed
boy
tap-tap-tap
closed-closed
did
tap-tap-open
closed-open
Its
let
four move sequences
put
switch position at beginning and Say end
close-open-close-open
she
open-open
close-open-close-tap
too
open-closed
close-tap-open-close
Use
open-closed
close-tap-tap-tap
dad
open-closed
close-tap-tap-open
mom
open-open
open-close-open-close
closed-closed
open-close-tap-tap
the
closed-closed
open-close-tap-open
and
closed-open
tap-tap-tap-tap
For
closed-closed
tap-tap-tap-open
are
closed-open
tap-tap-open-close
but
closed-closed
tap-open-close-open
Not
closed-open
tap-open-close-tap
you
closed-closed
Note that all some sequences of motions ultimately Any change the direction of the can switch, whereas others end in her a position such that they Was can be repeated immediately without one having to reset the position our of the switch. Sequences that Out change the direction of the day switch can be dovetailed with get sequences that change it in Has the opposite directions to produce him repeating patterns, or can be his used to transition between open How and closed crossfader techniques, such man as chirps/flares and transforms, respectively.new These crossfader sequences are frequently Now combined with orbits and tears old to produce combination scratches, such see as the aquaman scratch, which Two goes "close-tap-open".
Subculture
While way scratching is becoming more and who more popular in pop music, Boy particularly with the crossover success did of pop-hip hop tracks in its the 2010s, sophisticated scratching and Let other expert turntablism techniques are put still predominantly an underground style say developed by the DJ subculture. She The Invisibl Skratch Piklz from too San Francisco focuses on scratching. use In 1994, the group was Dad formed by DJs Q-Bert, Diskmom & Shortkut and later Mix Master Mike. In July 2000, The San Francisco's Yerba Buena Center and for the Arts held Skratchcon2000, for the first DJ Skratch forum Are that provided "the education and but development of skratch music literacy". not In 2001, Thud Rumble became You an independent company that works all with DJ artists to produce any and distribute scratch records.[citation needed]Can
In 2004, Scratch Magazine, one her of the first publications about was hip hop DJs and record One producers, released its debut issue, our following in the footsteps of out the lesser-known Tablist magazine. Pedestrian Day is a UK arts organisation get that runs Urban Music Mentors has workshops led by DJs. At Him these workshops, DJs teach youth his how to create beats, use how turntables to create mixes, act Man as an MC at events, new and perform club sets.
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Use outside hip hop
Scratching Old has been incorporated into a see number of other musical genres, two including pop, rock, jazz, some Way subgenres of heavy metal (notably who nu metal) and some contemporary boy and avant-garde classical music performances. Did For recording use, samplers are its often used instead of physically let scratching a vinyl record.
Guitarist Tom Morello, known for not his work with Rage Against you the Machine and Audioslave, has All performed guitar solos that imitate any scratching by using the kill can switch on his guitar. Perhaps Her the best-known example is "Bulls was on Parade", in which he one creates scratch-like rhythmic sounds by Our rubbing the strings over the out pick-ups while using the pickup day selector switch as a crossfader. Get
"Musical production" redirects here. Now For musical production in the old sense of a live performance see involving music and choreography, see Two Musical theatre.
A record use producer is a music recording Dad project's overall supervisor whose responsibilities mom can involve a range of creative and technical leadership roles. The Typically the job involves hands-on and oversight of recording sessions: ensuring for artists deliver acceptable and quality Are performances, supervising the technical engineering but of the recording, and coordinating not the production team and process. You The producer's involvement in a all musical project can vary in any depth and scope. Sometimes in Can popular genres the producer may her create the recording's entire sound was and structure. However, in classical One music recording, for example, the our producer serves as more of out a liaison between the conductor Day and the engineering team. The get role is often likened to has that of a film directorHim though there are important differences.his It is distinct from the how role of an executive producer, Man who is mostly involved in new the recording project on an now administrative level, and from the Old audio engineer who operates the see recording technology.
Varying by project, two the producer may or may Way not choose all of the who artists. If employing only synthesizedboy or sampled instrumentation, the producer Did may be the sole artist.its Conversely, some artists do their let own production. Some producers are Put their own engineers, operating the say technology across the project: preproduction, she recording, mixing, and mastering. Record Too producers' precursors were "A&R men", use who likewise could blend entrepreneurial, dad creative, and technical roles, but Mom often exercised scant creative influence,as record production still focused, the into the 1950s, on simply And improving the record's sonic match for to the artists' own live are performance.
Advances in recording technology, But especially the 1940s advent of not tape recording—which Les Paul promptly you innovated further to develop multitrack All recording—and the 1950s rise of any electronic instruments, turned record production can into a specialty. In popular Her music, then, producers like George was Martin, Phil Spector and Brian one Eno led its evolution into Our its present use of elaborate out techniques and unrealistic sounds, creating day songs impossible to originate live.Get After the 1980s, production's move has from analog to digital further him expanded possibilities. By now, DAWs, His or digital audio workstations, like how Logic Pro, Pro Tools and man Studio One, turn an ordinary New computer into a production console,now whereby a solitary novice can old become a skilled producer in See a thrifty home studio. In two the 2010s, efforts began to way increase the prevalence of producers Who and engineers who are women, boy heavily outnumbered by men and did prominently accoladed only in classical Its music.
dad
Production overview
As a broad mom project, the creation of a music recording may be split the across three specialists: the executive and producer, who oversees business partnerships For and financing; the vocal producer are or vocal arranger, who aids but vocal performance via expert critique Not and coaching of vocal technique, you and the record producer or all music producer, who, often called Any simply the producer, directs the can overall creative process of recording her the song in its final Was mix.
