The Black Ark was the recording studio of reggae and dub producer Lee "Scratch" Perry, built in 1973 and located behind his family's home in the Washington Gardens neighborhood of Kingston, Jamaica. Despite the rudimentary set-up and dated equipment, it was nonetheless the breeding ground for some of Jamaica's most innovative sounds and recording techniques in the latter half of the 1970s. Innovative musical techniques From a technological standpoint, the Black Ark was at the low end in comparison to the international music recording standards of its day. The studio's legendary reputation stems from the innovative production techniques employed by Perry to create sounds that baffled his contemporaries, and which have continued to be a source of amazement to later generations of music producers. An example of Perry's inventive style was his ability to overdub layers of sound effects and instrumentation on each recording track of a basic 4-track machine, with such precise timing and in such a way that the resulting sound would destroy the competition from Jamaica's other top producers using the latest 16-track mixing consoles. Perry once buried microphones at the base of a palm tree and thumped it rhythmically to produce a mystifying bass drum effect and his drum booth at the Black Ark was for a time surrounded with chicken wire to further his distinctive sound. Many of his songs are layered with a variety of subtle effects created from broken glass, ghastly sighs and screeches, crying babies, falling rain and cow noises. While it was thought to believe that Perry recorded the "mooing" noises from actual cows, it was actually the baritone voice of Watty Burnett through a tin foil laced cardboard tube that produced the cow-like noises. These and other notable recording techniques helped define the Black Ark sound, as well as Lee Perry's creative legacy. Perry was known for his eccentric and superstitious behavior during production sessions. He would often "bless" his recording equipment with mystical invocations, blow ganja smoke onto his tapes while recording, bury unprotected tapes in the soil outside of his studio, and surround himself with burning candles and incense, whose wax and dust remnants were allowed to infest his electronic recording equipment. He would also spray tapes with a variety of fluids, including urine, blood and whisky, ostensibly to enhance their spiritual properties. Later commentators have drawn a direct relationship between the decay of Perry's facility and the