In 1973, Perry built a studio in his back yard, the Black Ark, to have more control over his productions and continued to produce notable musicians such as Bob Marley & the Wailers, Junior Byles, Junior Murvin, the Heptones, the Congos and Max Romeo. He also started the Black Art label, on which many of the productions from the studio appeared. With his own studio at his disposal, Perry's productions became more lavish, as the energetic producer was able to spend as much time as he wanted on the music he produced. Virtually everything Perry recorded in The Black Ark was done using basic recording equipment; through sonic sleight-of-hand, Perry made it sound unique. Paul Douglas mentions:
Scratch had a particular sound and everybody was fascinated by his sound. He had this way of putting things together; it was just his sound and it influenced a lot of people. I’ve even gone to the Black Ark with Eric Gale for that Negril (album) album; I remember myself and Val Douglas, we laid some tracks there, Eric Gale overdubbed stuff on there, but I honestly don’t remember what happened to it.
Perry remained behind the mixing desk for many years, producing songs and albums that stand out as a high point in reggae history.
By 1978, stress and unwanted outside influences began to take their toll: both Perry and The Black Ark quickly fell into a state of disrepair. Eventually, the studio burned to the ground. Perry has constantly insisted that he burned the Black Ark himself in a fit of rage.