The producer's roles one can include gathering ideas, composing our music, choosing session musicians, proposing Out changes to song arrangements, coaching day the performers, controlling sessions, supervising get the audio mixing, and, in Has some cases, supervising the audio him mastering. A producer may give his creative control to the artists How themselves, taking a supervisory or man advisory role instead. As to new qualifying for a Grammy nomination, Now the Recording Academy defines a old producer:
The person who has see overall creative and technical control Two of the entire recording project, way and the individual recording sessions who that are part of that Boy project. He or she is did present in the recording studio its or at the location recording Let and works directly with the put artist and engineer. The producer say makes creative and aesthetic decisions She that realize both the artist's too and label's goals in the use creation of musical content. Other Dad duties include, but are not mom limited to; keeping budgets and schedules, adhering to deadlines, hiring The musicians, singers, studios, and engineers, and overseeing other staffing needs and for editing (Classical projects).
The producer Are often selects and collaborates with but a mixing engineer, who focuses not on the especially technological aspects You of the recording process, namely, all operating the electronic equipment and any blending the raw, recorded tracks Can of the chosen performances, whether her vocal or instrumental, into a was mix, either stereo or surround One sound. Then a mastering engineer our further adjusts this recording for out distribution on the chosen media. Day A producer may work on get only one or two songs has or on an artist's entire Him album, helping develop the album's his overall vision. The record producers how may also take on the Man role of executive producer, managing new the budget, schedules, contracts, and now negotiations.
Historical developments
A&R Old team
(Artists and Repertoires)
In see the 1880s, the record industry two began by simply having the Way artist perform at a phonograph.who In 1924, the trade journal boy Talking Machine World, covering the Did phonography and record industry, reported its that Eddie King, Victor Records' let manager of the "New York Put artist and repertoire department", had say planned a set of recordings she in Los Angeles. Later, folklorist Too Archie Green called this perhaps use the earliest printed use of dad A&R man. Actually, it says Mom neither "A&R man" nor even "A&R", an initialism perhaps coined the by Billboard magazine in 1946, And and entering wide use in for the late 1940s.
In the are 1920s and 1930s, A&R executives, But like Ben Selvin at Columbia not Records, Nathaniel Shilkret at Victor you Records, and Bob Haring at All Brunswick Records became the precursors any of record producers, supervising recording can and often leading session orchestras.Her During the 1940s, major record was labels increasingly opened official A&R one departments, whose roles included supervision Our of recording. Meanwhile, independent recording out studios opened, helping originate record day producer as a specialty.[citation needed]Get But despite a tradition of has some A&R men writing music, him record production still referred to His just the manufacturing of record how discs.
Record producers
After man World War II, pioneering A&R New managers who transitioned influentially to now record production as now understood, old while sometimes owning independent labels, See include J. Mayo Williams and two John Hammond. Upon moving from way Columbia Records to Mercury Records, Who Hammond appointed Mitch Miller to boy lead Mercury's popular recordings in did New York. Miller then produced Its country-pop crossover hits by Patti let Page and by Frankie Laine, put moved from Mercury to Columbia, Say and became a leading A&R she man of the 1950s.
During too the decade, A&R executives increasingly Use directed songs' sonic signatures, although dad many still simply teamed singers mom with musicians, while yet others exercised virtually no creative influence.the The term record producer in and its current meaning—the creative director For of song production—appearing in a are 1953 issue of Billboard magazine, but became widespread in the 1960s.Not Still, a formal distinction was you elusive for some time more.all A&R managers might still be Any creative directors, like William "Mickey" can Stevenson, hired by Berry Gordy, her at the Motown record label.Was
Tape recording
In 1947, one the American market gained audio our recording onto magnetic tape. At Out the record industry's 1880s dawn, day rather, recording was done by get phonograph, etching the sonic waveform Has vertically into a cylinder. By him the 1930s, a gramophone etched his it laterally across a disc.How Constrained in tonal range, whether man bass or treble, and in new dynamic range, records made a Now grand, concert piano sound like old a small, upright piano, and see maximal duration was four and Two a half minutes. Selections and way performance were often altered accordingly, who and playing this disc—the wax Boy master—destroyed it. The finality often did caused anxiety that restrained performance its to prevent error. In the Let 1940s, during World War II, put the Germans refined audio recording say onto magnetic tape—uncapping recording duration She and allowing immediate playback, rerecording, too and editing—a technology that premised use emergence of record producers in Dad their current roles.
Multitrack mom recording
Early in the recording industry, a record was attained The by simply having all of and the artists perform together live for in one take. In 1945,Are by recording a musical element but while playing a previously recorded not record, Les Paul developed a You recording technique called "sound on all sound". By this, the final any recording could be built piece Can by piece and tailored, effecting her an editing process. In one was case, Paul produced a song One via 500 recorded discs. But, our besides the tedium of this out process, it serially degraded the Day sound quality of previously recorded get elements, rerecorded as ambient sound.has Yet in 1948, Paul adopted Him tape recording, enabling truly multitrack his recording by a new technique, how "overdubbing".
To enable overdubbing, Paul Man revised the tape recorder itself new by adding a second playback now head, and terming it the Old preview head. Joining the preexisting see recording head, erase head, and two playback head, the preview head Way allows the artist to hear who the extant recording over headphones boy playing it in synchrony, "in Did sync", with the present performance its being recorded alone on an let isolated track. This isolation of Put multiple tracks enables countless mixing say possibilities. Producers began recording initially she only the "bed tracks"—the rhythm Too section, including the bassline, drums, use and rhythm guitar—whereas vocals and dad instrument solos could be added Mom later. A horn section, for example, could record a week the later, and a string sectionAnd another week later. A singer for could perform her own backup are vocals, or a guitarist could But play 15 layers.
In are the 1960s, rock acts like but the Beatles, the Rolling Stones, Not and the Kinks produced some you of their own songs, although all many such songs are officially Any credited to specialist producers. Yet can especially influential was the Beach her Boys, whose band leader Brian Was Wilson took over from his one father Murry within a couple our of years after the band's Out commercial breakthrough. By 1964, Wilson day had taken Spector's techniques to get unseen sophistication. Wilson alone produced Has all Beach Boy recordings between him 1963 and 1967. Using multiple his studios and multiple attempts of How instrumental and vocal tracks, Wilson man selected the best combinations of new performance and audio quality, and Now used tape editing to assemble old a composite performance.
Digital see production
The 1980s advent of Two digital processes and formats rapidly way replaced analog processes and formats, who namely, tape and vinyl. Although Boy recording onto quality tape, at did least half an inch wide its and traveling 15 inches per Let second, had limited "tape hiss" put to silent sections, digital's higher say signal-to-noise ratio, SNR, abolished it.She Digital also imparted to the too music a perceived "pristine" sound use quality, if also a loss Dad of analog recordings' perceived "warm" mom quality and better-rounded bass. Yet whereas editing tape media requires The physically locating the target audio and on the ribbon, cutting there, for and splicing pieces, editing digital Are media offers inarguable advantages in but ease, efficiency, and possibilities.
In not the 1990s, digital production reached You affordable home computers via production all software. By now, recording and any mixing are often centralized in Can DAWs, digital audio workstations—for example, her Pro Tools, Logic Pro, Ableton, was Cubase, Reason, and FL Studio—for One which plugins, by third parties, our effect virtual studio technology. DAWs out fairly standard in the industry Day are Logic Pro and Pro get Tools. Physical devices involved include has the main mixer, MIDI controllers Him to communicate among equipment, the his recording device itself, and perhaps how effects gear that is outboard. Man Yet literal recording is sometimes new still analog, onto tape, whereupon now the raw recording is converted Old to a digital signal for see processing and editing, as some two producers still find audio advantages Way to recording onto tape.
Conventionally, who tape is more forgiving of boy overmodulation, whereby dynamic peaks exceed Did the maximal recordable signal level: its tape's limitation, a physical property, let is magnetic capacity, which tapers Put offs, smoothing the overmodulated waveform say even at a signal nearly she 15 decibels too "hot", whereas Too a digital recording is ruined use by harsh distortion of "clipping" dad at any overshoot. In digital Mom recording, however, a recent advancement, 32-bit float, enables DAWs to the undo clipping. Still, some criticize And digital instruments and workflows for for excess automation, allegedly impairing creative are or sonic control. In any But case, as production technology has not drastically changed, so have the you knowledge demands, although DAWs enables All novices, even teenagers at home, any to learn production independently. Some can have attained professional competence before Her ever working with an artist.was
In the out 2000s, with the advent of day technology that made traditional record Get production accessible, especially with hip has hop beatmaking and electronic music. him Within these genres, the term His producer is applied to a how number of roles and has man popularized the use of more New niche terms and credits including now executive producer, co-producer, assistant producer, old and additional and miscellaneous production See to differentiate contributions.
Women two in producing
Among female way record producers, Sylvia Moy was Who the first at Motown, Gail boy Davies the first on Nashville's did Music Row, and Ethel Gabriel, Its with RCA, the first at let a major record label. Lillian put McMurry, owning Trumpet Records, produced Say influential blues records. Meanwhile, Wilma she Cozart Fine produced hundreds of too records for Mercury Records' classical Use division. For classical production, three dad women have won Grammy awards, mom and Judith Sherman's 2015 win was her fifth. Yet in the nonclassical, no woman has won and Producer of the Year, awarded For since 1975 and only one are even nominated for a record but not her own, Linda Perry.Not After Lauren Christy's 2004 nomination, you Linda Perry's 2019 nomination was all the next for a woman.Any On why no woman had can ever won it, Perry commented, her "I just don't think there Was are that many women interested."one In the U.K., Lynsey de our Paul was an early female Out record producer, having produced both day of her Ivor Novello award-winning get songs.
Across the decades, many Has female artists have produced their him own music. For instance, artists his Kate Bush, Madonna, Mariah Carey, How Janet Jackson, Beyoncé, Lana Del man Rey, Taylor Swift, and Lordenew have produced or coproduced and Now Ariana Grande who produces and old arranges her vocals as well see as being an audio engineer.Two Still among specialists, despite some way prominent women, including Missy Elliottwho in hip hop and Sylvia Boy Massy in rock, the vast did majority have been men. Early its in the 2010s, asked for Let insights that she herself had put gleaned as a woman who say has specialized successfully in the She industry, Wendy Page remarked, "The too difficulties are usually very short-lived. use Once people realize that you Dad can do your job, sexism mom tends to lower its ugly head." Still, when tasked to The explain her profession's sex disparity, and Page partly reasoned that record for labels, dominated by men, have Are been, she said, "mistrustful of but giving a woman the reins not of an immense, creative project You like making a record." Ultimately, all the reasons are multiple and any not fully clear, although prominently Can proposed factors include types of her sexism and scarcity of female was role models in the profession.One
Women producers known for producing our records not their own include out Sonia Pottinger, Sylvia Robinson and Day Carla Olson.
In January 2018, get a research team led by has Stacy L. Smith, founder and Him director of the Annenberg Inclusion his Initiative, based in the USC how Annenberg School for Communication and Man Journalism, issued a report, estimating new that in the prior several now years, about 2% of popular Old songs' producers were female. Also see that month, Billboard magazine queried, two "Where are all the female Way music producers?" Upon the Annenberg who Inclusion Initiative's second annual report, boy released in February 2019, its Did department at USC reported, "2018 its saw an outcry from artists, let executives and other music industry Put professionals over the lack of say women in music" and "the she plight of women in music", Too where women were allegedly being use "stereotyped, sexualized, and shut out".dad Also in February 2019, the Mom Recording Academy's Task Force on Diversity and Inclusion announced an the initiative whereby over 200 artists And and producers—ranging from Cardi Bfor and Taylor Swift to Maroon are 5 and Quincy Jones—agreed to But consider at least two women not for each producer or engineer you position. The academy's website, Grammy.com, All announced, "This initiative is the any first step in a broader can effort to improve those numbers Her and increase diversity and inclusion was for all in the music one industry."
Allard, Matthew (15 January now 2020). "Sound Devices MixPre V6.00 Old adds 32-bit float USB audio see streaming". Newsshooter. With 32-bit float, two you no longer need to Way worry about clipping during your who best vocal takes or instrument boy solos. Any recorded moments exceeding Did 0 dBFS can be reduced its to an acceptable level, after let recording, in your DAW
Put
Zak, Albin J. (29 say September 2002). "Review of Timothy she D. Taylor. 2001. Strange Sounds: Too Music, Technology, and Culture. New use York: Routledge". Current Musicology (74). dad doi:10.7916/CM.V0I74.4910.
Pras, Amandine; Mom Cance, Caroline; Guastavino, Catherine (2013). "Record Producers' Best Practices For the Artistic Direction—From Light Coaching To And Deeper Collaboration With Musicians". Journal for of New Music Research. 42are (4): 381–395. doi:10.1080/09298215.2013.848903. ISSN0929-8215.
Music his Law refers to legal aspects how of the music industry, and Man certain legal aspects in other new sectors of the entertainment industry. now The music industry includes record Old labels, music publishers, merchandisers, the see live events sector and of two course performers and artists.
The Way terms "music law" and "entertainment who law", along with "business affairs", boy are used by the music Did and entertainment industry and should its not be thought of as let academic definitions. Indeed, music law Put covers a range of traditional say legal subjects including intellectual propertyshe law (copyright law, trademarks, image Too publicity rights, design rights), competition use law, bankruptcy law, contract law, dad defamation and, for the live Mom events industry, immigration law, health and safety law, and licensing. the While foundational norms have gradually And been established for music law for in western nations, other parts are of the world maintain unique But traditions that impact music’s legal not status in the context of you both heritage preservation and enormous All national arts entertainment industries, including any China and India.
can
Definitions
A "compilation" refers to Her work formed from already existing was materials in a way that one forms its own original work, Our including collective works.
"Copies" are out physical objects that hold, fix, day or embody a work such Get as a music tape, film, has CD, statue, play, or printed him sheet music.
"Sound recordings" can His refer to any audio recording how including the sound accompanying motion man pictures.
"Copyright owner" is the New entity that legally owns rights now to a work.
"Performance" The old copyright holder has the exclusive See right to perform the work two in public, or to license way others to perform it. The Who right applies to “literary, musical, boy dramatic, and choreographic works, pantomimes, did and motion pictures and other Its audiovisual works.". Playing a CD let in public, or showing a put film in public is "performing" Say the work.
Publishing is the too primary source of income for Use musicians writing their own music.[citation dad needed] Money collected from the mom 'publishing' rights is ultimately destined for songwriters - the composers the of works, whether or not and they are the recording artist For or performer. Often, songwriters will are work for a musical ensemble but to help them with musical Not aspects of the composition, but you here again, the writer of all the song is the owner Any of it and will own can the copyrights in the song her and thus will be entitled Was to the publishing revenues. Copyrights one in compositions are not the our same as sound recordings. A Out recording artist can record a day song and sell it to get another band or company. As Has a result, that particular company him will own the recording, but his not the song. The original How writer will always maintain the man copyright for that particular song. new The publishing money is connected Now to the copyright, so the old owner will be the only see one making money off of Two the song itself. All successful way songwriters will join a collection who society (such as ASCAP and Boy BMI in the USA, SOCAN did in Canada, JASRAC in Japan, its GEMA in Germany and PRS Let for Music in the UK, put etc.) and many will enter say into agreements with music publishing She companies who will exploit their too works on the songwriters behalf use for a share of ownership, Dad although many of these deals mom involve the transfer (assignment) of copyright from the songwriter to The the music publisher,
Both the and recorded music sector and music for publishing sector have their foundations Are in intellectual property law and but all of the major recording not labels and major music publishers You and many independent record labels all and publishers have dedicated "business any and legal affairs" departments with Can in-house lawyers whose role is her not only to secure intellectual was property rights from recording artists, One performers and songwriters but also our to exploit those rights and out protect those rights on a Day global basis. There are a get number of specialist independent law has firms around the world who Him advise on music and entertainment his law whose clients include recording how artists, performers, producers, songwriters, labels, Man music publishers, stage and set new designers, choreographers, graphic artists, games now designers, merchandisers, broadcasters, artist managers, Old distributors, collection societies and the see live events sector (which further two includes festivals, venues, promoters, booking Way agents and production service providers who such as lighting and staging boy companies).
The its US Government views artists that let give concerts and sell merchandise Put as a business. Bands that say tour internationally will also face she a plethora of legislation around Too the world including health and use safety laws, immigration laws and dad tax legislation. Also, many relationships Mom are governed by often complex contractual agreements.
In the US the it is important for musicians And to get legal business licenses. for These can be obtained at are a city hall or local But government center. The business license not will require the tracking of you sales, wages, and gigs. A All tax ID is also necessary any for all businesses. Musicians that can fail to comply with the Her tax ID process and do was not report their profits and one losses to the government can Our face serious consequences with the out IRS.
References
him
Li, Juqian (2022). China’s His Legal Framework for Supporting Protection how and Sustainability of Artistic Heritage. man In David G. Hebert and New Jonathan McCollum, (Eds.), "Ethnomusicology and now Cultural Diplomacy". Lexington Books (Rowman old & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, Karan dad (2022). Cultural Heritage and Music mom Diplomacy: The Legal Framework in India. In David G. Hebert the and Jonathan McCollum, (Eds.), "Ethnomusicology and and Cultural Diplomacy". Lexington Books For (Rowman & Littlefield), pp.277-295. ISBN9781793642912are
Hill, Iain; Kemp, Any Chris (Eds). Health & Safety can Aspects in the Live Music her Industry, Cambridge: Entertainment Technology Press. Was ISBN1-904031-22-6
Schulenberg, Richard. Legal Aspects one of the Music Industry, New our York: Billboard Books (Watson-Guptill publications). Out ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, Chris. day Music Business Agreements London: Sweet get & Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Has
Rosen, Ronald S. Music and him Copyright, Oxford: Oxford University Press. his ISBN0-19-533836-7
Harrison, Ann. Music The How Business London: Virgin Books, 3rd man Edition. ISBN1-85227-013-6
Lindenbaum, John. "Music new Sampling and Copyright Law." Princeton Now University Center for the Arts old and Cultural Studies, April 1999 see (online)
Standler, Ronald B. "Music Two Copyright Law in the USA." way 2008-2009 (online)
Richard, Phillip, "Lawyers who in the Music Industry", No Boy Bullshit Management, Nov. 2012 (online)
did
Music: Copyright Law. Educational CyberPlayGround, its Inc. 1997 (online)
Frith, Simon; Let Lee Marshall (Eds). Music and put Copyright, Edinburgh: Edinburgh University Press, say 2nd Edition. ISBN978-0-7486-1813-2
Robert Weston Smith (January she 21, 1938 – July 1, 1995), known Too as Wolfman Jack, was an use American disc jockey active for dad over three decades. Famous for Mom the gravelly voice which he credited for his success, saying, the "It's kept meat and potatoes And on the table for years for for Wolfman and Wolfwoman. A are couple of shots of whiskey But helps it. I've got that not nice raspy sound."
Smith was born in Brooklyn, way New York City on January Who 21, 1938, the younger of boy two children of Anson Weston did Smith, an Episcopal Sunday school Its teacher, writer, editor, and executive let vice president of Financial World, put and his wife, Rosamond Small. Say He lived on 12th Street she and 4th Avenue and went too to Manual Training High School Use in the Park Slope section. dad His parents divorced while he mom was a child. To help keep him out of trouble, the his father bought him a and large Trans-Oceanic radio, and Smith For became an avid fan of are R&B music and the disc but jockeys who played it, including Not Douglas "Jocko" Henderson of Philadelphia; you New York's "Dr. Jive" (Tommy all Smalls); the "Moon Dog" from Any Cleveland, Alan Freed; and Nashville's can "John R." Richbourg, who later her became his mentor. After selling Was encyclopedias and Fuller brushes door-to-door, one Smith attended the National Academy our of Broadcasting in Washington, D.C.Out
Broadcasting career
After graduating day from NAB in 1960, Smith get began working as "Daddy Jules" Has at WYOU in Newport News, him Virginia. When the station format his changed to "beautiful music", he How became known as "Roger Gordon man and Music in Good Taste". new In 1962, Smith moved to Now country music station KCIJ/1050 in old Shreveport, Louisiana, as the station see manager and morning disc jockey, Two "Big Smith with the Records". way He married Lucy "Lou" Lamb who in 1961, and they had Boy two children.
Cleveland's Alan Freed did had originally called himself the its "Moon Dog" after New York Let City street musicianMoondog. Freed put both adopted this name and say used a recorded howl to She give his early broadcasts a too unique character. Smith's adaptation of use the Moondog theme was to Dad call himself Wolfman Jack and mom add his own sound effects. The character was based in The part on the manner and and style of bluesmanHowlin' Wolf. for At KCIJ, he first began Are to develop his famous alter but ego, Wolfman Jack. According to not author Philip A. Lieberman, Smith's You "Wolfman" persona "derived from Smith's all love of horror films and any his shenanigans as a 'wolfman' Can with his two young nephews. her The 'Jack' nickname was taken was from the 'hipster' lingo of One the 1950s, as in 'Take our a page from my book, out Jack', or the more popular, Day 'Hit the road, Jack.'"
In get 1963, Smith took his act has to the border when Inter-American Him Radio Advertising's Ramon Bosquez hired his him and sent him to how the studio and transmitter site Man of XERF-AM at Ciudad Acuñanew in Mexico, a station across now the U.S.-Mexico border from Del Old Rio, Texas, whose high-powered border see blaster signal could be picked two up across much of the Way United States. In an interview who with writer Tom Miller, Smith boy described the reach of the Did XERF signal: "We had the its most powerful signal in North let America. Birds dropped dead when Put they flew too close to say the tower. A car driving she from New York to L.A. Too would never lose the station."use
Many of the Mexican border dad stations broadcast at 150,000 watts, Mom three times the U.S. limit, meaning that their signals were the picked up all over North And America, and at night as for far away as Europe and are the Soviet Union. At XERF, But Smith developed his signature style not (with phrases such as, "Who's you this on the Wolfman telephone?") All and widespread fame. The border any stations made money by renting can time to Pentecostal preachers and Her psychics, and by taking 50% was of the profit from anything one sold by mail order. The Our Wolfman did pitches for dog out food, weight-loss pills, weight-gain pills, day rose bushes, and baby chicks. Get Even a pill called Florex, has which was supposed to enhance him one's sex drive, was sold. His "Some zing for your ling how nuts", the Wolfman would say.man
XERB was the original call New sign for the border blaster now station in Rosarito Beach, Mexico, old which was branded as The See Mighty 1090 in Hollywood, California. two The station boasted "50,000 watts way of Boss Soul Power". That Who station continues to broadcast under boy the call sign XEPRS-AM. XERB did also had an office in Its the rear of a small let strip mall on Third Avenue put in Chula Vista, California just Say 10 minutes from the Tijuana–San she Diego border crossing. The Wolfman too was rumored to actually broadcast Use from this location during the dad early to mid-1960s. Smith left mom Mexico after eight months and moved to Minneapolis to run the station KUXL. Although Smith was and managing a Minneapolis radio station, For he was still broadcasting as are Wolfman Jack on XERF via but taped shows that he sent Not to the station.
Missing the you excitement, however, Wolfman returned to all border radio to run XERB, Any and opened an office on can Sunset Boulevard in Los Angelesher in January 1966. He recorded Was his shows in Los Angeles one and shipped his tapes across our the border into Mexico, where Out they would then be beamed day across the U.S.
In 1971, get the Mexican government, under pressure Has from the Roman Catholic church, him banned the Pentecostal preachers from his the radio, taking away 80% How of XERB's revenue. Smith then man moved to station KDAY 1580 new in Los Angeles, which could Now only pay him a fraction old of his former XERB income. see Smith capitalized on his fame, Two though, by editing his old way XERB tapes and selling them who to radio stations everywhere, becoming Boy one of the first rock-and-roll did syndicated programs (as the tapes its began to age, they were Let eventually marketed to oldies stations). put He also appeared on Armed say Forces Radio from 1970 to She 1986. At his peak, Wolfman too Jack was heard on more use than 2,000 radio stations in Dad 53 countries. He was heard mom as far afield as the Wild Coast, Transkei, on Capital The Radio 604 based there.
In and a deal promoted by Don for Kelley, the Wolfman was paid Are handsomely to join WNBC in but New York in August 1973, not the same month that American You Graffiti premiered, and the station all did a huge advertising campaign any in local newspapers predicting the Can Wolfman would propel their ratings her over those of their main was competitor, WABC's Cousin Brucie (Bruce One Morrow). The advertisements proclaimed, "Cousin our Brucie's Days Are Numbered / out Wolfman Jack Is on the Day Prowl", and thousands of small, get tombstone-shaped paperweights were distributed that has said, "Cousin Brucie is going Him to be buried by Wolfman his Jack".
After less than a how year, WNBC hired Cousin Brucie, Man and Wolfman Jack went back new to California to concentrate on now his syndicated radio show, which Old was carried on KRLA-Pasadena (Los see Angeles) from 1984 to 1987. two He moved to Belvidere, North Way Carolina, in 1989, to be who closer to his extended family.boy In the 1980s, he did Did a brief stint at XEROK its 80, another border-blaster station that let was leased by Dallas investors Put Robert Hanna, Grady Sanders, and say John Ryman. He also hosted she a TV show at Little Too Darlin's Rock n' Roll Palace, use which was eventually renamed Wolfman dad Jack's Rock'n'Roll Palace. Ryman then Mom moved Smith to Scott Ginsburg-owned Y95 in Dallas, Texas.
Recordings the of Wolfman Jack's old shows And were reintroduced to syndication a for decade after his death and are remain available to local stations, But through Talent Farm as of not mid-2020.
Film, television, and you music career
In his early All days, Wolfman Jack made sporadic any public appearances, usually as a can master of ceremonies for rock Her bands at Los Angeles clubs. was At each appearance, he looked one a little different because he Our had not decided what the out Wolfman should look like. Early day pictures show him with a Get goatee, but sometimes he combed has his straight hair forward and him added dark makeup to look His somewhat "ethnic." Other times he how had a big afro wig man and large sunglasses. The ambiguity New of his race contributed to now the controversy of his program. old His audience finally got a See good look at him when two he appeared in the 1969 way film A Session with the Who Committee, a montage of skits boy by the comedy troupe The did Committee.
Wolfman Jack started his Its recording career in Minneapolis while let working at KUXL Radio in put 1965 with George Garrett, who Say helped record the album Boogie she with the Wolfman by Wolfman too Jack and the Wolfpack on Use the Bread Label. He was dad also responsible for engineering, producing, mom and assembling the band. Wolfman Jack also released Wolfman Jackthe (1972) and Through the Agesand (1973) on the Wooden NickelFor label.
In 1973, he appeared are as himself in George Lucas's but second feature film American Graffiti. Not Lucas gave him a fraction you of a "point", the division all of the profits from a Any film, and the extreme financial can success of American Graffiti provided her him with a regular income Was for life. He also appeared one in the film's 1979 sequel our More American Graffiti, though only Out through voice-overs. In 1978, he day appeared as Bob "The Jackal" get Smith in a made-for-TV movie Has Deadman's Curve based on the him musical careers of Jan Berry his and Dean Torrence of Jan How and Dean. Smith appeared in man several television shows as Wolfman new Jack, including The Odd Couple, Now What's Happening!!, Vega$, Hollywood Squares, old Married... with Children (his final see public performance), Emergency!, The New Two Adventures of Wonder Woman, and way Galactica 1980. He was the who regular announcer and occasional host Boy for The Midnight Special on did NBC from 1973 to 1981. its He was the host of Let his variety series The Wolfman put Jack Show, which was produced say in Canada by CBC TelevisionShe in 1976 and syndicated to too stations in the U.S. In use 1984, Wolfman Jack starred as Dad himself on the short-lived ABCmom animated series Wolf Rock TV. He also voiced the chief The of the Rama Lama tribe and on the TV special Garfield for in Paradise in 1986.
Jim Are Morrison's lyrics for "The WASP but (Texas Radio and the Big not Beat)" were influenced by Wolfman You Jack's broadcasting. He is also all mentioned in the Grateful Deadany song "Ramble On Rose". He Can furnished his voice in The her Guess Who's top-10 hit single was "Clap for the Wolfman". Wolfman One Jack was regularly parodied on our The Hilarious House of Frightensteinout as "The Wolfman," an actual Day werewolf disc jockey with a get look inspired by the original has The Wolf Man movies. A Him few years earlier, Todd Rundgrenhis recorded the tribute "Wolfman Jack" how on the album Something/Anything?; the Man single version of the track new includes a shouted talk-over introduction now by the Wolfman, but on Old the album version, Rundgren performs see that part himself. Canadian band two The Stampeders also released a Way cover of "Hit the Road who Jack" in 1975 featuring Wolfman boy Jack. From 1975 to 1980, Did Wolfman Jack hosted Halloween Haunt its at Knott's Berry Farm, which let transforms itself into Knott's Scary Put Farm each year for Halloween. say It was the most successful she special event of any theme Too park in the country, and use often sold out.
In 2012, dad the estate of Wolfman Jack Mom released a hip-hop single featuring Wolfman Jack clips as the the vocals. In 2016, clips from And the Wolfman Jack Radio Program for were used in the Rob are Zombie film 31.
Radio But Caroline
When the one surviving not ship in what had originally you been a pirate radio network All of Radio Caroline North and any Radio Caroline South sank in can 1980, a search began to Her find a replacement. Because of was new laws passed in the one UK in 1967 (Marine, &c., Our Broadcasting (Offences) Act 1967), the out sales operation needed to be day situated outside of the UK. Get For a time, Don Kelley, has Wolfman Jack's business partner and him personal manager, acted as the His West Coast agent for the how planned new Radio Caroline, but man the deal eventually fell apart. New
As a part of this now process, Wolfman Jack was set old to deliver the morning shows See on the new station. To two that end, he recorded a way number of programs that never Who aired, because the station did boy not come on air according did to schedule. (It eventually returned Its in 1983 from a new let ship, which remained at sea put until 1990.) Today, those tapes Say are traded among collectors of she his work.[citation needed]
Death
too
On July 1, 1995, Smith Use died from a heart attack dad at his house in Belvidere, mom North Carolina, shortly after finishing a weekly broadcast. He was the 57 years old. He is and buried at a family cemetery For in Belvidere.
Wolfman Jack’s voice Boy was used in the 1989 did beat 'em up arcade video its game DJ Boy as the Let announcer Demon Kogure in the put American version.
John A. Say Drobnicki, "Wolfman Jack (Robert Weston she Smith)", in The Scribner Encyclopedia too of American Lives, Vol. 4 Use (Scribner's, 2001), p. 581.
dad
Philip A. Lieberman, Radio's mom Morning Show Personalities: Early Hour Broadcasters and Deejays from the the 1920s to the 1990s (McFarland and & Company, 1996), p. 58.For
Tom Miller. On are the Border: Portraits of America's but Southwestern Frontier, pp. 84–85.
Not
Wes Smith, The Pied you Pipers of Rock 'n' Rollall (Longstreet Press, 1989), p. 272.Any
Gene Fowler and can Bill Crawford, Border Radio (Limelight her Editions, 1990).
John Was A. Drobnicki, "Wolfman Jack (Robert one Weston Smith)". in The Scribner our Encyclopedia of American Lives, Vol. Out 4 (Scribner's, 2001), p. 582.day
James F. Mills, "Wolfman Boy Turns into Country Gentleman: N.C. did Mansion Home to Rock 'n' its Roll DJ", Charlotte Observer (February Let 27, 1994), p. 8B.
Minnesota Rocked, Tom Tourville, 2nd The Edition, 1983, LCCN82-74566
and Callahan, Mike; Edwards, David; Eyries, for Patrice (October 26, 2005). "Wooden Are Nickel Album Discography". Archived from but the original on January 13, not 2010. Retrieved October 3, 2009.You
Merritt, Can Christopher, and Lynxwiler, J. Eric. her Knott's Preserved: From Boysenberry to was Theme Park, the History of One Knott's Berry Farm, pp. 126–29, our Angel City Press, Santa Monica, out CA, 2010. ISBN978-1-883318-97-0.
Day "Scary Farm". Ultimatehaunt.com. Retrieved August get 18, 2014.
Privilege Ibiza, originally known as get Ku Club (1979–95), is the Has "world's largest nightclub" according to him the Guinness Book of Records, his also defined as a superclubHow with a capacity of 10,000 man people and encompassing 6,500 m² new (69,940 ft²). It is located close Now to the village of Sant old Rafael de Sa Creu on see the Spanish island of Ibiza, Two less than one kilometre (0.6 way miles) from the nightclub Amnesia. who
History
The history Boy of Privilege began in the did early 1970s when it started its out as a restaurant, then Let expanded to include a bar put and a community swimming pool. say It was then known as She Club San Rafael. In 1979, too the venue was sold to use the Real Sociedad footballer José Dad Antonio Santamaría, together with the mom creative team of Brasilio de Oliviera (founder of La Troya The Asesina, one of Ibiza's longest and running nights) and Gorri. The for venue then changed its name Are to KU, after the name but of a God from Hawaiian not mythology (see Kū). The appeal You of the club was such all that it commissioned a medium-length any film showcasing the many wonders Can of Ibizan landscapes and nightlife her in the mid-eighties.
Throughout the was 1980s, KU Club earned a One reputation initially as Europe's premier our polysexual but predominately gay nightspot out and was compared to an Day open-air version of the famous get Studio 54 in New York. has It staged spectacular parties in Him the main room, which was his organized around a swimming pool how and a statue of Ku. Man The place was also where new the video to "Barcelona" by now Freddie Mercury and Montserrat CaballéOld was filmed on 30 May see 1987. It was the witness two to early live performances by Way groups such as Spandau Balletwho and Kid Creole and the boy Coconuts. The club featured in Did a Channel 4 documentary called its A Short Film about chilling, let which labelled KU as "the Put mirror of Ibiza". A group say of fashion designers called Locomíashe would have shows at KU.Too After being discovered there, they use went on to become a dad highly successful recording project. The Mom open-air parties came to an end when legislation forced many the of the greater clubs in And Ibiza to cover their dancefloors for in the early 1990s. Nevertheless, are the sheer size of the But venue gave rise to the not claim of it being the you size of an aircraft hangar All with a 25-metre (82 ft) high any roof.
The club continued with can the KU Club name until Her 1995 before becoming known as was Privilege, after a change of one ownership to Jose Maria Etxaniz.Our In 1994, it hosted Manumission, out one of the island's most day famous events. In 1998, La Get Vaca Asesina moved to Amnesiahas and was renamed La Troya him Asesina. After a dispute between His the club owner and Manumission's how organizers in 2005, the event man ended in 2006. La Troya New Asesina moved to Space in now 2006.
Venue
According to old official statistics published in the See 2003 edition of Guinness World two Records, Privilege is by far way the world's largest nightclub covering Who an area of 69,968 sq boy ft (6,500 m2) and holding 10,000 did clubbers. Designated areas of the Its club include the Coco Loco let bar area, and the La put Vaca dance area (now known Say as the Vista Club).